Cast: Jude
Law, Scoot McNairy, Ben Mendelsohn, Bobby Schoenfeld, Grigoriy Dobrygin, Tobias
Menzies, Michael Smiley
Occasionally a submarine thriller comes along
and holds our interest with the intensity of the underwater thrills. Black Sea accomplishes that goal, and
director Kevin Macdonald keeps the thrills at a heightened frenzy. This
reviewer loves everything about the sea having been in the Navy, so any
shipboard antics give out blood pressure rushes and thrills. So will the audience
experience the same artery tightenings.
International star Jude Law stars as Captain
Robinson, an unemployed submarine pilot whose job has been eliminated where he
has worked for a good part of his life. Other jobs were also made redundant,
and many “old salts’ with 30 years experience now find themselves out of date
in today’s technological world. All the men get together and tell sea tales.
One legend involves an alleged sunken German U-Boat that was filled with gold
ingots from Stalin to Hitler in the 1940s. The gold was supposedly a pay-off to
Adolph Hitler in hopes he would not invade Russia. Of course, the Nazis did
invade Russia in the winter in one of the most disastrous campaigns of World
War II for the Germans.
The submarine filled with the gold never made
it to its destination and lay at the bottom of the Black Sea in fairly shallow
waters. Robinson proposes to the rag-tag men that they try to rescue the gold
on their own and thus eliminate all their financial worries and mortgages.
Robinson finds a questionable financier to put up the cash for the expedition.
They find and buy an old rusty Russian submarine that is ready for the scrap
heap and paste it together so that it actually sails and submerges. The rough
and tumble men show their nautical skills and get the boat into ship-shape as
much as they can.
The “money men” insist they have a
representative on board, so Scoot McNairy as Daniels fills the bill as the
non-sailor passenger who has no faith in the venture. He’s the fifth wheel in the episodes and
fills the atmosphere with his negative views on the success of their pursuit.
He’s of no help to the crew and is always in the way. But he serves as a spy
for the investors and is a necesssary evil.
Robinson makes up his crew with grizzled
old-timers who know their stuff and complements them with additional sailors
who are Russian and are vitally needed to interpret as well as navigate the
Russian-made sub. The British crew and the Russian crew are emotionally
divided, but are somewhat united when Robinson offers all of them an equal
share of the booty at the bottom of the sea. However, tempers flare when deep
sea diver Fraser (Ben Mendelsohn) frequently blows his stack and irritates the
other men.
Most sailors love to grouse and complain about
everything, and these guys were no different. Soon, somebody realizes that
there will be more to share of the gold if there are fewer crewmembers. A nasty
thought at best. Some “accidents” occur, some heads are bloodied, and soon the
passengers list shrinks.
A little humanity is injected into the tense
scenes underwater with the addition of 18 year-old Tobin, played engagingly by
Bobby Shoenfeld. He’s certainly wet behind the ears and the men tease him
unmercifully because of his inexperience. Robinson takes him under his wing
because he, too, has a young son and can relate to what Tobin is experiencing
as a sailing novice. We get a sense of knowing Tobin’s character much more than
any of the other men. There is little character development of the other men
other than individual personalities being exposed through their actions. Law’s
character is revealed in quick flashbacks with his wife and son, but Dennis
Kelly’s screenplay never develops him fully as a man, husband or father.
However, Law’s performance is exemplary and he comes across as a man in charge
who knows how to skipper a sub.
Director Macdonald has paced the actions scenes
well and has squeezed every ounce of excitement out of it that he can.
Explosions on board are certainly terrifying, water gushing through the sides
of the sub cause tense gripping of the theatre seats by audiences. The extreme
claustrophobia inherent in a small sub is captured in cinematographer
Christopher Ross’ lenses and heightens the cramped over-all look.
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