The Pacific

The Pacific

4.5 out of 54.5 out of 54.5 out of 54.5 out of 54.5 out of 54.5

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It is inevitable, though not entirely fair, that HBO’s The Pacific will be compared to Band of Brothers. Both were executive produced by Tom Hanks and Steven Spielberg, and both follow American soldiers as they fight in World War II. Both also employ the shaky-cam photography and gut-splatter realism of Spielberg’s own Saving Private Ryan. But while Band of Brothers took all that was groundbreaking about that film and outclassed it to become one of the great American miniseries (if not the greatest), The Pacific is like a less successful younger sibling. It manages to convey the particular horror of the Pacific theater of operations, but it’s often saddled by too much exposition, unnecessary backstories, and an overindulgence in sentimentality.

Instead of focusing on one company of soldiers, as Band of Brothers did, The Pacific follows three real marines, two of whom, Robert Leckie (James Badge Dale) and Eugene Sledge (Joe Mazello), went on to write memoirs that served as the primary source material for the series. The third marine is John Basilone (Jon Seda), a hero in the early battle of Guadalcanal, who spends the majority of the war years on a war bond tour before entering combat again at Iwo Jima. The presence of Basilone allows the filmmakers to focus some of the story away from the ceaseless fighting and brutal conditions of the Pacific Islands; it’s a welcome respite, but the heart of the film ultimately lies in its unnerving depiction of combat hell.

One of the weaknesses of the series is its writing: Do we really need to be told through dialogue that war is hell, especially when advances in special effects, and not to mention a budget well over a hundred million dollars, allow for some jarring and up-close combat sequences? Nowhere is this more glaring than at the very beginning, as the principal marines prepare to sign up and ship out. The dialogue seems written to hammer home big themes of sacrifice and father-son bonds (an all-too-familiar trope in Spielberg productions), and this overwriting threatens to sink the series before it even begins. “The worst thing about treating those combat boys wasn’t that they had had their flesh torn, it was that they had had their souls torn out,” says Sledge’s father, a one-time combat doctor trying to prevent his son from joining up.

Full disclosure: HBO apparently didn’t send the entire series to press for review, but only the early episodes dealing with Guadalcanal and the later episodes that depict the battle for the island of Peleliu, including one episode directed by the excellent genre film director Carl Franklin (Devil in a Blue Dress, Out of Time). The episodes set on Peleliu are much stronger than the earlier ones; they manage to convey not just the dehumanization of war, but also the way in which alienation spread among the allied soldiers. Sledge, the primary marine in these episodes, is played by the child-faced Joe Mazello, and it’s made clear that he is equally haunted by the nonchalance and cruelty of some of his fighting brethren as he is by the close-up combat with the Japanese soldiers.

Because some of the iconography of the Pacific theater is deemed less familiar to audiences than the European war, each episode of this 10-part series begins with interviews with the actual soldiers, wartime footage, and Tom Hanks delivering brief history lessons in voiceover. These segments are helpful to a degree, but they’re also jarring. They make it seem as though the producers would rather have made a documentary, and they also highlight just how anecdotal the rest of the series is. The assault on Peleliu, for example, was a controversial decision; over 1,600 American soldiers lost their lives securing an island that turned out to have no strategic value. With its 10-hour running time, The Pacific could have stretched its focus to include some of the reasoning that went into the assault while not sacrificing its grunts-on-the-ground aesthetics.

Ultimately, what a series like this aims to do is to pay homage to the Marines who sacrificed their lives. The Pacific succeeds at that task, asking its audience to imagine what those battles must have been like from the ground level, and for that alone, it’s worth watching. But The Pacific fails by trying to wrest big emotional moments from its already compelling narrative. Nothing I saw in the series was as ham-handed as Saving Private Ryan‘s epilogue, when Matt Damon morphed into an old man weeping by a grave, but neither was anything I saw as streamlined and graceful as Band of Brothers, where the embellishments were kept to a minimum.


No expense was spared in making this blockbuster miniseries, almost as if it were produces for the specific purpose of eclipsing its obvious forerunners Saving Private Ryan and Band of Brothers. So if the actual content of The Pacific seems a little less compelling than the first HBO miniseries, and if it doesn't quite achieve the groundbreaking feats of Spielberg's simultaneously over- and underrated film, at the very least it serves as the main feature of an absolutely stunning home video experience. I've seen few other transfers as sumptuously varied and as pristine as this. The contrast and range of cinematographic hues is flawless. The black levels are flawless. The separation between multiple panes of shrapnel and dirt-confetti during the battle scenes is flawless. Sense a theme? This may be the best-looking Blu-ray I've ever seen that doesn't involve computer-generated animation. As if that weren't enough, the sound manages to eclipse the video presentation. With a fiercely directional 5.1 DTS mix, The Pacific inserts viewers as fully into the sensation of battle as Saving Private Ryan.


In solidarity with many a Spielberg-aligned production, the video release of The Pacific acts like the product speaks for itself. No commentary tracks and very little in the way of background that's not explicitly history-minded. Oddly enough, the discs' producers even repurposed the Tom Hanks-narrated, vintage footage-peppered introductory segments that ran on HBO so that they're now available as a bonus feature. The bright spot is that the approximate hour-and-a-half worth of documentary content is entirely presented in high definition. But don't expect to learn much about the production beyond the participants' due reverence for their subject matter.


The bonus features are lacking, but The Pacific looks and sounds as impressive as any Blu-ray you're likely to see.

Image 4.5 out of 5 4.5 out of 5 4.5 out of 5 4.5 out of 5 4.5 out of 5

Sound 4.5 out of 5 4.5 out of 5 4.5 out of 5 4.5 out of 5 4.5 out of 5

Extras 4.5 out of 5 4.5 out of 5 4.5 out of 5 4.5 out of 5 4.5 out of 5

Overall 4.5 out of 5 4.5 out of 5 4.5 out of 5 4.5 out of 5 4.5 out of 5

  • Blu-ray Disc
  • Six-Disc Set
  • Dual-Layer Discs
  • Region A
  • Aspect Ratio
  • 1.78:1 Anamorphic Widescreen
  • Dolby Digital Formats
  • Polish 2.0 Stereo
  • Spanish 2.0 Stereo
  • DTS
  • English 5.1 DTS-HD Master Audio Surround
  • French 5.1 DTS-HD Master Audio Surround
  • Spanish 5.1 DTS-HD Master Audio Surround
  • Subtitles & Captions
  • English Subtitles
  • Spanish Subtitles
  • French Subtitles
  • Portuguese Subtitles
  • Korean Subtitles
  • Dutch Subtitles
  • Swedish Subtitles
  • Czech Subtitles
  • Norwegian Subtitles
  • Danish Subtitles
  • Polish Subtitles
  • Greek Subtitles
  • Finnish Subtitles
  • Special Features
  • Field Guide
  • Tom Hanks Historical Introductions
  • "Making The Pacific" Featurette
  • "Profiles of The Pacific" Documentary
  • "Anatomy of the Pacific War" Featurette
  • Buy
    Release Date
    November 2, 2010
    HBO Home Video
    530 min
    Jeremy Podeswa, Timothy Van Patten, David Nutter, Graham Yost, Carl Franklin, Tony To
    Bruce C. McKenna, George Pelecanos, Robert Schenkkan, Laurence Andries, Michelle Ashford, Graham Yost
    James Badge Dale, Joe Mazzello, Jon Seda, Jon Bernthal, Joshua Bitton, Tom Budge, Linda Cropper, Caroline Dhavernas, Josh Helman, Ashton Holmes, Toby Leonard Moore, Keith Nobbs, Jacob Pitts