Captain Phillips
Captain Phillips
Regie:
Paul GreengrassDrehbuch:
Billy RayKamera:
Barry AckroydMusik:
Henry JackmanBesetzung:
Tom Hanks, Catherine Keener, Barkhad Abdi, Barkhad Abdirahman, Faysal Ahmed, Mahat M. Ali, Michael Chernus, David Warshofsky, Corey Johnson (mehr)Streaming (5)
Inhalte(1)
CAPTAIN PHILLIPS beschreibt auf äußerst vielschichtige Art und Weise die Entführung des US Containerschiffs MaerskAlabama durch somalische Piraten im Jahr 2009. Der charakteristische Stil von Regisseur Paul Greengrass macht den Film gleichzeitig zu einem fesselnden Thriller und einem komplexen Portrait der zahlreichen Folgen der Globalisierung. Im Mittelpunkt steht die Beziehung zwischen dem kommandierenden Offizier der Alabama, Kapitän Richard Phillips (der zweifache Oscar®-Preisträger TOM HANKS), und dem somalischen Piratenkapitän Muse (BARKHAD ABDI), der ihn entführt. Phillips und Muse geraten auf einen unumkehrbaren Kollisionskurs, als Muse und seine Crew das unbewaffnete Schiff von Phillips ins Visier nehmen. In der Folge kommt es zu einer äußerst verfahrenen Pattsituation und die beiden Männer finden sich 145 Meilen vor der somalischen Küste Kräften ausgeliefert, die jenseits ihrer Kontrolle liegen. Der für einen Oscar® nominierte Paul Greengrass führte Regie, nach einem Drehbuch von Billy Ray und basierend auf dem Buch Höllentage auf See von Richard Phillips mit Stephan Talty. Produzenten sind Scott Rudin, Dana Brunetti und Michael De Luca. (Sony Pictures DE)
(mehr)Kritiken (15)
Man kann um das Leben vom Geisel Phillips/Hanks nicht so richtig Angst haben, weil jede Filmfigur weiß, dass sein Tod niemandem etwas bringen würde. Die Sicherheit, welche die Spannung des Films reduziert, wird erst in den letzten Minuten schwächer. Sonst ist Captain Phillips eher ein interessantes Rätsel "wie er entkommen wird“. Der Flug 93 ermöglichte Greengrass in dieser Hinsicht eine stärkere emotionale Erschütterung der Zuschauer*innen. Die Tarnung von der US-Army-Propaganda durch eine spannende Action-Filmarbeit auch für anspruchsvollere Zuschauer*innen würde jedoch kein anderer gegenwärtiger Regisseur besser schaffen. Der Film wird von Hanks regiert.
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“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%
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Paul Greengrass today has no competition in this type of intimate action movies based on real events. This one is incredibly tense and with a frantic pace (thanks to the camera and the editing), even in those scenes where basically nothing is happening and the characters are just talking (which is most of the film, really). And the emotional climax will give you the final KO. No doubt, one of the best films of the year.
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A superb dramatization and high-octane exhibition of filmmaking adrenaline that once again elevates pseudo-documentary realistic authenticity to a full-blown blockbuster experience. Although Greengrass goes about this unlike anyone from the numerous rows of his many "copy & paste" colleagues, it's a bit of a safe bet on his part, with the camera looking over his shoulder and whizzing between faces just long enough for you to know who he's thinking of. It's not boring at all, but it does last about fifteen minutes longer than audiences would like. Then it would be a fuller experience. And let's face it, when was the last time you saw a Navy SEALS presentation this short and impactful? PS: Hans Zimmer is thanked in the credits, but as the central motif unfolded, I kept subconsciously waiting for the black hood to appear. 4 ½.
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Paul Greengrass simply knows how to push my buttons. He can make an absolutely awesome thriller on a contemporary theme in a way that makes me feel that I’m the one standing behind the camera instead of him. I mean normally I can’t stand a shaky camera, but he can employ such great editing that moves the whole thing to such levels of perfection that I can accept it without any problem whatsoever. I have accepted it so many times in the past and I accept it now too. And that’s not to mention the fact that the actors deliver some extra-ordinary performances. That includes Tom Hanks and the Somali pirates, who are simply on fire. I would never have thought that such a trivial idea could be squeezed into almost 140 minutes while making sure that not a single minute of it would be boring. And the rescue mission at the end? That was simply a pleasure to behold. A well-deserved five-star rating. It sure doesn’t happen every day that you’d watch a movie while bating your breath for more than two hours.
