by Allan Fish
(West Germany 1981 293m) DVD1/2
Aka. The Boat
Not in the condition to fuck
p Günther Röhrbach d/w Wolfgang Petersen novel Lothar-Günther Buchheim ph Jost Vacano ed Hannes Nikel m Klaus Doldinger art Rolf Zehetbauer, Gotz Weidner cos Monkia Bauert spc Karl Baumgartner sound Milan Bor, Trevor Pyke, Mike Le-Mare
Jürgen Prochnow (Der Alte, Lt Heinrich Lehmann-Willenbrock), Herbert Grönemeyer (Lt.Werner), Klaus Wennemann (Fritz Grade, Leitender Ingenieur), Hubertus Bengsch (Lerster Wachoffizier), Martin Semmelrogge (Zweiter Wachoffizier), Bernd Tauber (Kriechbaum, Obersteuerman), Erwin Leder (Johann), Martin May (Ullmann), Heinz Hoenig (Hinrich), Uwe Ochsenknecht (Bootsman), Claude-Oliver Rudolph (Ario), Jan Fedder (Pilgrim), Ralf Richter (Frenssen), Joachim Bernhard (Bibelforscher), Oliver Stritzel (Schwaller), Maryline Moulard (Françoise), Otto Sander (Thomsen), Gunter Lamprecht (Capt.Weser), Rita Cadillac (Monique), Konrad Becker (Bockstiegel),
Wolfgang Petersen’s submarine drama is a difficult film to discuss in that it exists in so many different versions. When it first came to screens in the US and UK, it was in the form of a 1981 142m movie version which, though technically impressive, had very little by way of character development and was more awe-inspiring than involving. Sixteen years later it got the director’s cut treatment, a 216m extended version that got great praise from many as one of the great war films. Yet still it seemed hurried, jerky, and somewhat censored. Back in 1984, British TV audiences experienced the full power of the TV version of Petersen’s film and both they and the critics hailed it as a masterpiece, with Ludovic Kennedy proclaiming it the best war film he had ever seen. For years, fans of the TV original had to tell those salivating over either shorter film version that they still really hadn’t seen it, that so much was missing. Only in the new millennium, with the advent of DVD and digital restoration, could Petersen’s full vision be appreciated and savoured. Only then did those who so hailed either film version realise what they had seen was the shadow of the original, an original worthy of its place alongside the great epic TV works of Fassbinder, Reitz and Syberberg already included in this list.
The film is set in 1941, when the Battle of the Atlantic was at its height. One German U-boat is about to leave the historic French port of La Rochelle to go on its mission to sink British and American supply boats bringing much needed comfort to the beleaguered island. Yet right from the outset we forget they’re the enemy and feel one of their number, as a sense of fatalistic camaraderie hangs over the entire enterprise. Its atmospheric pre-credit shot of the Unterschiff rising through the green depths towards the audience is a magnificently atmospheric opening, but Petersen dares to make the next section rather a mix of jovial excess and sombre reflection. That opening sequence on the way to the club cum brothel (remember the alternative Fireboat Drill?) and inside the said establishment (with Sander’s fantastic drunken Thomsen celebrating his Knight’s Cross) is something to look back on fondly when the real action kicks in.
Much has been said of the technical level of the production, and certainly it is beyond reproach. Vacano’s photography is quite stunningly real, very much in the style of the not dissimilar Dutch war classic, Soldier of Orange, which he also shot. The interior design and size of the U boat replica is also simply astonishing, which, coupled with the amazing clarity and atmospheric silence of the sound design, make certain sequences (such as the iconic rise from the ocean depths when seemingly sent to a watery grave) seem unbearably tense. His cast, likewise, are superb, making you care deeply for their predicament, especially Prochnow, whose sincerity, realistic perspective and down-to-earth attitude endear him so much to his men and the audience. So much so that, when Petersen gives us an ending worthy of Clouzot’s The Wages of Fear, we feel distraught. And for a film about the enemy, that’s a serious coup on Petersen’s part.
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A true great. Though it’s also kind of troubling, to think of it in the context of Petersen’s work as a director. His work here, in this monumental television work, is sublime. But his feature films? Either forgettable or horrible. The camera he uses here is intimite, mobile and claustrophobic, giving him a great flexibility for characterization, action and tension alike. After more than 20 years of making theatrical films, however, he’s never reached the same dexterity and scope he showed on television.
Still, this stands on its own. I wonder if it’s more of a testament to the underestimated power of television-cinema than of its repsective director, but at least it’s a film worth pondering over.
