What do you get when you stick Harrison Ford and Liam Neeson in a cursed submarine that is about to kill its crew? An exciting ride. Not exactly an emotional roller-coaster of suspense -- more of a very fun slip'n'slide that safely plops you on the grass.
Directed by Kathryn Bigelow, "K-19: The Widowmaker" is a typical Bigelow film (think "Blue Steel" and "Point Break") and thus, not as exciting as it should be.
Set during 1961 amidst the heat of Cold War tension, the film follows the maiden voyage of K-19, a Soviet sub nicknamed "The Widowmaker" due to the number of fatalities involved in its construction. Moscow has just ordered Alexi Vostrikov (Ford) to replace Mikhail Polenin (Neeson) as captain of K-19. Vostrikov keeps Polenin along as his number two officer and, in the company of inexperienced crewmen and useless medical supplies, sets out in the poorly constructed vessel on a rather simple mission.
And did I mention that K-19 is a nuclear sub? Well, it is, and it is soon beset by a host of problems that threaten the crew, the Soviet Union and, of course, the world.
Neeson's and especially Ford's weighty performances anchor the film and establish much of the drama that keeps the spectator engaged. The juxtaposition of the two men provides a nice study of opposites; Neeson plays the compassionate captain concerned with the welfare of his men while Ford, in a marvelous turn as a seemingly cold-hearted, internally-troubled hero, embodies that classically tortuous struggle between the humane and the patriotic.
The film hinges upon the choices Captain Vostrikov makes between his country and his comrades, and Ford delivers. It is a triumph that the man who gave us Indiana Jones and Richard Kimble can now produce this stubborn Soviet captain.
"K-19" is not so much a typical submarine thriller as it is a study of the conflicts and tensions afflicting the vessel's senior crewmen. The film shines during scenes of tense argument in which officers debate life-or-death plans of action while the camera shows many nervous visages of young seamen (boys, really) who can only watch and listen as their fate is decided.
The Soviet point of view is excellently detailed, and one cannot help but sympathize with and heartily encourage this charming group of fervent Communists.
"K-19" holds a few surprises for even the most weathered fan of submarine thrillers. Scenes of the crew playing an impromptu game of soccer on the frozen surface of the Arctic Ocean, a formerly robust youth wretchedly vomiting from radiation exposure and a somber gathering of old men in a snow-covered cemetery stick out as moments of intense emotion.
Unfortunately, Bigelow wants an epic thriller, and she fails. She never emphasizes the claustrophobia that seems to play such a large role throughout the film, and she never dares to exploit the stunning visuals inherent in such a film (such as the majesty of a submarine sliding through a sea of dark blue).
Most damaging, "K-19" is never as exciting as it wants to be. It is too easy to identify the villains and the heroes, and the film ends up being highly predictable instead of truly suspenseful. But it still does have its moments. Go see it for that Arctic soccer game.