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Ist Captain Phillips eine Verherrlichung des Status Quo und eines Volksheld? Ich denke nicht. Der Vergleich mit Lindholms Hijacking … In der Gewalt von Piraten ist vollends relevant, jedoch sollten wir nicht automatisch davon ausgehen, dass die dänische "härtere, kältere und deheroisierende" Interpretation der Realität "besser" ist. Interessant ist gerade der Vergleich beider Ausgangspunkte: Die Dänen entscheiden sich für eine typische Situation, die Amerikaner eine dramatische und ungewöhnlichere Situation. Der Protagonist von Hijacking… In der Gewalt von Piraten ist ein gewöhnlicher Seemann, der während der Verhandlungen zur passiven "Ware" wird, der Held von Greengrass´ Film wird bereits im Titel benannt und gehört zu den aktiven Machern (er ist Kapitän und kämpft nahezu bis zum letzten Moment aktiv um sein Leben). Für de facto zwei Drittel der amerikanischen Version sind Verschiebungen, Action sowie Umkehrungen charakteristisch, wohingegen die dänische Version diese vollständig meidet und die Routine der Verhandlungen erfasst, die sich rücksichtslos hinziehen. Die Dänen drehen den Streifen direkt im gegebenen Gebiet und lassen die gesamte Crew in Unsicherheit leben (weil sie die Rohheit eben auch auf den Film übertragen möchten), die Amerikaner nutzen die ruhigen Gewässer um Malta. Zwei Ansätze zum gleichen Thema, wobei ich keinen Grund sehe, sie zu hierarchisieren, denn beide sind vollends legitim. Außerdem wird hier ein sehr ähnliches Bild kreiert: ein gebrochenes Individuum, ein System, das weiterhin so funktioniert, als wäre nichts passiert. Captain Phillips ist sicherlich als Lobpreisung der Navy Seals oder der US Army zu sehen, jedoch Greengrass bietet ausreichend Hinweise auf eine Gegeninterpretation - die gesamte Situation ist absurd, unverhältnismäßig und unlösbar (ein kleines orangefarbenes Boot gegen drei Kriegsschiffe), und dennoch sind beide Seiten legitim. Schon alleine die Tatsache, dass hier Aufnahmen von einem Morgen sehen, in denen Phillips auftaucht, um dann in ähnlicher Situation auch seinen zukünftigen Entführer zu Gesicht zu bekommen, sollten uns dahingehen warnen, dass es Greengrass um mehr geht als nur eine banalen und spannenden Fall zu beschreiben. Ähnlich wie bei Zero Dark Thirty - Die Jagd auf Osama bin Laden würden hier weitere Indizien zur konventionellen Zufriedenstellung damit führen, dass die ekelhaften, mageren Kerls einen auf den Deckel bekommen, aber dennoch sorgt die Aktion selbst unter den Zuschauern lediglich in begrenztem Umfang für Zufriedenheit. Es gibt eine bishin zu beunruhigende Menge freier Motive, die Greengrass mit seiner millimetergenauen Regieführung umgibt. Mit meiner Betrachtungsweise korrespondiert eher Lindholm, jedoch das bedeutet nicht, dass Captain Phillips mich am Ende nicht in den Bann gezogen hätte. Es passierte erst in der vorletzten Szene, jedoch das Warten hat sich gelohnt. [80%]
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It’s hard to praise this type of movie better than saying that the creators make it hard for the viewer even to catch their breath for all the suspense here. Despite the fact that they already know not only the result, but (probably) even how the action is going to pan out. The whole thing is underpinned by an unusually powerful final scene in the treatment room which is deserving of all the actors awards in existence.
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United 93 draws on the worldwide echo of September 11th, Green Zone on the trauma of the Iraq war, and I do like the character of Agent Bourne, but if I had to answer the question of which Greengrass film I value the most, I wouldn't hesitate for even a second. Captain Phillips combines a strong and sympathetic hero, a dramatic situation, awareness of artistic reconstruction of real events, and last but not least, the presence of a dangerous opponent in the form of a pirate captain. The cinematography is clear this time, and the director moves from the spacious cargo ship to the claustrophobic environment of the rescue boat at the right time. The story focuses on the depiction of a specific case of maritime piracy, but it also says something about the phenomenon of banditry on the shores of Somalia, about senseless regulations that bind merchant ships, and about the fact that every phenomenon has its background, and pirate crews, with their dependence on clan leaders and existing poverty, actually have no choice. Tom Hanks was born for this role, and I find no weaknesses in the film that are worth mentioning. Overall impression: 90%.
