CRIMSON TIDE (1995)
On a US nuclear missile sub, a young First Officer stages a mutiny to prevent his trigger-happy Captain from launching his missiles before confirming his orders to do so.
In Tony Scott’s Crimson Tide, the camera is often slightly askew, particularly in moments of distress when the submarine these characters inhabit, the USS Alabama, is in a state of conflict. It’s a simple visual trick, but a very effective reminder that these men’s lives hang in a precarious balance, which could keep teetering towards extinction if they aren’t careful. However, the matter of life and death in this film is even more deadly than that, since not only do these characters’ actions play only a small role in whether or not their ship is destroyed and they die at sea, they’re also responsible for the safety of millions of people.
Crimson Tide is far from the first major blockbuster centred on naval warfare. Decades earlier, there was Juggernaut (1974), a British film based on credible bomb threats aboard an ocean liner, while just a few years before the release of Crimson Tide, The Hunt for Red October (1990) proved a major commercial success. While Crimson Tide continues in this vein, exploiting fears over nuclear warfare and dying at sea, it’s noticeably more fast-paced than its predecessors. It isn’t content with Juggernaut’s emotionally distant narrative choices, which feature a host of side characters whose lives are in peril (and little time spent ensuring that we hope they survive). It also abandons the cold, calculated precision of The Hunt for Red October, a movie far more committed to realism (or, at least, giving the appearance of realism; I’m not qualified to judge) than entertainment value.
Crimson Tide, as its gloriously ominous title suggests, is entirely focused on offering a thrilling cinematic experience, with this fast-paced submarine thriller knowing exactly when to prioritise action sequences or its leading actors’ fiery performances. It follows the exploits of Captain Frank Ramsey (Gene Hackman), who has just chosen Lieutenant Commander Ron Hunter (Denzel Washington) as his second-in-command. Despite a briefly amicable relationship, both men find themselves at loggerheads when their convictions lead to them being opposed to the other’s decision-making. A series of showdowns emerges, each one more tense than the last, with both men’s differing perspectives potentially threatening millions of lives.
Though neither of these characters is strictly right or wrong, Hunter is the more sympathetic of the pair. Not only is he utilised for our introduction to this story, but he’s also the family man, the idealist, and the one who sticks up for the other crew members. Ramsey is older and set in his ways, a beleaguered captain fiercely committed to his job above all else, and who’s emerged from the Cold War more battle-hardened and weary of his country’s enemy than ever. We might be inclined to agree with Hunter, but it’s impossible to say who has picked the correct decision when it comes to Crimson Tide’s dramatic core: deciding whether or not to conduct a missile launch against Russia, which would set tensions ablaze between it and the US.
This dilemma is predicated on the fact that, after an Emergency Action Message was sent to the Alabama ordering the missile launch, a second message was detected before the submarine’s radio system was destroyed. Was it a retraction of the previous prompt? Both men are unable to agree on this matter. With potential fallouts of this unenviable scenario almost in sight, Crimson Tide unfolds as a constant battle between these protagonists.
The film is not, as it might appear on the surface, about anything that exists beyond this ship. The gravest repercussions will indeed be felt in the outside world, but that’s merely the backdrop for this narrative. The real meat of this story is witnessing these two egos at loggerheads. Interestingly, movies set in ships or submarines can rarely access the horror and loneliness of death at sea, a feeling not entirely unlike perishing up in space, which Scott’s brother Ridley brilliantly laid bare in Alien (1979). Perhaps this is down to these characters not being at a distance from Earth itself, or that blue oceans and seas will never look so profoundly lonely as the pitch-black emptiness of space.
Whatever the case, Crimson Tide does well to avoid painting that idea of a horrific, lonely death. Its shots of the waters surrounding this ship are usually implemented to convey fast-paced action rather than to immerse us in a specific atmosphere or tone. After all, it’s inside the Alabama where the movie’s characterisation lies, which isn’t just found in its core cast. The vessel itself is a key player in this ensemble, with Crimson Tide’s compositions being drenched in deep blues, reds, and greens aboard submarine. Especially satisfying are scenes where characters wander from one room to another, with the colour scheme transforming entirely while never losing its clarity or appeal, a task that Scott and cinematographer Dariusz Wolski accomplish handsomely.
Little occurs in the first third of Crimson Tide, though the film more than makes up for its lack of urgency in its latter half. But even the more low-key scenes are enjoyable to sit with, bathed in the not-quite-real glow of the different colour schemes washing over these men. Their bickering grows more fiery in parallel with the plot’s rising urgency, as well as alongside the frequency of the camera being tilted at an angle. This visual cue is a pitch-perfect technique to parallel the ship’s breakdowns in communication and heightened emotions with threats from the outside world invading this confined space.
It’s true that Crimson Tide hardly ever feels claustrophobic (though once the action kicks into gear, there are enthralling sequences demonstrating the confines of the Alabama). The bread and butter of this film are Hackman and Washington. Witnessing the pair’s tense interactions together is a testament to the idea that when it comes to acting, nothing elevates one’s work better than a good dance partner. Despite some thrilling action scenes on display, Scott never loses sight of when it is best to let his two leading actors do the heavy lifting in Crimson Tide, while his use of close-ups in tense moments goes a long way towards investing us further in this ever-changing showdown between both men.
There are also some surprisingly light-hearted pop culture references sprinkled into the movie, which were in large part a contribution from Quentin Tarantino, whose additional writing material went uncredited. Screenwriter Michael Schiffer (who developed this story idea with Richard P. Henrick) crafts a screenplay that serves as a well-oiled machine, with enjoyable archetypes for its two protagonists that never come across as stilted, as well as enjoyably tense dialogue once the film kicks into gear.
Crimson Tide might not have staying power—though its central dilemma and parallels with the Cuban Missile Crisis are interesting, it’s not worth pondering on once the credits have rolled—but it presents an enjoyable two-hour experience with two fine leading actors at the helm, working alongside a director who knows all too well how to craft compelling action scenes and set pieces. Since the film’s release 30 years ago, Hackman has recently passed away, while it has been over a decade since Tony Scott’s death. The saving grace here is that talented performances and direction can still be appreciated from this spectacular pairing, which come together expertly in this tense submarine thriller.
USA | 1995 | 169 MINUTES | 2.39:1 | COLOUR | ENGLISH
Cast & Crew
director: Tony Scott.
writer: Michael Schiffer (story by Michael Schiffer & Richard P. Henrick).
starring: Denzel Washington, Gene Hackman, Viggo Mortensen, James Gandolfini, George Dzundza, Matt Craven & Rocky Carroll.
