Young Sherlock Holmes

Inspired by a post from one of my on-line friends, I revisited this film today and decided to include it in the summer look back project, “films lost in time”. This really should not be a lost film but given it’s lack of box office success and the the fact that it is not yet available on blu ray, I suspect that most of today’s audience is only vaguely familiar with it.

This should have been a smashing success given it’s pedigree and release. Steve Spielberg is one of the Executive Producers and his team made up the rest of those responsible for bringing this to the screen. The Director was Barry Levinson, who had directed “The Natural” the year before and would go on to direct and win the Academy Award for “Rain Man” three years later. The script comes from Chris Columbus who had written “Gremlins” and “The Goonies” before this and who would go on to make a few films that will feel very familiar after seeing this (more on that later). This was released in the U.S. during the holiday season of 1985 and it basically tanked. The box office was mild to low and barely matched the production cost. So what went wrong, again, I’ll delay that for a few paragraphs. Let’s talk about the movie first.

The idea of retconning Sherlock Holmes into a youthful action character is not a bad one. In the original books, we learn of Holmes and Watson meeting as they take up rooms together on Baker Street, but this scenario makes them schoolmates at a posh academic institution in Victorian England. Holmes has already mastered the art of deduction as he calls it [frankly it is mostly inductive sign reasoning and a little hard to believe at times].

As the two young future archetypes are meeting, a series of deaths are taking place in London. We witness a mysterious figure using a small blow gun to shoot darts at several older gentlemen. Those men begin to have fantastic hallucinations which result in deaths that appear to be suicides. From the start of the film, it is clear that the film makers want to dazzle us with special effects as part of the excitement of the movie. Articulated puppets and stop motion animation are used early on to bring horrific images to life.

 

The most likely reason this film would be historically significant is that it contains one of the earliest CGI effects on screen to achieve the images the film makers wanted. A priest is attacked by a figure that climbs out of a stained glass window. This sequence explains why the films lone Academy Award Nomination was for Visual Effects. The Knight becomes a three dimensional image which strikes terror into the elderly man who runs into the street and is mowed down by a carriage.

Although primitive by today’s standards, it was jaw dropping at the time and I remember Siskel and Ebert talking about it and one of them picking it as their choice in their annual Oscar handicapping show.

The story centers around the two well known characters and a third one invented for this enterprise.  A confirmed bachelor like Holmes is during most of his film history, must have a woman in his past to explain his predilection. So Columbus creates Elizabeth, the niece of a character in the story and Holmes love interest. This will require that Watson and Holmes have to rescue Elizabeth on more than one occasion. That’s right, she is a damsel in distress for most of the last third of the film. The development of Holmes as a character is pretty good in the story. He is interested in unique subjects, he has an eccentric mentor, and he is admired by many and despised by a few elitists. His friendship with the new boy does not help him win the affection of either his belligerent teacher or the light blond future MP that he makes an enemy. Does any of this sound familiar to you? It should because it is likely that Harry Potter and friends grew out of this kind of stew. The fact that Chris Columbus who directed the first two Harry Potter films also wrote the screenplay here, seems like a lot more than just coincidence.

Let’s add another interesting parallel, young future Dr. Watson looks like a chubbier version of you know who.

With so many things going for it, what caused this film to fail with a broad audience? Speaking simply as a movie fan I think I can point to two things. The most criticized parts of the previous year’s “Indiana Jones and the Temple of Doom” are resurrected to provide the villain and motives here. There is virtually no surprise when the antagonist is revealed, so the suspense is missing for the most part. When to secret society perpetrating the crimes is revealed, it is a moment right out of the very dark Indiana Jones movie.

 Acolytes surround a hapless victim overseen by an evil priest of an alien religious cult and a towering figure of the spirit that they worship. In a true “what the hell” moment, we discover that there are other murders connected to this story and suddenly the plot shifts to a completely different issue. Foreshadowing his future emotionally stunted growth, Holmes cries out and alerts everyone there to his presence. And none of this seems to be well connected to the logical procedural method Holmes supposedly follows. Instead, a series of chance insights leads to the discovery of an underground temple.

Holmes and Watson have to become Butch and Sundance and it is just not as credible at this point as it needs to be. The action points start driving the plot instead of the character points.

Holmes and Watson have to become the Wright Bothers at one point, and although the scene is fun, it feels tacked on rather than organic to the Holmes tradition of investigation.

