Poor old Hornblower. First his popularity is slowly usurped in the literary world. This, followed by a low-production-value ITV representation featuring plots as well-watered as ship's grog and the world's most photogenically hammy actor. In comparison, 'lucky' Jack Aubrey is indeed lucky, featured in this marvellous Peter Weir masterpiece.
It comes as no surprise that this is a Weir film. The selective, delicate and almost poetic soundtrack; the spine-tinglingly perfect script; and above all, photography that the man ought to be buried with. The film opens for about five or ten minutes with no dialogue, instead setting the scene with a series of mouth-watering images and set pieces.
The story examines the relationships on board; between Jack (Crowe) and his ship's physician, Stephen Maturin (Bettany); the complex hierarchical relationships; and the distant, though no less keenly felt antipathy between Jack's command the Surprise and her quarry, the Acheron. The story centres around this chase, which becomes a matter of pride to Jack, and the sufferances of those around him in response.
There is an undercurrent of humour that flows beneath the grimmest of scenes, making it a warm and richly-textured film. The film uses few one-liners and depends instead on the deft script and impeccable acting. Special mention here can go to the breathtakingly natural Paul Bettany, whose waspish manners and cold morals cannot prevent the easy current of friendship that runs between him and the cheerfully boorish Jack. He may also win a few bluestocking hearts, i.e. mine. And, of course, there's the Russell Crowe element, who one felt would lumber this elegant film with his Hollywood heavyweight. He manages to hold the role well, but the bluff sentimentality that the O'Brian readers know is never quite brought off.
This film does not feel like a film. Although there is plenty of action and intrigue, it feels much more like a good satisfying read, which will not be to the taste of the popcorn muncher. Or the arseholes in my cinema who spent the last half talking at full volume. This literary feel enhanced the film enormously for me, but I wouldn't be surprised if the inconclusive ending and too-drawn-out deliberations put off, sadly, vast swathes of viewers.
That, its speciality interest, and the release of Return of the King, ought to put paid to huge box office success. But hopefully not Oscar success. |