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It’s fine to see Hanks acting again, even though in the second half he is more like an extra. Although this nerve-racking voyage loses tension a little in the slower, middle section, this is a minor flaw on an otherwise thrilling depiction of past events. This time Greengrass makes excellent use of the camera - shaky Somali vs. calm Yankee-Irish style. Wonderfully heated confrontations, the Somalis are great to a man and the movie is just dripping with authenticity. The finale where the US Navy arrive is a heavy-caliber military display (even my better half acknowledged the majestic beauty of the warships). Greengrass has certainly made more charged and even better movies, but it didn’t receive that stamp of humanity until Hanks got involved. If it weren’t for United 93, I would give it full marks.
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If you are afraid that Greengrass' shaky camera and grainy image will be missing, be calm, it's here again and there's plenty of it. Moreover, no one can do an ad for the US Navy as sophisticatedly and inconspicuously as him. And Tom Hanks is also excellent. It doesn't have the momentum of United 93 (greater fatefulness) or the Bourne films (a more attractive, action-packed theme), but it's still an original film, full of gripping moments and excellently acted scenes.
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Im Nachhinein hat mich der US-amerikanische und völlig überflüssige Anfang "ich packe mein Foto ein, spreche mit meiner Frau über die Kinder und wir verabschieden uns“ immer mehr gestört. Deshalb ziehe ich einen Stern von den ursprünglichen fünf ab. Trotzdem macht die Schauspielleistung von Hanks (vor allem am Ende, wenn sich um ihn die Ärzte kümmern) Captain Phillips zu einem fast makellosen Film. Fast. Der Film ist sehr spannend, die Piraten sind herrlich unberechenbare Kerle, Paul Greengrass nimmt das Publikum wieder gefangen… Es spielt überhaupt keine Rolle, dass man (so wie z. B. bei Singers Operation Walküre - Das Stauffenberg Attentat) weiß, wie das Ganze ausgeht. Der Soundtrack von Henry Jackman hat mir auch ohne den Film gefallen. Dazu nur eine Bemerkung – am Ende müsste er nicht so zimmermäßig sein.
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I really didn't expect to like it this much. For now, Greengrass's crowning achievement, not only meticulously constructed and perfectly paced, but above all palpably authentic and raw. You feel every blow that lands on the face of the captive Phillips, not to mention the suffocating atmosphere that makes the fear for the captain's life grow, even though we all know how it will all turn out. A unique and amazing treat within the heroic "army" epics that got under my skin even more than this year's Rush or Prisoners, and I'm already looking forward to the second screening like a little scout afraid of bearded pirates with an eye patch. And Hanks is a clear Oscar winner for me. 100%
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Despite all my concerns, a heavily de-Hollywoodized Greengrass, where the central character is more or less definitively objectified from the second half onwards, as the points of view fragments between pirates and US marines. Captain Phillips isn't the kind of captain who would share photos of his kids with the crew or pats the helmsman on the back over coffee just because they ran into each other in the hallway. Likewise, the commander of the military operation doesn't shed a tear before giving the order to "execute" the poor Somali man whose anchovies have been fished out and has now turned to piracy, nor does he utter "kiss your ass goodbye" with the assistance of a low angle shot. And at the end, it's not a woman and child suddenly leaping out of a helicopter that await Hanks, but an android nurse who would say "You're safe now" in the same tone she would use to explain that she deliberately stepped on your guinea pig. Anyone sputtering at Greengrass's directorial fingering should realize that 80% of directors would shoot the second half of the film in 4 constantly intercutting shots, and they certainly wouldn't be looking for those 95 shooting angles in a 2 x 4 meter space. Which is about the only criticism I have, because having Greengrass shoot a significant portion of a film in an interior the size of eight banana boxes is like asking Debussy to compose a symphony on the ukulele.
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An incredibly authentic film, which could be expected from Paul Greengrass, but this time it's authenticity in the style of "United 93", not in the style of "Green Zone". This time Greengrass put emotions into it again, not just great execution of a military operation. And these emotions are mainly thanks to Tom Hanks and the four Somali pirates. Especially in the end, Tom Hanks shows how great of an actor he is and that he is still the certainty who delivers a performance worth watching. This film will give you chills, because the story truly happened, but mainly because you will experience it yourself.
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Captain Phillips is a demonstration of Greengrass’s masterful directing, or an example of how nothing can be turned into something. It makes you wonder how a movie that’s more than two hours long can keep the audience on the edge of their seats with a story whose ending must be obvious to everyone. However, fifteen minutes into the movie, the first action scene starts, followed by the most action-packed 2 hours imaginable. Nobody but Greengrass can do such a brilliant job. It’s bursting with thrilling scenes, even during moments when a (normally boring) conversation takes place. Simply an awesome movie, one of the best this year.
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