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A regular family - Maria (Naomi Watts), Henry (Ewan McGregor) and their three kids - travel to Thailand to spend Christmas. They get an upgrade to a villa on the coastline. After settling in and exchanging gifts, they go to the pool, like so many other tourists. A perfect paradise vacation until a distant noise becomes a roar. There is no time to escape from the tsunami; Maria and her eldest are swept one way, Henry and the youngest another. Who will survive, and what will become of them? Written by
For the underwater scenes, Naomi Watts was strapped in a rotating chair. While filming, Watts couldn't hold her breath any longer and she gave the 'stop' sign. Instead of stopping, the chair started spinning the other way around. Later it was revealed that it was a technical error and Watts stated the she felt very scared and hated the chair for that reason. See more »
When Daniel meets with his father, he says in Swedish - "vad tung du är Johan (how heavy you are, Johan)" instead of the character's name Daniel. This is because the real name of the character Daniel, is Johan, and it's his real father Jan. See more »
On December 26th, 2004,the deadliest tsunami on record hit the South East Coast of Asia. The lives of countless families all over the world changed forever. This is the true story of one of those families.
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The title and the rest of the credits do not appear until the end of the film. The only credits that appear at the beginning are the production companies' logos and an explanation of how the Tsunami came about. See more »
An amazing story, but some questions about the telling
Amazing effects and stunts, along with and solid performances balance out some artistic lapses and ethical questions in this true story of one family's experiences of the horrendous Tsunami that killed 300,000.
The downsides; there's something a little off-putting about choosing a white, privileged family as a focus, while at the same time showing almost exclusively other white people as suffering and afraid in a disaster that killed far more local people than tourists. The Thai's are certainly shown in a good light, kindly helping all these suffering whites, but even in the hospital, almost every face we see in a bed is a white one. That hint of odd racial insensitivity is also underlined by replacing the original family, who were Spanish and dark, and making them into a gorgeous blond English family, a telling choice in a 'true' story.
On a more general level, the film can feel manipulative, from the tear jerking score, to the multiple carefully framed "will they spot each other?" shots that feel like a horror film's self-conscious suspense fames, but that cinematic technique feels distractingly artificial in this more naturalistic setting.
There's no question it's exciting and at times quite moving, but I couldn't help thinking I might have felt even more deeply if it wasn't pushing so hard to control my emotions.
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