Titanic Review
by Chad Polenz (ChadPolenz AT aol DOT com)February 15th, 1998
Titanic
Chad'z rating: **** (out of 4 = excellent)
1997, PG-13, 194 minutes [3 hours, 14 minutes]
[drama]
starring: Leonardo DiCaprio (Jack Dawson), Kate Winslet (Rose DeWitt Bukater), Billy Zane (Cal Hockley), Gloria Stuart (Old Rose); produced by James Cameron, Jon Landau; written and directed by James Cameron.
Seen February 13, 1998 at 8 p.m. at Crossgates Cinema 18, theater #4, by myself, using Hoyts Cinema Cash. [Theater rating: ****: excellent seats, sound, and picture]
One thing all films considered to be "epics" and/or "classics" have in common is that they weren't made with the intention of being crowned as such. What's so remarkable about "Titanic" is that it seems as if it was made with such a goal in mind - a nearly unreachable, almost pompous level of greatness, and does manage to fulfill and even surpass its expectations.
The legend of the Titanic disaster is a story we've heard about for years, but does anyone really know the whole story? Director James Cameron spent years researching the material for this film, and his effort is clear from the get-go. We're introduced to Brock Lovett (Bill Paxton), a modern-day scientist exploring the wreckage who is looking for a diamond necklace worn by one of the passengers in a drawing dated the night the ship went down. When this news is broadcast on television, an old woman named Rose (Stuart) contacts Lovett to tell him she is the girl in the picture and proceeds to tell her story.
The first hour does an excellent job in establishing the reality of the situation. Cameron makes full use of the actual wreckage, sending robots and probes into the cracks and crevasses no one has seen in over 80 years. As the explorers and their submarines reach the ocean floor and turn their lights and cameras on, the sheer site of it all is awesome and yet frightening because it is real. Lovett's line, "Seeing her come out of the dark like a ghost ship gets me every time" accurately reflects the feeling all viewers will think. What's also fascinating is the use of modern technology to tell the story, and I don't mean special effects alone. One of the film's best scenes involves a computer-animated simulation of the ship hitting the iceberg and sinking while one of the explorers narrates in lighthearted, plain English, conveying the tragedy of it all and still creates for a moving moment.
But the film is not simply about the sinking of the ship, or even the ship itself, it's a humanistic drama about all the people involved. The Titanic was meant to be all things to all people - for the rich it was the ultimate form of elitism, but for the poor it was simply an escort to a better life. Rose was a member of the former group, a society in which she never felt a part of, and Kate Winslet's portrayal as 17-year-old Rose DeWitt Bukater is quite convincing in this aspect. She's engaged (somewhat against her will) to Cal Hockley, a multi-millionaire who epitomizes the image of the snobbery and elitist imagery associated with the type, especially as played by Billy Zane with just the right accent, facial expressions, and cold attitude. But of course where there's the uptight rich, there must also be the free-spirited poor, and this class is represented by the American teenage bounder Jack Dawson (DiCaprio), who gains entrance to the Titanic by winning a ticket in a poker game.
Taking these basic elements into consideration it's easy to tell where they will go and how the film will use them. Jack and Rose will of course get together and the differences in classes will be played up and used to develop character and plot. One thing will lead to another and Jack and Rose will completely fall for each other while Cal will become extremely jealous and retaliate. This sounds cliche and it is, but taking into account the scope and premise of the film, there doesn't seem to be much else that could be done. Epics such as this aren't exactly known for their idiosyncratic observations and terrific chemistry. I think Cameron realized this and carried out the film the way he did to spite the situation, not to work with it. However, he does manage to squeeze in just the right amount of one-liners and comedic situations to keep the mood easy-going (my favorite examples include: a situation in which Rose must hit something with an axe in just the right place before the water rises, but Jack suggests she take a few practice swings first; after the ship has sunk Jack says, "I don't know about you, but I intend to write a strongly worded letter to the White Star Line about all this!").
This is not a dialogue-driven film, nor is it too concerned with plot, it is a complex drama utilizing dozens of characters and showing how all of them relate to each other. Most of the second act focuses on Jack and Rose, but the script works perfectly to allow their "adventures" to take place throughout the ship in a wholly believable, realistic manner: from the first-class suites and ballrooms, to the third-class barracks; from the clean, precision of the captain's deck, to the dark, dirty, hellish boiler room with engines as big as houses. How the film manages to incorporate everything, and be so well-paced at that is amazing.
In the last few years we've been inundated with disaster films which work mostly as eye candy, not as the believable, suspenseful joyrides they intend to be. The first two hours are so intriguing by themselves, at times it's easy to forget where the ship's destiny lies. Throughout the film hints are dropped that perhaps the ship's executives have been too arrogant in their ways, and had they been more cautious the disaster might have been averted. The entire third hour of the film takes place in real time from the moment the iceberg is spotted to the last inch of the ship going under water. Cameron is a veteran when it comes to action and special effects, but usually with sci-fi movies, not dramas, so the payoff is even more impressive. Here he is able to create for gripping suspense as the ship sinks slowly at first but later breaks in half, speeding up the action tenfold.
What's most impressive is the reality of it all: the authenticity to the set of the ship; the people screaming and running for dear life; the atmosphere of panic and chaos. Never before have I felt such a connection with such horrific events taking place on a screen. The plausibility is vivid, giving one a shocking sensation, especially when we consider that this actually happened. One of the last scenes, involving a search for survivors, is more frightening than any horror movie I've ever seen.
"Titanic" accomplishes what it set out to do: to be an epic film in all ways possible. At first glance it seems to be trying too hard, but upon close inspection we realize it is everything a great film can and should be.
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(C) 1998 Chad Polenz
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