One other thing that I think sabotages the film, and this is a spoiler so if you haven’y yet viewed the movie and don’t want to be ticked off before doing so, stop now and come back later.

Holmes fails.

All the build up and eventual destruction and the outcome is depressing and undermines the spirit of the film. Someone must have thought it was creatively challenging to finish on this note. Here is the way it came across to me. “Ho,ho, ho, your [character not to be identified by me] dies, Merry Christmas. Hope you and the family enjoyed this.” If you did the same thing to any of the other successful Spielbergian type movies at the time, you would get the same dismal box office result. “Goonies” would not be a beloved 80s touchstone, “Cocoon” would have stalled Ron Howard’s career, and “Raiders” would be an experiment that failed.

Despite the dramatic faults of the movie, it had a lot of other things to recommend it. The setting and sets were very nicely utilized and they look great. The costumes and the actors fit into the world that was created very effectively.

Bruce Broughton was nominated for the Academy Award for his music in “Silverado” from earlier in the year, and his work here is alo excellent. The theme tune will be a pretty simple earworm that will remind you every time you hear it of this film.

For those of you who think the Marvel Films invented the post title credit scene, stick around for the end of this movie. Clearly there were hopes of a sequel, but when a movie under-performs like this, you are not going to get Part II. Although Nicolas Rowe does reprise the character in a brief cameo in the far superior “Mr. Holmes” which I guess we can call “Old Sherlock Holmes”.

Ready Player One

We got a Spielberg film just last December (although for most it was just a couple of months ago in January), but “The Post” despite clearly being made by Spielberg, doesn’t need to be a Spielberg film. “ready Player One” on the other hand, seems to demand the hand of the master on the controller. This is a meta exercise in nostalgia, both for the period of time and for the kinds of films that Spielberg used to make. Lucky for us, it mostly works and the reason is Spielberg himself.

The book that the film is based on is a pastiche of ideas and images and memories from a million minds of gamers. It was primarily a tool for reliving the joy that comes from mastering a new game and solving a puzzle. Since the gaming industry was born and thrived in the 1980s, it also is rich in the music and films of the times. The conceit is simple, this movie is a race between lonely souls who have moved out of the real world and a mega corporation that wants to control the environment that they have all moved to. The competitions are laden with the kinds of pop references this generation of geeks will appreciate.

Ernest Cline’s novel is much darker than this popcorn fueled entertainment. A pop culture geek himself (he wrote the movie”Fanboys”), Cline saw the limitations on social interactions that living in virtual reality held. The specter of a new form of debtors prison, hovers over an environment where fantasy role playing has replaced real intimacy. The villain in the book is much less cartoonish than the ultimately feckless Ben Mendelsohn of the film.   The problems faced by the competitors were often mundane and repetitive, as many of the games being saluted were. It takes someone with a lot of patience and time to master some of the ideas that hardly seem worth mastering in the first place. Spielberg with the help of co-screenwriter Zak Penn, has refocused the story to celebrate the pop culture more than the dark under current in the story.

In the first chase in the story, we are introduced to the three main characters as they dash madly through a race that looks like a combination of Mario Kart and Grand Theft Auto. The motorcycle from “Akira” and the DeLoren from “Back to the Future” are driven by the future romantic couple and each has their own way of challenging the game. The chase though is typical Spielberg, it is frenetic but still comprehensible.  As usual, there is always one more piece of dramatic business to stretch out the tension of a scene. The events are so meta that he even lampoons himself with a reference to Jurassic Park as well as a few films he had a hand in as producer.

How could it not be a Spielberg film when the cinematography was done by the artist that Spielberg has worked with 18! times over the last thirty years. Janusz Kaminski is responsible for the look of so many Spielberg films that he might just be his shadow. The one thing that is missing that would put the nail in the coffin is a John Williams score. We get a vigorous but clearly 80s style theme from Alan Silvestri, veteran of “Back to the Future”, “Amazing Stories” and a couple of upcoming films in the MCU. Oh, he also scored the “Super Mario Bros. Movie”.

The changes lead to a more audience friendly experience. There are more movie references than video game Easter Eggs (although there are plenty of those). A 70s guy like me appreciated the music selection for the nightclub scene and if you like “The Shining” it replaces “War Games” as the main film sequence with a completely different take on the process. Also, there are fewer deaths of heroes in the movie. It is a cinematic stew of epic proportions.