Das Boot is truly one of those great masterpieces that often gets overlooked when talking about great achievements in cinema. The film is able to capture that feeling of claustrophobia and tension that comes from being in a submarine like no other film has ever done before or after. The performances should also not be forgotten: Jürgen Prochnow is brilliant, as are the young cast. The most shocking part of this film is probably the fact that it was directed by Wolfgang Petersons, a director known for making CGI charged Hollywood disaster films like The Perfect Storm and Poseidon. But this film truly is fantastic and one that is often left out when critics debate over the best war films. It shocking to see this film only 45. Its in my top ten.
Thanks Bob and AnubhavBist. I am now leaving for a short trip to Pennsylvania. I will be back tomorrow night, but hope to get to a PC later tonight. Tony and Allan will be here I am sure.
About half way through my first viewing of this film I began to breath heavily, my throat was tightening. Feeling trapped and unable to move due to the restraints of the room washed over me. Sweat began to bead my forehead. The power the visuals of this film leave on you are undeniable. This film is dripping with intense atmosphere. The claustrophobic closeness of the setting and choreography of the camera in conjunction to the movement of the characters is heart-straining to the point of making you want to scream. This is the rarest of film experience, a movie that puts you right into it. You feel like you’ve been raped and assaulted after it finishes. I have to agree with everyone on this (on my list as well) film. It was tremendous when I saw it in its truncated version on the big screen and even more amazing in the longest cut. An amazing film in every way, shape and form. I’ll have to agree with Bob, this director scored so big with this one that everything he did after it would pale in comparison.
Nah, it’s not so much that Petersen scored so high with this (though he did) that makes the rest of his work pale in comparison. It’s just that, with a couple of very minor exceptions, the rest of his films just plain suck.
His other good movies? That’s up in the air. For me, “The Neverending Story” is a bright kid’s movie, “Enemy Mine” is a decent sci-fi character study, “Air Force One” is the last Harrison Ford flick worth giving a damn about. But none of those even come close to “Das Boot”.
You know what he should do, in all honesty? Go back to television. Go to HBO. Get them excited about producing a Wolfgan Petersen mini-series. He’s a director who works best on the small screen, and to there he should return.
I have only seen the original U.S. released version, still a wonderful work and contrary to just about every Hollywood film Peterson has made since. There is more tension in this film than all his Hollywood works together. It is not that they are horrid,. For what they are, some are decent entertainments. I think Dennis says it best on my feelings when watching “Das Boot” when he states…
“Feeling trapped and unable to move due to the restraints of the room washed over me. Sweat began to bead my forehead. The power the visuals of this film leave on you are undeniable. This film is dripping with intense atmosphere. The claustrophobic closeness of the setting and choreography of the camera in conjunction to the movement of the characters is heart-straining to the point of making you want to scream.”
Well, Bob, ill give you ENEMY MINE and I’ll add IN THE LINE OF FIRE to it as well. But, THE NEVERENDING STORY is clunky, tedious and annoying. AIR FORCE ONE is a dud with absolutely none of the smarts and the wit of even the worst of the action genre in the past twenty years. NO, there is no way around it; Petersen came into DAS BOOT with all guns blaring and used every trick in his arsenal. No, this one was so good it made everything after it look pale. I WILL agree with you, Bob, on one thing though. I do believe this director could be devastatingly brilliant again if he were to focus his work on television. Imagine THE NEVERENDING STORY as a big budgeted, no time constraint work? You may be correct on that.
It’s minority opinion time for me again. (Doesn’t anyone else ever disagree with these reviews?) I saw this film in its original theatrical release version and was bored out of my mind. The claustrophobia that impressed everyone else quickly became tedium for me. The main characters were dull stereotypes (the noble, conflicted captain, the martinet, etc.), barely more original than those of “Destination: Tokyo.” The predictable jingoism of that movie became predictable cynicism and doom. The plot was one crisis and near-death experience after another until they became indistinguishable and I sat passively waiting for the next bout of suppressed hysteria from the crew followed by a narrow escape. I couldn’t wait for the movie to end. There is no way I would consider watching a 5-hour version of this.
Hey R.D. Well, I am with completely, (on everything you say) but I’ll say no more here, and I want to keep the peace.
Yes, Finchy, but do you not see than in the shortened version it became a series of escapes and lost much of its sense of character. If you have only seen the original theatrical version (only 140m or thereabouts), you haven’t seen it, simple as that.
This gripping film will make my own list too. I agree that the director’s cut is the way to go.
No, Peter, the TV version, the director’s cut is something different, only 3½ hours.