a5c7b9f00b Christmas, 1983. A New York postal clerk, a Buffalo Soldier in Italy in World War II, shoots a stranger. In his apartment, police find a valuable Italian marble head, missing since the war. Flashbacks tell the story of four Black soldiers who cross Tuscany's Serchio River, dodging German and friendly fire. With a shell-shocked boy in tow, they reach the village of Colognora. Orders via radio tell them to capture a German soldier for questioning about a counteroffensive. In the village, a beautiful woman, partisans that include a traitor and a local legend, the boy, and the story of a recent massacre connect to the postal worker's anguish forty years later. And the miracle?
Set in 1944 Italy, the story of four black American soldiers who get trapped in a Tuscan village during WWII.
Great movie! Great storyline, great acting, great directing! Every part was perfectly cast. All of these actors have a great career ahead of them; you watch. This movie also made me keep thinking about how much prejudice against minorities still exists today. It's unbelievable that people that fight and die for this country in its armed forces get treated the way they *still* do. (Does the phrase Tuskegee ring a bell?) I can't understand why anyone wouldn't love this movie. There definitely should have been some Oscar nominations for this one. To the people who wrote the bad reviews of this movie on this forum, I wonder: what in the world kind of movies *do* you people like?! Stuff like that stupid "Push" (ugh) or "Watchmen" (double-ugh), I bet. No wonder the world's in trouble. Unbelievable!
"For all sad words of tongue or pen, The saddest are these: 'It might have been!'" – John Greenleaf Whittier, in "Maud Muller" (1854)<br/><br/>Spike Lee almost created a masterpiece. But, his film is severely flawed because he cannot seem to leave his own agenda outside the set door. His fingerprint is evident in almost every frame of this film, and it is a shame. In the process of film-making he becomes that which he has claimed to historically detest. He casts in caricatures right out of central casting with a stereotypical Jewish judge and an empowered and confident female lawyer who marches into the courtroom at the end of the film to save the dayshe dismisses the Legal Aid attorney. "Renata" has a killer body and freshly washed blown-out hair and in one scene she looks like she could leave the set and pose in a Victoria's Secret runway show. The film ends on a surreal dreamlike and emotional (perhaps confusing) note but I will say I was very moved. Spike Lee would have been praised widely for creating a spiritual allegory within an epic masterpiece if he simply managed to not bang the audience over the head with his personal hammer to achieve his political points.
Odd too, for a film that wants to correct impression anyone hadto the abilities of black U.S. soldier in combat, are the ethnic cliches about Italians and Germans, to say nothing of rednecks.
Miracle at St. Anna is also a 2003 novel written by American writer and musician James McBride. Those who have both read the book and the script say that several themes in the book have been enhanced for the movie. The supernatural aspect has been muted somewhat, but the religious Christian aspect has been made more pointed for characters on all sides—Bufflo Soldiers, Italians and Germans. Other details were also changed. For example, Hector didn't earn a purple heart but a silver star. Rudolfo recognizes the fact that he's going to get shot and doesn't seem to have come to terms with it. (In the book, he doesn't realize until the last second what's happening and is a little more OK with his fate.) Hector barely ever looks at who comes up to the window. In the book, he looks, notices a flashy ring, and then looks to see whose face it is. (This is important to the story because it is this small detail that makes the viewer/reader realize that the Black Butterfly has exacted his revenge from beyond the grave.) The movie's script seems to draw out a sex scene that was only referenced in the book.
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