Characterization and subtext are mostly lost with this film interpretation but it makes up for those points by always being visually stimulating. It does not have the resonance of an Indiana Jones or E.T., but it will entertain you for two plus hours and that time goes by quickly. The presence of Simon Pegg and Mark Rylance as secondary figures also adds to the depth of the film, but if deep is what you are looking for, go back and watch “Lincoln”. Until the next Indiana Jones film, this is as close to classic Spielberg as you are likely to get, and that is pretty darn close.

 

My Slate of Films from the Spielberg Draft on the Lambcast

 

OK, tell me that getting Spielberg’s Biggest Blockbuster of the 1970s AND his Biggest Blockbuster of the 1980s isn’t going to help me win this draft. Plus I have the sequel to his biggest Blockbuster of the 1990s to go along with it. This should be in the bag, but only if you do your part and vote for my slate in the Draft.

Jaws

There are plenty of posts on this site for this film. Here is a list:

40th Anniversary Jaws Week Posts

My Original Post on the 70s Summer Movie Project

Book Signing with Carl Gottlieb

Last Years Great Screening in a Great Theater

Others:

The Lost World: Jurassic Park

Spielberg Blogathon Entry

While I don’t want to support Heather’s Team of films, I do have a link to my vigorous defense of

Indian Jones and the Temple of Doom.

Vote at this link.

When you look at the choices, you’ll know the right thing to do.

 

UPDATE! Victory!

 

Draft Update

Thanks to everyone who voted.

AMC Best Picture Showcase Day 2

So just a few random thoughts on the Best Picture Selections this year. Last week we watched two films with Lucas Hedges back to back. He was in “Lady Bird” and “Three Billboards”. Timothée Chalamet was in “Lady Bird” and today’s “Call Me By Your Name”.  Nick Searcy was in “Three Billboards” and “The Shape of Water”. Today we had Bradley Whitford in back to back “The Post” and “Get Out”. Finally Michael Stuhlbarg was in “The Shape of Water, “Call Me By Your Name” and “The Post”. These actors have got to have great agents to get into the top pictures of the year not just once, but two and three times.

“Phantom Thread” and “The Post” were the two films I needed to catch up on, and while I admired them both, I don’t see either of them as a likely winner in the big category. “Phantom Thread” lacks anybody likable in the cast of characters, and “The Post” is so traditional that it won this award two years ago when it was called “Spotlight”.

Speaking of actors who appeared back to back in some of the films on the program, we had a historical event do exactly the same thing. “Dunkirk” was followed by “Darkest Hour” and it was almost as if Joe Wright’s film was just another segment of the Christopher Nolan film. It’s Title Card would read Parliament: Two Weeks.

I feel confident in my choice of “Dunkirk” as the best film of last year but I am not at all confident that the Academy will go along with me. 

Dunkirk   Christopher Nolan’s film was the most visually impressive, forward moving, and meaningful film of the lot. Listening to the score and watching how he masterfully integrated three separate time lines into a single narrative with clever overlaps and great timing, I know that this was the best directing job this year. Nothing against Guillermo Del Toro, but this complex story, logistical nightmare and historical memorial is simple better constructed than the odd fish love story. This is a film that tells a real historical story that will last long after the fashion of the fairy tale set in a mythological era in U.S. history, is a charming oddity. 

Some people complain that the characters here are not well developed, that is true. This however is not a character piece but a prism on the events that were taking place during a military disaster that became a turning point in a manner that was most unexpected. 

Darkest Hour  This film was even stronger the second time I saw it. The first viewing I was overpowered by Gary Oldman’s performance. He will surely be the winner in the acting category. I admired the film before but I have come to really respect it on this second encounter. Joe Wright manages to make a tale of political intrigue into a fascinating study of a character and the country who’s character he came to represent for the duration of the war. The one clumsy moment is a scene set in an underground train car. The only reason it is clumsy is that it feels so distinct from everything else, like a deliberate movie moment. That shows that the rest of the movie does exist as something more than the typical fare.  But even that scene works emotionally because it bespeaks of a real sense of what the British people felt at the time. 

