Interestingly, in every description, in every advertisement, and even in its title, broken into It presents itself as a disaster movie, while the disaster – which, yes, as in the facts on which the movie is based, ends up on the school sailboat. albatross – is a small piece of work, so small that, in my opinion, it is worked out with astonishing speed in the show through Ridley ScottMutual Conclusion Equally confused and even random. Not that it is unusual for Hollywood to characterize the “spectacle” to the point of deceiving the public about the nature of the work, but that this strategy can be frustrating to the viewer and can ultimately distort the work itself.
and fact, broken into It is by no means a disaster movie, i.e. it is not about a major, deadly event like Hell in the Tower or Poseidon’s fatebut a classic and beautiful feature of coming of age – or reaching the age of majority – which focuses on the young men’s voyage aboard the aforementioned school ship, the Brigantine, commanded by the inflexible, but at the same time likable Captain Christopher Sheldon (Jeff Bridges) which ends in tragedy. In other words, the ending is not the purpose of the feature, something that was mentioned textually during the show by young Chuck Gage’s narration (Scott Wolf) on account of which the movie is based. It is therefore necessary for the unsuspecting viewer to adjust his expectations, which must have been one of the reasons for the unfair financial failure of the film upon its release, and another reason among several in the director’s career, not least because of broken into It can very well be interpreted as a nautical version of beauty Dead Poets Societyin Peter Weir.
Not that Scott’s work has the same kind of dramatic resonance as his Australian counterpart, of course, but broken into It carries the same kind of uplifting spirit that unites so well the discoveries of young minds from a guru who inspires them to leave the cozy capsules in which they live, and to rebuild their view of the world, and thus of themselves. Although not technically a protagonist, Bridges once again builds a character with a magnetic presence who doesn’t need to resort to dramatic flourishes to establish herself in her environment. Captain Sheldon is a man passionate about life, the art of teaching, the adventure of sailing around the world, and his wife, Alice (Caroline Goodall), the sailboat doctor and actor conveys all this in a natural, even stoic way, in which his few words resonate far more than “alarm clock”. Shakespeareby the amusing Professor McCrea (John Savage).
Scott’s direction, again, is a masterpiece, as is the art direction that captures the “alien” – or un-American – essence of the 1960s in which the film is set, keeping the flames of wonder burning as to why young people pass by, each one bringing their most troublesome Diversity from home, whether the shock of losing Jill’s brother Martin (Ryan Phillip), be the shadow that was Frank Beaumont’s father (Jeremy Sisto) projects it. It’s very nice to see the growing unity between them around navigation, and of course Sheldon, who everyone admires, but the script is adapted from Todd Robinson, by opting for an episodic structure to tell the story, ends up taking time for greater immersion in each character, with Scott, no matter how hard he tries, never finding the time or even the space to define the kind of dynamic that ends strong. Required for the events of the end of the movie After the Cataclysm.
Although reports of this nature are not known, it is as if a much longer film was originally conceived and then tweaked to “fit” the studio’s requirements, leaving on the cutting room floor all the dramatic coherence the story needed. deserve it. What remains of this impression, however, is still a film of undeniable quality, especially due to Bridges and Scott having the camera work in the tight space he has to work with (the storm sequence in the Portuguese title is particularly effective, even if it’s way too fast). , as well as how well the young actors work together in terms of ensemble dynamics, with individual performances being less interesting.
like broken into Not a disastrous film despite the propaganda efforts, it is not appropriate here to say that it does not reach this goal, because it is clear that this was never the goal of the tape, but, as reaching the age of majority That is, it ends with work, even if without the same rhythm or dramatic weight as many other works of the subgenre. Despite being a hugely enjoyable piece of work, even in its (few) tense moments, Ridley Scott delivers an over-the-top version of a story that could have been a lot more than what ended up making it to the big screen.
Tormenta (White Squall – USA/UK, 1996)
direction: Ridley Scott
script: Todd Robinson (based on the book by Charles Gage Jr. and Felix Sutton)
Throw: Jeff Bridges, Caroline Goodall, John Savage, Scott Wolf, Jeremy Sisto, Ryan Phillippe, Eric Michael Cole, Julio Oscar Michoso, Balthazar Getty, Jason Marsden, David Lacher, Ethan Embry, David Selby, Jordan Clarke, Zelko Ivanek, James Rayburn, Jill Larson, Lizzie Mackay
Duration: 129 minutes
