Capitão Phillips

“We all got bosses.” Concerns that, unlike the unaffected Danish film A Hijacking, this would be a heroic drama were fulfilled by Greengrass’s Captain Phillips to a much lesser extent than I had feared. Yes, instead of an ordinary employee, the (moral) focal point of the narrative is a conscientious American in an important position and, what’s more, portrayed by an actor whose name is synonymous with the word “credibility”. However, Phillips realistically prioritises his own survival over dressing himself up as a hero, as evidenced especially in the climax with its non-Hollywood rawness, which is the final demonstration of the emphasis that the film places on the intensity of visceral experience. The expression of concern for Phillips’s wife (the considerably underused Catherine Keener) in a less emotive written form is a twice utilised method of “desentimentalisation”. ___ Whereas in A Hijacking Lindholm never loses sight of the socio-cultural context and sees the development of the events as a consequence of the uncompromising application of corporate logic, Greengrass sets aside the broader context after the beginning and uses the situation to focus particularly on strong emotions instead of the clash of cultures and classes (and generations). Nevertheless, he amplifies his criticism of inequality during the second half by expanding the point of view of the narrative, which had previously been limited to the two captains, to include that of the all-seeing American military. The shots of seamen exhibit cool professionalism in striking contrast to the “DIY” methods of both the pirates and the crew of Phillips’s ship. ___ Captain Phillips is political also in following the trend of contemporary genre movies consisting in depicting an individual having to rely on himself. The protagonist is gradually stripped of all privileges of civilisation and nearly all of his possessions (including his clothes) and, through his manoeuvring, finds himself at the same level as the pirates. A certain political nature can also be seen in the attempt at a balanced view of the causes leading to the actions of either side of the conflict. From the opening minutes, parallels are drawn between the lives and livelihoods of Phillips and the pirates. Like Phillips, the pirates want only to do their jobs, make money and get back home. Because the division of roles into prey and victim is not fixed, those roles can be reversed in the second half of the film. The inconsistency of this avoidance of a black-and-white view of reality becomes apparent when more closely watching the camerawork. The point-of-view shots belong exclusively to Phillips. By comparison, the protagonist is filmed with shots that are neutral in terms of perspective and seemingly don’t belong to anyone. In other words, the pirates do not have control over the image. ___ Regardless of the ideological implications, Captain Phillips is a particularly flawlessly rhythmised drama with twists delivered at roughly twenty-minute intervals and a rapidly approaching ending, thanks to which the narrative is gripping, even if you know the actual true story in advance. The essential twist and the broadening of awareness connected with it come after an hour. The sudden change of location serves for more than just making the viewer uncomfortable (“I didn’t expect that”). It also comments on the development of the position held by the main character, who gradually and literally loses the ground beneath his feet (due to the setting, the final phase of this destabilisation is more than obvious). ___ As in Gravity, an individual becomes a lightning rod for many of the problems troubling today’s society, though Greengrass takes that individual’s transformation in a different direction than Cuarón did. In this case, the film is an uneasy (in style) and disturbing (in emotion) response to an uncertain time, paradoxically thanks mainly to the fact that someone thought long and calmly about how to make it. 85% (29/10/2013) (menos) (mais)