Call Me By Your Name  I am being a little facetious when I say this film is a pain in the neck. That’s because in the first half I went to sleep and got a crick that is staining my muscles still. My least favorite of the nominees, this film is slow moving, meandering and confounding. I felt like I was listening to a play frequently, with dialogue written eloquently but sounding artificial. A couple of podcasters that I listen to love this film and especially the sequence with Michael Stuhlbarg as the father of Elio, consoling his son on the “special” friendship he had with Oliver. It ends on s deliberately false note when the Dad tells his son that he doesn’t think that Mom knows about the nature of their friendship. The mom had just picked up a near weeping Elio at the train station and she dropped hints for the previous hour that she knew how special Elio thought Oliver was. When Mr. Perlman says he never had a relationship with anyone like Elio had with Oliver, we can believe him because he so obtusely ignores how insightful his wife is. This will probably win the Screenplay Award, and it shouldn’t, if it takes the big prize I might yell loud enough to ruin my voice for a month.  

The Post  So this was the one new film we saw on day two. This has the phrase “Oscar Bait” pasted all over it. It features Tom Hanks, Meryl Streep, a ton of high end supporting players and it was directed by Steven Spielberg. The subject matter concerns the fight of the press against preemptive shut down of news publication. It is a first amendment issue that was understandably important, yet at the same time it ignores some pretty egregious behavior. We can always applaud someone after the fact when their actions seem just and there was no blow-back,  but there were issues regarding the acquisition of the Pentagon Papers that probably still need to be discussed.  Spielberg and co-screenwriters Josh Singer and Liz Hannah, manage to make a bureaucratic legal process look and sound like a courtroom drama with some mystery tied in.  Singer in particular is working on familiar ground since he won an Academy Award two years ago for a very similarly structured newspaper story “Spotlight”.

This is supposed to be a resistance film, about the Media vs. the President in a time when everyone wants to be standing up to the current administration. The parallels are not really there to give this much resonance. This is a two hour commercial for the Washington Post and the heavy handed feminist slant in some of the visuals makes it feel too much like a lecture at times. That said, it is well made and the John Williams score is excellent as usual. Because “Bridge of Spies” and “Spotlight” are just a couple of years old however, this feels like it is old territory and not quite as distinctive as it needs to be. 

Get Out  This one is the outlier. You rarely get a horror film nominated for Best Picture, but if you do, it is usually more of a big budget film. This Jordan Peele written and directed film seemed to come in under the radar, it made a huge splash, and it is getting some end of the year accolades. The intersectionality of this film is in keeping with all the film buffs who are much more woke than I am. I just enjoyed the twist and the characters in the film. Rod from TSA is a saving grace that adds more straightforward humor to the mix. Instead of a haunted house we get a upscale suburban plantation. The need for subtlety on the race subject is probably eliminated by the DNA of the movie. Being an outsider in an nearly all white environment makes Chris, our lead character played by nominated actor Daniel Kaluuya, mildly uncomfortable but also keenly aware of how different the culture he is visiting is. 

While most people will consider the “Sunken Place” to be the most horrifying image in the film, to me it is the silent auction with bingo cards. We still don’t know what is going on, but the suggestion is truly awful. Seeing it for a second time, I could pay more attention to some of the interesting choices that were made. Grandma and  Grandpa are certainly clever twists, although it seems strange that for the duration of Chris being a guest, the force required to hold those characters would be counter-intuitive to the actual plan. The creepy factor also takes Chris a little too long to respond to. His buddy is right, and he should be listening to him sooner. There is an outside chance this could take the award, the voting system gives weight to the number of ballots a film appears on, and this would be a popular ad to the list but not necessarily high on the list. Should it when I expect to see some “Get Out” Memes that mine the fertile teen speak use of the terminology. 

As an aside, let me rant about the misquotes being used to decorate the entry way to the theater. Both “Cool Hand Luke” and “Jaws” are misquoted in the floor below. 

Close Encounters of the Third Kind: 40th Anniversary

In 1977, Star Wars was the big film in the science fiction genre. It dominated the Summer season and took off as a cultural artifact that continues to resonate today. The likelihood that another science fiction film would come on the scene and impress in the same ways seemed remote, but Steven Spielberg was just at the start of his career and the third major motion picture he directed was going to wow us in ways that were very similar to his pal George Lucas’ little space opera. “Close Encounters of the Third Kind” is grounded in the everyday reality of audiences at that time. It was not set on a distant planet with space battles, it was taking place in our backyards, in Mexico, India and at a National Monument in Wyoming. The special effects were very different from “Star Wars” but equally compelling. When the Mothership shows up for the climax of the film, it almost makes you forget the space battles around the Death Star.

