Ford versus Trabant

Rating: Null/10 (21 July 2002)

Spoilers herein.
I am not a fan of Harrison Ford. He cannot act, at least according to my understanding of the term. But he often finds vehicles where that doesn't matter, where he can swoop along with events. In fact, his very ordinariness works to his advantage as we literally identify with him. His self-awareness isn't intelligently aware or explicit like Willis', and his appeal is more Cronkitean than Gibson's. But there is a place where he fits in. It isn't here.
What we have is a huge machine that is flawed, in fact two huge machines: the submarine and the Soviet Union. The tired gimmick used here is to present Ford's captain as yet a third broken machine, only to have it develop that he is wonderful anchor instead.
The picture is so constructed. Attention is given to impress on us the mass and power of the machine. This overlaps with drawn out sequences that show Ford as similarly blunt, powerful and broken. Finally, wrapped in crisis, there is the elevation to sainthood, something usually sauced with rousing music and closeups on earnest, loving faces. Each of these three requirements is trod through inartfully, even incompetently, and since no one cause is clear, one must blame the lack of vision or control of the filmmaker. Almost certainly, this film was produced under the circumstances described in it: ignorant edicts from above, massive expenditures but always shorted, huge expectations beyond the skills of the crew, plans that go awry and are unaddressible. The film is broken, and instead of throwing it to the American audiences (unprotected from the fallout as it were) Hollywood has gathered around in the form of a massive promotional campaign to once again save Ford's biscuits.
Incidentally, if you ever have been around submariners, you know it is a crowd-hushing, offensive mistake to pronounce it sub-mar'-iners (emphasis on the second syllable) as opposed to subma-rine'-ers (emphasis on the third). This is such a profound error one need not wonder why so much of the film has an inauthentic feel. And this from the woman who did some great POV shots in `Strange Days.'
Ted's Evaluation -- 1 of 4: You can find something better to do with this part of your life.