SIEGEL: And first, I should say in the way of summary that in this story, Captain Phillips negotiates the freedom of his crew and ship, in exchange for money. In fact, in the course of his work, he was kidnapped by Somali pirates. SIEGEL: That's Tom Hanks as Captain Phillips.Ĭolin Freeman has written about the story, the movie, and the problem of piracy for Britain's Sunday Telegraph. We have two skiffs approaching at a distance of 1.5 miles with a possible mother ship following - potential piracy situation. Our position is two degrees two north by 39 degrees, 19 east. TOM HANKS: (as Captain Phillips) This the Maersk Alabama. Today, the suspenseful piracy story off the Somali Coast: the hijacking of the cargo ship the Maersk Alabama and the kidnapping of its captain, Richard Phillips. And we're asking people who are familiar with those real stories and events whether the movies are faithful to them, or in some ways aren't faithful to them. This week, we're returning to some movies that were released this year in particular, movies based on real stories and events.
#Captain phillips movie
But it's also because, whatever Phillips' fate, the movie suggests that we're never safe - that the forces that put him in harm's way are still out there, closer than we realize, speeding toward our giant ship of state.This is ALL THINGS CONSIDERED from NPR NEWS. Mostly it works because it's played so beautifully. There's a perils-of-globalization theme in Captain Phillips, telegraphed early when Phillips says to his wife, played by Catherine Keener, "The world's movin' so fast." That's one reason the scene after the brutal climax is so powerful. Navy - but we come to see the larger tragedy of the Somalis' existence. We're always on Phillips' side - and the side of the hostage negotiators and the U.S. At times he makes us revile his captors, at other times view them with pity.
Hanks' performance is internal, but his eyes are so expressive that we're guided by their flickers. His second and third Bourne pictures were in the same style, and I think his overreliance on that style often makes him seem like a one-trick pony.īut in this movie's last half, when the camera is stuck inside the lifeboat with the crazy-anxious characters - the kidnappers and their hostage - the jitters finally seem earned. He's so young, so naive, and yet so dangerous.ĭirector Greengrass made his name using jittery hand-held cameras to create a newsreel-like present tense in the Irish drama Bloody Sunday and the Sept. He speaks tenderly of moving to America and buying a car. Muse is there because his warlord has demanded it. He truly doesn't want anyone to be hurt - and he has to work hard to rein in one particularly aggressive fellow hijacker.
The triumph of the actor and the director, Paul Greengrass, is that we come to feel as deeply for Muse as for his hostage.
It's so skinny he looks starved, and his teeth seem out of scale. The face of the Somali-born Abdi as the self-appointed new captain is like nothing I've seen in a Hollywood film. It is shot and edited to suggest a violation of a sacred space. In the wheelhouse, the four - led by actor Barkhad Abdi as a man known as "Muse" - finally confront Phillips. The Alabama doesn't have guns or security guards, but it's still impressive that the Somalis get aboard this behemoth of a ship while being blasted with water cannons and at such a high speed. But as soon as he and his crew sight the small boat of Somalis headed their way, the dread takes hold like a vise. The movie begins rather limply, with a lot of aimless, hand-held camera footage of Phillips - played by Tom Hanks - driving to the airport from his house in Vermont and then getting on his ship. They said they'd execute him unless they were paid millions of dollars. The hijackers failed to secure the Alabama but managed to escape with Phillips in a covered lifeboat. American Richard Phillips was the captain of the Maersk Alabama, a Danish-owned container ship seized by four Somali pirates in the Gulf of Aden. The movie's grip remains strong even when it cuts to black. So much terror and moral confusion has gone down - so much pain - that the cumulative tension can't be resolved by violence. I think it's telling that in Captain Phillips the most overwhelming scene is after the resolution, in the infirmary of a ship. There are sighs of relief, tearful reunions with families, cameras that dolly back on domestic tableaux to suggest the world has at last been righted. Most kidnapping melodramas have final scenes - after their climaxes - that are, effectively, throwaways. With: Tom Hanks, Barkhad Abdi, Catherine Keener Rated PG-13 for sustained intense sequences of menace, some violence with bloody images, and for substance use
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