The film opened in December so it was a Holiday release and it did gangbusters business. It made more than a $100 million with maybe 300 screens during it’s opening run. In 1977/78, that was real money. Three years later in a re-release in a “Special Edition” it added another $16 million. This week’s run will add a smaller amount to the total but I think it is impressive that a 40 year old film still draws in enough customers to make a mark on the contemporary charts. The reason is simple, it was a great film in 1977 and it is still a great film, 40 years later.

Steven Spielberg is the consummate film director of the last fifty years. He may be rivaled creatively by directors such as Martin Scorsese or the Coen Brothers, but his track record of film success plus creativity is unparalleled. “Close Encounters” is entirely his baby. Although he has contributed to a few other film scripts that he directed, this is a solo credit, his only one. The inventiveness of the story and the odd way that it plays out building suspense as to what is happening to our sad hero is a testament to Spielberg’s creativity with story. Of course his directorial choices are outstanding as well. From the start of the movie, when a black screen is accompanied by an otherworldly note, held for a moment but increasing in volume until a crash and then the screen fills with a desert sandstorm image, we are hooked. The mundane but complicated work of air traffic controllers, talking on a radio with the flight crews of airlines, depicted on a black and green screen as a set of numbers, comes across like a tense mystery with just enough humor to make it memorable. Finally in the opening sequence we meet the Neary family, who are like all of us. Their home is average, cluttered, and filled with loud kids and distracted parents. The floor of the boys bedroom may be one of the most accurate pieces of set design ever. At the heart of this story is Roy Neary, played by Richard Dreyfess, his second time in a row playing the Spielberg persona on screen in a Spielberg movie.

What happens to Roy on this night changes everything. His relationship with his wife and kids will be damaged in ways that look beyond repair, but it happens slowly. If Quint was obsessive about the Great White, well he had nothing on Rot Neary and the vague form that he keeps seeing in his food, bed and bathroom. At the start of the film he is a well meaning father who kiddingly threatens one son while trying to help the other one figure out fractions in an interesting way. He wants his kids to share the magic of his own childhood experiences and the recurring theme of Pinocchio is introduced. It is only a few days later that he indifferently trashes the house where they all live in a quest to figure out the symbol in his head. His oldest son is embarrassed and lashes out when Roy can’t control his frustration and desperation. His wife, the wonderful Terri Garr, is mildly supportive but is also trying to protect him from himself. As much as there is to celebrate at the end of the film, there is plenty of tragedy to get us there. Roy’s actual encounter is brilliantly shown with practical effects in the truck he drives for work and the fantastic conceptualization of the UFOs he chases that first night.  Spielberg then allows him to undercut his own experience with a clever second encounter that is not at all what it seems. This is another writers touch that is well realized by the most sympathetic of directors.

There are a few moments that will leave modern audiences a bit bewildered. Roy trying to navigate using folded maps and not GPS is a pretty good example. At a official inquiry, a newsman points out that the absence of photos of UFOs is not proof of their non-existence any more than the absence of  pictures of planes or cars crashing denies that those things happen [these days, that kind of film fills the evening news]. There is a great humorous sequence when the investigation team needs to read some map coordinates and instead of going on-line, they have to roll a giant globe from a government office to their workspace. So the technology might be dated but the story hold up well. Can we trust the government to tell us the truth? Do we know all there is to know about space? Are some crazy people maybe not crazy?  Roy gets lumped in with a guy who believes in Bigfoot and that’s enough to discredit him in a lot of eyes. He does discover an ally in Jillian, who has lost her son Barry to the visitors. Barry’s disappearance is one of the sequences in the film that is iconic and it was really frightening. It was a moment that made you think this film could go anywhere and any point.

Melinda Dillon was nominated for an Oscar for her role as the distraught mother who also had the same kinds of obsessions as Roy. When the two of them finally work together as they arrive in Wyoming, you can feel the us versus them bonding between the two characters. Director François Truffaut was cast as the main scientific leader of the UFO team, and he works mostly because of his language barrier. Bob Balaban as the cartographer drafted as Truffaut’s interpreter also acts as a surrogate for the audience on the inside of the plot. This dual approach to the story might give away too much but because Jillian and Roy don’t connect till late in the film, and Balaban is sometimes unclear on what is happening, the suspense is maintained.

