‘Greyhound’ Review

As producer, actor, screenwriter, and director, Tom Hanks has expressed his deep admiration for the courage of the Armed Forces during World War II, in the work covering Saving Private RyanTV project Brothers band, Pacific and coming soon Master of the airas well as documentaries He has seen war and Beyond all boundaries. Themes of American courage and heroism are also themes throughout many of his roles. So it’s no surprise that Hanks was drawn to adapting and starring in the screen version of CS Forester’s 1955 historical maritime novel, Good Shepherd.

Roll your eyes about returning to familiar territory if you have to, but greyhound is a tense action thriller that makes for a lasting appeal. Originally slated for a theatrical release from Sony in June, the project is one of the few star vehicles outside of the planned COVID-19 shutdown that has made its way to Apple TV+, where it will find an appreciative audience.

Key point

Go to the beach and rock.

RELEASE DATE July 10, 2020


Director Aaron Schneider, like Hanks, is not new to World War II-related material, having won an Oscar for his 2003 short film Two soldiers, a family drama adapted from William Faulkner’s story of patriotic Mississippi brothers stirred by Pearl Harbor. Schneider and Hanks have crafted a powerful, old-fashioned entertainment infused with enough integrity to withstand its inevitable transformation into a noble sentiment in the epilogue.

Hanks squeezes that familiar moment into a movie that’s a bit out of step with the economics of the rest of the film, accompanied by the necessary orchestral boom. But sincerity has long been the hallmark of the veteran actor’s career, and that quality prevents him greyhound from falling into the project-vanity trap. This is one of Hanks’ more recent softer performances that, unlike his encouraging work in, Captain Phillips or Post. But playing Captain Ernest Krause, he embodies the selfless, coherent purpose of the Greatest Generation with compelling conviction and touching humility.

As a screenwriter, Hanks reduces the story to its essence, largely delivering with both the opening and the after-challenge exhalations, focusing almost entirely on the experience of biting his nails. Hell Journey. The film completely immerses the audience in the battle, thanks to the intensity of the entire D-Day landings on Saving Private Ryan and battle sequences in Dunkirk. To be honest I approached it with a certain weariness, looking forward Sully on a boat, but found himself quickly drawn in.

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The minimal prelude is a single scene in San Francisco in December 1941, in which Krause hints that it’s time for him and his late love Evelyn (Elisabeth Shue, in the film to be mostly a cameo). engagement. She takes him away until he returns, quietly conveying the odds against him surviving the perilous journey. His long-stalled first ship command was one of a wave of rushed promotions after Pearl Harbor for veteran U.S. Navy officers who had never been to war. . An early shot of Krause praying in his cabin signals both his beliefs and his fears.

Krause was the captain of the Fletcher-class destroyer codename Greyhound, commanding three other light warships tasked with guarding a troop convoy of 37 merchant ships carrying troops and vital supplies across the North Atlantic. Atlantic to England. The action focuses on the middle of the journey known as the “Black Hole”, where surveillance planes from both sides are out of range, placing boats zigzagging ahead of the German submarine attack. is hiding in the blockade of wolves. .

The movie’s rating of three days out of danger, broken down by hours of viewing, at a time when stealth U-boats were more sophisticated than the Navy’s sonar equipment used to detect them. The removal of nearly all standard scenes of retrieval or personal information – aside from Krause’s brief memory of his last encounter with Evelyn – creates a combat experience at sea. taste.

Director Schneider and nimble cinematographer Shelly Johnson shot the film aboard a decommissioned, fully restored World War II destroyer that serves as a museum in the Mississippi River in Baton Rouge. But much of the action takes place in areas near the pilot’s house and the boat’s bridge, recreated on a soundstage setting, befitting the oppressive nature of the film. The seascapes and CGI-based battle scenes are solidly convincing, with panoramic and aerial drone shots regularly expanding the visual range. In addition to the warm tones of the Evelyn scene, the palette leans towards grays, muted blues and greens, suitable for a ride where the threat is deadliest at night.

