C.I.A. analyst Jack Ryan must stop the plans of a Neo-Nazi faction that threatens to induce a catastrophic conflict between the United States and Russia's newly elected President by detonating a nuclear weapon at a football game in Baltimore, Maryland.
Communist Radicals hijack Air Force One with The U.S. President and his family on board. The Vice President negotiates from Washington D.C., while the President, a Veteran, fights to rescue the hostages on board.
When some Russian rebels take control of some ICBM's, the Americans mobilize. Among the vessels sent is the nuclear sub, USS Alabama. But before they leave they need a new X.O. and among the choices is Commander Hunter, who hasn't seen much action. But the ship's Captain, Ramsey, OK's him. While on the way, there was an incident and Hunter disagreed with how Ramsey handled it. It's evident that Ramsey doesn't think much of Hunter because Hunter was college educated while Ramsey worked his way up. They're given orders to attack but when they were in the process of receiving another order, the ship's communications were damaged, so the entire message was not received. Ramsey decides to continue with their previous order while Hunter wants to reestablish contact first. That's when the two men butt heads that ends with Hunter relieving Ramsey. Later when some men die, some of the officers feel that Hunter is not up to the task so they team up to retake control. But Hunter has taken ...Written by
Tony Scott obtained footage of the real Alabama departing Pearl Harbor through possibly illegal means. A paid civilian informant tipped off Scott to the day and time of Alabama's sortie from port, an obvious violation of navy ship movement regulations. Scott then had camera boats and a helicopter on standby to film the surfaced sub. Reportedly, the Alabama's captain requested assistance to remove the film crew but then simply decided to submerge the sub prematurely, footage Scott was hoping to obtain. Although the Navy issued a formal protest about using it's equipment in the film without permission it was not illegal as the sub was in public view, and they could do nothing to prevent it. Interestingly, Scott was hoping only to obtain footage of an Ohio class sub in motion on the surface, the fact that the boat was the actual Alabama was sheer coincidence. See more »
Originally, US Navy submarines were named for fish and other sea creatures and US Navy battleships were named after states (like the WWII USS Alabama.) However, the naming convention for US naval vessels has changed. US Navy submarines are now named for both cities (fast attack boats) and states (ballistic missile boats.) See more »
Peter "Weps" Ince:
So what does that make us, since we're the only nation that's ever dropped a nuclear bomb on anybody?
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The English language version includes a scene where Lt. Cmdr. Hunter (Denzel Washington) breaks up a fight between two sailors. One of the two men tells Hunter that they were arguing over which version of the character Silver Surfer was best, the one drawn by Jack Kirby or the one by Moebius. In the Italian version the comic book character over which the two men are fighting have been changed to Betty Boop and Felix the Cat. See more »
As CRIMSON TIDE opens we visit various crew members of the USS Alabama as they bid farewell to their loved ones. For one man, Lt. Cmdr. Ron Hunter (Denzel Washington), it will be his first time as second in command of a nuclear submarine. Capt. Frank Ramesy (Gene Hackman) is in charge and is not shy about letting everyone know. He is a seasoned veteran, as juxtaposed with the young idealistic Hunter. The early scenes do much to set up the main conflict of the film. For example when members of the crew discuss Carl Von Clausewitz, and his 1832 work Vom Kriege ("On War"), the intellectual showdown occurs between Ramesy and Hunter. This scene not only heightens the tension, but also reveals the different philosophies of these two men, what they believe in, why they are there. This short scene goes a long way to setting up why each of these characters are so unbending when the crisis presents itself.
The Crisis: The ship has been damaged and the EAM contact that has been received is disjointed. The Russian force (who is never very carefully explained) is fueling rockets for use against the US. That's all they know. The captain wants to surface and fire, Hunter thinks he's wrong. Factions form, but the film does a good job presenting a good argument for both desicions (although you get the sense that the film makers lean towards the "dove" side rather than the "hawks"). As tensions mount, there are various shifts in power and the crew stands divided. Every member of the crew watching as the minutes tick by, closer and closer to the final moment of truth...
Hackman is at the top of his form here as the relentlessly tough Ramesy. When given a good script with room to work, there is few better at creating a solid performance. The looks he gives, the way he uses his eyes, his speech patterns, simply wonderful to watch. Washington is just as good as Hunter, and the showdown between these two men, near the end, sends sparks flying off the screen. The rest of the cast is filled out with strong actors: Matt Craven, George Dzundza, (pre LOTR's) Viggo Mortensen, and (pre 'Sopranos') James Gandolfini.
As is well known, the script received various rewrites from Robert Towne (the Clausewitz scene), Steve Zaillian, and Quentin Tarantino (the Silver Surfer references, the scene where the crew chimes in about other submarine movies). All these different contributions blends fairly well together. The story is tough and direct, and touches on points that heighten the tension. The photography, by Dariusz Wolski (DARK CITY, THE CROW), is tight and atmospheric; Hans Zimmer's score pounding and reflective. The VIP vote, however, goes to Tony Scott, who proves himself with this film. He knows when to hold shots and doesn't rush the action (as he did with TOP GUN); he paces the film well and let's his actors work for him. CRIMSON TIDE is an entertaining and challenging film that, along with films like THE HUNT FOR RED OCTOBER and DAS BOOT, may set the high water mark (forgive the pun) for the genre. 9/10.
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