The climax of the movie is correctly remembered for the technical proficiency of the special effects and design teams and the outstanding score by John Williams. Williams has a huge number of Oscar nominations but probably fewer wins than he deserves because he was frequently matched against himself. This was one of those years. While most of the time he probably cancelled his competing nominations out, the classical score for Star Wars was not likely to ever be forgotten. His work in this film however is equally sublime and used in such a creative way in the story that maybe he should have received a co-screenwriting credit with Spielberg.   Vilmos Zsigmond won the Academy Award for the cinematography of the film, but there were several other photographic geniuses that made contributions as well including: John Alonzo (Chinatown), William Fraker (Wargames),
László Kovács (Paper Moon), Douglas Slocombe (Raiders of the Lost Ark), Allen Daviau (E.T.), and a half dozen others.

There are many themes that you can pull out of this film and all of them feel like that could be the central focus. In the first part, mystery is at hand, in the second act it is obsession and the third transfers to both paranoia and hope. I always see this as a film that is ultimately about how the world can potentially be brought together by an event of this magnitude, or conversely how it could tear us apart. That dichotomy is the script again by the director himself. There are a hundred little moments that deserve more attention, and I hope that despite the fact that this is the first time I have written about this film, it won’t be the last and those moments will have some light shined on them as well. 

Addendum:

My friend Eric on the East Coast took his son to see this for the first time, while I was taking my daughter to see it today. Eric is a fine writer and he put together a nice post with a heartfelt message to Mr. Spielberg at the end. You might want to look at it here.

The Obligatory July 4th Post on JAWS

jaws at the egyptianDon’t let the title fool you, it is not just an obligation it is a pleasure to see and write about the greatest adventure movie of the second half of the last century [and so far, the first Sixteen years of the current one.]

No film has been covered as in depth on this blog site as the original Steven Spielberg classic. If you go back a year to the 40th anniversary, you will see that I saw the movie on the big screen four times in 10 days and did a different post on each one of those visits. You will also be able to find an extensive collection of posts at the following: Jaws Week.

It is late however, and I have some obligations in the next few hours so I will keep this years comments short.

First, I think this may be the first time I saw the movie at the Egyptian Theater, a spot that has become my go to cinema for classic films, including several events each year at the TCM Classic Movie Film Festival. The popcorn is good, the butter flavor rich and they have Coke Zero. Oh yeah, they also have the coolest old school design on the Boulevard.

In introducing the program and telling everyone the rules of conduct, our host tonight asked how many people were seeing the movie for the first time. I was flabbergasted to see nearly a third of the packed house raise their hands. While it surprised this veteran of at least a hundred trips to Amity over the years, it also created a great expectation on my part. I had to ask myself if the film would still work on a fresh audience that is jaded by the speed and CGI of today’s films. I can safely report that when Ben Gardner makes his final appearance in the movie, the screams were loud and people again levitated out of their seats.

When the shark first shows up in profile, there is another jump, and everyone still nervously laughs at Roy Scheider’s ad-libbed classic line. There are two more great scares, a dozen moments of levity that all break the tension in glorious ways and you can tell they were all working tonight. Finally, there was a loud outburst of cheers and applause when the hero solves the problem of the shark in a most satisfying conclusion.

As always, I picked up a couple more tidbits of information during the screening. In the hundred times I’ve seen the movie, this was the first time I noticed the timeline continuity error in the police report for Chrissy’s death and the date of the attack on Alex Kitner. Why I had not worried about it before is beyond me, but I think I’d go crazy if I worried about all those kinds of things. A movie is made up of a million moving parts and sometimes the cog in one section is out of synch with the gears in another section.

Something that bothers me a little more because it seems like it should be obvious. At dinner, when Quint is telling the story of the Indianapolis, I suddenly realize that he and Hooper have finished their meals and that Brody hasn’t even touched his food. It may be the framing on the big screen that makes this more noticeable, or maybe because Shaw is so compelling when he does the monologue, you don’t really take tour eyes off him much. So the Chief has a queasy stomach on the ocean with the more experienced sailors. That’s one more small detail that is so brilliant in making these characters real and representative of their types in the story.

I also think that different prints or sound systems may emphasize some parts of the music or the dialogue a bit more from one screening location to another. After forty years, it’s great to say the movie still succeeds and there are still small moments to discover.