A stellar cast brings forth an intense film

Rating: 10/10 (18 August 2000)

The Caine Mutiny is more intense and psychologically thought provoking than most films billed as `suspense thrillers'. I've never been a fan of war movies in general; I've seen too many documentaries like Atomic Café to comfortably sit through yet another us versus them flick. That being said, The Caine Mutiny's use of war is not about America infallibility, it is about human reactions in times of intense emotional pressure. The film shows how tension and power can disintegrate sanity and loyalty, and that rarely is any situation clear-cut.
As soon as we board the Caine, Keefer (MacMurray) begins a rapid-fire summation on the goings on aboard the ship. He quickly proves himself as witty, highly intelligent, sure of his judgement, and carefully arrogant. The complexities of the character (which, for fear of spoilers I will not discuss) are stunningly depicted by MacMurray. If Bogart had not been brilliant in his portrayal of Queeg I suspect MacMurray would have stolen every scene he appeared in. And this is high praise because both Steve Meryck's portrayal of Van Johnson, and Jose Ferrer's as Greenwald are impeccable. The ensemble is almost completely above reproach, but I'll return to that.
Bogart, as we all know, is stunning. His lectures to his officers is just as rapid and self-assured as Keefer's running commentary. Bogart carefully allows for the mental entropy of his personality to become more visible as the movie progresses, which quickly separates his temperament from that of MacMurray's. Bogart's scenes in court have insured that I'll never be able to watch a Jack Nicklson in A Few Good Men ever again, but that's not totally a bad thing. What struck me most about how Bogart was filmed was not the intense camera shots of his hands, or constantly moving eyes, but the fact this was the first movie I'd ever seen his short stature emphasized. While it has been ignored, avoided, or jokingly commented on in many of his prior films, it has never been utilized in such an adept manner. Almost every scene he appears in he is noticeably shorter than those around him are, even when he is seated. It is as if his paranoia is being subtly, visually reaffirmed.
And the downside? The movie contains a romantic plot that adds nothing to the film; it tempts you to fast forward or go to the lobby for popcorn. It wouldn't be such a bother if the romantic characters had depth, but they don't and it's a shame. Ensign Keith (Robert Francis) should be a compelling personality, as he is only character who starts out innocent and stands to transform the most. Francis' performance is flat. He exudes listless delivery and a dim, handsome face that reminds me of Starship Troopers and old episodes of Thunderbirds Are Go. A pity.
I've never read the book, I suspect that I will eventually, but I cannot comment on the adaptation.
And I'd like viewers to lovingly think of Nixon's infamous Checkers speech when Capt. Queeg discusses his homelife.