The movie is essentially a character study of the stern but fair-minded Krause, so while the other men subscribe to his orbit – including executive officer Cole (Stephen Cole) ), gun defense officer Lopez (Manuel Garcia-Rulfo) and sonar operator Bushnell (who leads his son Chet Hanks) – this is very much a portrait of a captain struggling with self-doubt for the first time ability to save the life of the crew. From the moment the Greyhound first encounters the enemy, the men on board have become more of a boisterous collective than a group of individuals, but the lack of character definition somehow never ceases to exist. is a drawback.

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Another character besides Krause that makes a lasting impression is Cleveland (Rob Morgan), one of Black’s friends on the isolated crew. His constant concern that the captain needed food became a recurring motif as he delivered tray after tray of food, all of which were returned with only the coffee he drank. . No attempt is made to target revisionist, racist attitudes here. But both Hanks and Morgan deftly undermine the mutual respect between two men at opposite ends of the ranking sequence, creating a seriously impactful prelude in the middle of the action.

The fight scenes became dense and fast at the hands of editors Sidney Wolinsky and Mark Czyzewski. These include Greyhound running down a U-boat; the confusion of friendly fire under the cloak of darkness; the momentary excitement of a successful blow to a German vessel; and dodge torpedoes with some frantic and panicky spins. – type commands – the ship’s alarming tilt at one point takes your breath away.

One memorable moment involved a close collision with a merchant ship from a convoy. Another violent sequence ensued when the sonar picked up a German decoy designed to consume the American ships’ limited supply of deep charges and monopolize the Americans’ attention while the German fleet targeted it. another ship. Terrifying underwater footage follows the path of accelerated torpedoes and bombs. The exchange of multiple gunfire on deck resulted in casualties (the terror of bullets through the air expressed with vivid force in professional sound design), and Krause’s emphasis on a mourning service. Company-wide ceremony at sea in formal attire.

The sense of navigating polluted waters in near blindness is periodically emphasized by communication between the Greyhound and other Allied Forces boats, with each break in radio silence risking captured by the Germans. While it holds true to military history, one element that makes it a bit out of the ordinary is the psycho-war transmission of a German submarine commander identified as the Gray Wolf (voiced by Thomas Kretschmann), gloating at the death toll and taunts such as “The Gray Wolf is very hungry” or “The sea favors the Gray Wolf to hunt, not the Hound to run away”.

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By contrast, Blake Neely’s ominous use of the score largely reveals admirable restraint, its subtle distortions mixed with sonar pings and drumming use to create urgency. when the situation becomes more and more dangerous.

In recognition of Hanks’ merits, his screenplay is largely heroic while fully acknowledging the courage and sacrifice of the men who fought in the Battle of the Atlantic, a Relatively few World War II translations are depicted in the film. (The 1981 Academy Award-nominated film put director Wolfgang Petersen on the map, Start up Daswatched the conflict from the German side.) greyhound describes just one sea crossing out of countless over a period of six years in which 3,500 ships carrying millions of tons of cargo were sunk and 72,200 souls went missing.

The film ends with archival footage of real convoys and troops at the end, summoning a noble patriotism that domestic audiences are now yearning to lift.

Production company: Playtone, Sony Pictures Entertainment, Stage 6 Films, affiliated with Bron Creative, Zhengfu Pictures, Sycamore Pictures, FilmNation Entertainment
Distributor: Apple TV +
Cast: Tom Hanks, Elisabeth Shue, Stephen Graham, Rob Morgan, Josh Wiggins, Tom Brittney, William Pullen, Manuel Garcia-Rulfo, Karl Glusman, Chet Hanks, Jimi Stanton, Matthew Helm, Devin Druid
Directed by: Aaron Schneider
Screenplay: Tom Hanks, based on the novel Good Shepherdby CS Forester
Producer: Gary Goetzman
Executive Producers: Aaron Ryder, Steven Shareshian, Alison Cohen, Michael A. Jackman, Milan Popelka, David Coatsworth, Aaron L. Gilbert, Jason Cloth, Richard McConnell, Anjay Nagpal, Han Sanping, Alex Zhang, Ben Nearn, Tom Rice
Director of Photography: Shelly Johnson
Production Designer: David Crank
Costume designer: Julie Weiss
Music: Blake Neely
Editors: Sidney Wolinsky, Mark Czyzewski
Visual Effects Supervisor: Nathan McGuinness
Visual Effects Producer: Mike Chambers
Actor: Francine Maisler

Rated PG-13, 92 minutes

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