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What exactly is the story about in “In the Heart of the Sea”? That question can be answered in a myriad of different ways. You could say that Ron Howard’s most recent feature film, which was adapted from Nathaniel Philbrick’s acclaimed nonfiction book “In the Heart of the Sea: The Tragedy of the Whaleship Essex,” is about the real incident that partially inspired Herman Mellville’s novel “Moby-Dick”—the 1820 destruction of a whaling vessel by a murderously angry sperm whale. The book was written by Philbrick and published under the title “In the You could say that it is about the relationship between nonfiction and fiction, but this is where things get complicated: the story of the film is told in a framing device that is typically awkward to the young Melville (Ben Whishaw), even though Melville wrote his novel without ever having visited Nantucket in real life. (Howard, however, mentioned to Charlie Rose that Melville had spoken with the lone remaining survivor of the accident; therefore, there may be some basis in fact here.) The idea that the whaling industry was (and still is) engaged in interspecies genocide is hinted at in shots of the vengeful whale and other members of its pod floating peacefully with their calves underwater, then surfacing to stare accusingly at the humans. You could say that the film is about humankind’s collective, slowly dawning realization that whales are not big fish but intelligent mammals, and that the whaling industry was (and still is) engaged in interspecies genocide. A group of shipwreck survivors (led by an unqualified rich-boy captain, played by Benjamin Walker, and Chris Hemsworth’s macho and resentful first mate) are stranded in lifeboats and slowly perish as a result of hunger and thirst. One could say that this is a story about survival. In conclusion, you could say that “The Heart of the Sea” is a story about business ethics. In the last part of the movie, the whaling company encourages the survivors to lie about what happened because they are afraid that their insurance companies won’t cover them if they find out that a whale is capable of sinking a large ship.
None of these characterizations is entirely accurate. But not a single one of them does the movie justice. And boy, was there a need for capturing in this film. It is neither inspired nor controlled nor profound enough to wander all over the place, being six, seven, or eight different things at the same time. If “In the Heart of the Sea” were a dark picaresque adventure of overwhelming physicality, directed by a philosophically inclined director like Werner Herzog or Terrence Malick, then every piece of it might be united by particular ideas, or at the very least a certain sensibility, even if it didn’t hang together at the level of story. For example, if “In the Heart of the Sea” were a dark picaresque adventure of overwhelming physicality, it would be directed by Werner Her But Howard isn’t even close to being that kind of director. In order for his events to make sense, they need to be tied together by “an idea you can hold in your hand,” to quote director Steven Spielberg. Because of this, “Apollo 13,” a film about a diverse group of driven, loyal, and talented individuals coming together to solve a problem, is considered to be the director’s best work.
And this is ultimately what damages “In the Heart of the Sea” more than anything else: it is so very many different things, but they all feel detached from each other, almost like a bunch of self-contained mini-movies stitched end-to-end, with the framing device serving as needle and thread. In other words, “In the Heart of the Sea” is a movie that has a lot of different things going on, but none of them feel connected to each other. In addition, the film’s framing causes more problems than it solves. Even putting aside the questionable conceit of having Melville sit there and jot down the story of a sailor (Brendan Gleeson in the present-day scenes, Tom Holland as his younger self) as research for his book—which tends to reduce novel writing to transcribing stuff that happened—it is mostly intrusive and clumsy, often interrupting thrilling action sequences when they’re building up a head of steam to interject an observation or humorous aside Despite the fact that this may have been the screenwriter Charles Leavitt’s attempt to create a cinematic equivalent to Melville’s tendency to interrupt his narratives with passages, sometimes chapters, about nautical history and tradition and the creatures of the sea, the scenes thud like a bucket of fish guts dropped on a wooden deck. Melville had a habit of doing this, and Leavitt may have been trying to create a cinematic equivalent to that.
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And by the time you get to the end of the picture, they transform into a peculiar kind of sub-narrative about how confession is healthy for the soul, or perhaps a precursor to the age of Sigmund Freud’s talking cure. It is anachronistic, but not any more so than some other touches in the film, such as the scenes where the whalers wonder if they are wrong to be killing whales (I can’t really see that happening in 1820, can you? ), or the bits where Gleeson’s brokenhearted sailor explains to the young Melville that the whale oil industry is the equivalent of the petroleum industry today, and hey, did you hear the news that some guy drilled a hole
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In all fairness, it is very difficult for storytellers to get out of a modern-day mindset, disentangle themselves from their presumed state of enlightenment (a state that always seems significantly less enlightened to future generations), and ask the audience to enter into the worldview of characters from another era and find them fascinating in their own right, regardless of whether they find the characters entirely sympathetic and agree with every one of their values. In addition, it is very difficult for storytellers to ask the audience But many of the best historical movies and television shows at least make an effort to portray the past in an accurate manner, and they avoid the temptation to pander to modern audiences by including scenes or, in some cases, characters that are meant to represent the “modern” point of view on X or Y issues. This is something that occurs quite frequently in “In the Heart of the Sea.” Every time it happens, it makes the movie appear to be less committed to the narrative that it has invested tens of millions of dollars in order to bring to the screen.
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Touches that might seem fiercely ironic in the hands of a different filmmaker, such as the moment when Hemsworth’s first mate, Owen Chase, tries to harpoon the vengeful whale for the second time, but freezes after staring into one of its huge, curious eyes, appear here to be nothing more than comical. It is possible that Chase’s crisis of conscience is a reference to the scene in “The Deer Hunter” in which Robert DeNiro’s character, a recently returned war veteran, realizes that he no longer has the urge to shoot bucks. Regardless of whether or not this scene is taken directly from the book, however, it comes off as forced and unconvincing. Should we really believe that a man who has spent the majority of his adult life hunting and killing whales wouldn’t hesitate to fire his harpoon once more if it meant risking his own life and the lives of his crew? Really? Although a single glance at Hemsworth, with his gym-sculpted pecs and abs and what looks suspiciously like shampooed and conditioned hair, should tip us off that the filmmakers are going to be selective about keeping things in-period, this is a high watermark for the inappropriate superimposition of modern attitudes on stories about people from another time. If Herzog had directed the scene, we might at least have found it humorous that Chase began thinking like an environmentalist in the 21st century well after it would have been of benefit to either him or the other sailors.
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The cinematography by Anthony Dod Mantle, the outstanding supporting cast (which includes Cillian Murphy as a veteran second mate), and the sheer scale of the production make the movie watchable despite its flaws. The majority of the action that took place at sea was filmed on a full-scale, operational replica of the Essex. This allowed the actors, including Hemsworth, to be seen climbing up and down the masts in lengthy crane shots, proving that it was really them. And the whales, which were created through computer graphics and puppetry, are so magnificent that I wouldn’t have minded watching them for two hours as they floated around and talked to each other in whalesong subtitles. At the very least, it would be more fascinating than this impressively enormous and impassioned but disjointed film, which combines elements of “Jaws,” “Orca,” the self-help book, the corporate ethics thriller, and the “How low do you sink when you’re stuck in a lifeboat together?” movie, but that, narratively speaking, never leaves port. A version of “Moby-Dick” told entirely from the whale’s point of view could be fascinating; at theAlso, you must try to play this In The Heart Of The Sea quiz.
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