William Friedkin’s final film, “The Caine Mutiny Court-Martial,” premiered at the Venice Film Festival to immediate applause. In his director’s note, Friedkin reflects on the morality of cinema, highlighting how his previous films have explored the complex relationship between good and evil. While Friedkin may be best known for his work on “The Exorcist,” this chamber piece delves into the grey areas of morality and the consequences of one’s actions.
The screenplay, written by Herman Wouk, is based on his Pulitzer Prize-winning novel and is a stage adaptation of the story. This latest version, set in the Persian Gulf during a mine-sweeping mission, remains loyal to the original source material and does not make many concessions to modern audiences. In fact, it maintains an old-fashioned, talky drama format reminiscent of classic films and TV shows like “Columbo.” Even the title card has a nostalgic ’80s feel to it, adding to the charm of the film.
The majority of the film takes place in a US naval court, with only a final scene occurring in a hotel. The storyline revolves around the Caine Mutiny, which transpires during a 2022 incident in the Strait of Hormuz. When Commander Queeg (played by Kiefer Sutherland) encounters a cyclone storm, a power struggle emerges between him and his executive officer, Maryk (played by Jake Lacy). Questioning Queeg’s mental stability, Maryk assumes control of the vessel, potentially committing treason. As the court proceedings unfold, led by Captain Bailey (portrayed by Lance Reddick), the truth behind that fateful night is gradually revealed, raising questions of who is really at fault.
The film’s strongest attribute is its remarkable cast. Kiefer Sutherland brings a refreshing modernity to the role of Commander Queeg, portraying him as a sweetheart Midwesterner with an unexpected authoritarian streak. His performance is both endearing and disquieting at the same time. Jason Clarke, as the defence lawyer Greenwald, adds a touch of sophistication with his louche portrayal, providing a stark contrast to the buttoned-down Greenwald of the previous adaptation. The chemistry among the cast members is evident, and their performances elevate the film beyond its familiar storyline.
While “The Caine Mutiny Court-Martial” showcases Friedkin’s directorial skills, it raises the question of whether the story truly needed a remake. For those familiar with the 1954 Humphrey Bogart film, there are few surprises in this latest iteration. The performances may be noteworthy, but it feels like a story better suited for a one-night viewing on Broadway rather than a full-fledged cinematic remake.
Ultimately, this film serves as Friedkin’s swan song, marking the end of an illustrious career. However, it falls short of representing his body of work. Nevertheless, it offers an enjoyable experience, particularly for those who appreciate the charm of old-school dramas. Whether “The Caine Mutiny Court-Martial” will attain the same recognition as Friedkin’s other masterpieces remains to be seen, as its release date is yet to be confirmed.
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