Poseidon

By: debbie lynn elias

Seems like only yesterday when what seemed like an entirely new genre of film took hold of us. With a little film called “The Poseidon Adventure”, in 1972 the disaster extravaganza took hold and changed the world of movie making and the movie-going experience forever. And now just one year shy of the 35th anniversary of this landmark film, ubber director Wolfgang Peterson throws caution to the wind, and gives us “Poseidon.” More than an update or “remake” of the Irwin Winkler original, “Poseidon” is reinvented, in fact, 21st Century turbo charged with a life all its own. Not one who believes in updates, remakes, re-dos or reinventions, I can honestly say this is one “remake” that surpasses the original in every way. (Okay, Gene Hackman would have been the only other plus.)

As powerful helming a film as the god Poseidon reigning over the Seven Seas, Peterson is a master when it comes to water works (think “Das Boot” and “The Perfect Storm”). Technically superlative to not only the 1972 original but almost every disaster film since, Peterson and one of the finest semblances of artisans and technical talent in the business today, uses every trick in the book and then some to capture the true majesty and magnitude of the ship and her story, providing us with a never-ending sensorial kaleidoscope of edge-of-your-seat excitement, adventure and, hey, let’s face it – fun. (Come on, haven’t you ever imagined yourself as the heroine or hero of a disaster film? I know you have!)

I think it’s safe to say we all know the story, but for those that don’t – – – – It’s New Year’s Eve on the S.S. Poseidon., a luxury liner that could almost rival the Titanic for its opulent elegance. 20 stories high with 13 decks – its majesty speaks for itself. Under the helm of Captain Michael Bradford, the seas may be calm, but the passengers are anything but. All decked out in their finest, each is looking forward to the revelry of the holiday in their own individual way. Arriving for the festivities, we meet Robert Ramsey and his daughter Jennifer. Ramsey, former firefighter and former Mayor of New York seems more preoccupied with what his daughter is doing on board with her boyfriend Christian than enjoying the cruise or the party. Professional gambler Dylan Jones has his eye on more than the cards as he hits on single mom Maggie James who is traveling with her young son Connor. Then there’s Richard Nelson, a lonely architect nursing a broken heart and contemplating suicide after being dumped by his boyfriend. And let’s not forget the ship’s official loud and obnoxious drunk, Lucky Larry. Toss in a smattering of servers, colorful background passengers, a stowaway and of course, the orchestra and resident songstress, and we’ve got ourselves set for disaster. And disaster does come.

Without warning, a “rogue” 150 foot high wave pummels the Poseidon, capsizing her in icy North Atlantic waters. With bodies, furniture, fixtures and champagne flying, plummeting, catapulting, drowning, and electrifying electrocutions providing an onslaught of visual stimuli, madness and mayhem abound. With the watch words being death and danger, a small contingent of passengers come up for air so to speak. Upside down with the top now the bottom and the bottom now the top, two factions becomes apparent. One of 200 or so, led by Captain Bradford, decide to wait it out in the ballroom in reliance on GPS satellites to guide rescuers to them while a group of 10 or so led by Jones and Ramsey decide the answer is to go up – up the bottom of the ship.

Kurt Russell, definitely in my Top Ten list of actors, proves once again why he has been the go-to guy for the past 40 some years. Handsome with that impish boyish charm, he has an easy, tacit confidence that resonates and reassures in any role. A supporting player to the ship (as are all the actors) as Ramsey his is one of the two strongest performances in the film. A combination of Snake Plissken , Gabe Cash, David Grant, Stephen McCaffrey and Herb Brooks, just one look at Russell and the word “hero” springs to mind. If I were on that ship, this is the man I would be following. Not to be outdone, Josh Lucas steps up the pace with his take on Dylan Jones. Initially a self-centered loner, Lucas actually gives Jones a heart and takes him through a personal metamorphosis, making his the most fleshed out of the characters. The real fireworks, however, are when Lucas and Russell are on screen together. Their chemistry is dynamic and testosterone laden as Jones, the “leader” of the group, and Ramsey go head to head continually vying for the alpha male position. Then there’s Richard Dreyfuss. As the despondent Nelson, one feels both sympathy and empathy for his embattled heart. With limited dialogue (as with all the characters), it takes someone with the talent of Dreyfuss to show the inner strength and perseverance of his character, which he does with great aplomb. And of course, Emmy Rossum. Coming to light in another disaster film (with water) and then capturing our hearts as the Phantom’s Christine (again with water) she provides a compellingly earnest youthfulness with her portrayal of Jennifer Ramsey. And she doesn’t look bad when soaking wet with runny mascara!

But the real star here is the ship and thanks to a tight script from Mark Protosevich that’s what we get. Tossing out the old characters and writing new, Protosevich trims the backstory, scales back the personal sob stories, eliminates any sign of the 1972 “camp” dialogue and goes full tilt into action and disaster within the first 20 minutes.

In contrast to his prior sea-faring tales, Peterson is here concerned with catastrophic condition as opposed to the human condition. Always a key to a successful film, he knows his audience, honors the legacy of the film and then goes for broke. With a $160 million budget, the physical production elements are masterful. Creating two completely different interiors of the ship on two sound stages, one is built “right-side-up” and the other “upside-down” with the latter constructed over top a water tank to allow for expeditious flooding and draining. Thanks to the expertise of cinematographer John Seale, multiple cameras capture every possible element of the production, creating vividly arousing imagery. Editor John Honess then shines as he pulls the shots together with cohesive, cogent and seamless editing creating a tension and urgency that carries from start to finish. Integral to the success of the film is William Sandell’s production design. But I would be remiss to not mention the entire CGI and special effects teams. Essential to the film and Peterson’s vision, many of the critical visuals (and I won’t say which ones) are thanks to these guys.

Able to take a story and simplify it to its basest elements, know his vision and carry it through with effective expediency, and provide the most incredible sensory stimuli possible to give the film its emotional oomph not to mention a few surprises, Wolfgang Peterson has once again proven why he is a master at his craft. “Poseidon” sails into theaters May 12. Book your passage now.

Robert Ramsey: Kurt Russell Dylan Johns: Josh Lucas Richard Nelson: Richard Dreyfusss Jennifer Ramsey: Emmy Rossum

Directed by Wolfgang Peterson. Written by Mark Protosevich based on the novel by Paul Gallico. A Warner Bros. release. Rated PG-13. (99 min)