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ON FAITH & MEDIA View Comments

Captain Phillips

By
John P. McCarthy
Source: Catholic News Service


Tom Hanks, left, and Barkhad Abdirahman star in a scene from the movie "Captain Phillips."
Docudramas tend to underwhelm emotionally, intellectually or both. That's not the case with "Captain Phillips" (Columbia), a complex and compassionate film that engrosses from the start and builds inexorably toward a devastating conclusion. Prepare to be hooked.

Considered alongside his 2006 project "United 93," about the airplane that crashed into a Pennsylvania field on 9/11, this movie establishes director Paul Greengrass as a master of the docudrama format. Not only does he skillfully re-create a harrowing maritime ordeal, he keeps the humanity of all those concerned in the foreground. Exhibiting a rare combination of empathy and technical virtuosity, the picture highlights numerous moral dilemmas without passing conclusive judgment on any of them.

Tom Hanks portrays Richard Phillips, the American skipper of a container ship who was kidnapped by Somali pirates off the horn of Africa in 2009. As Phillips and his wife, Andrea (Catherine Keener), drive to the airport from their Vermont home in the first scene, the tension is already profound. Then we're shown male villagers on the coast of Somalia preparing to target vessels in international waters.

When Phillips' command, the Maersk Alabama, leaves Oman with a crew of 20 en route to its first port of call, Mombasa, Kenya—where it will unload humanitarian supplies—an encounter between the two sides becomes inevitable. Mindful of increased pirate activity, Phillips focuses on security, but water hoses constitute his unarmed crew's primary defense.

Led by a skinny man called Muse (Barkhad Abdi), four fishermen-turned-pirates board the Alabama and eventually take Phillips hostage on a lifeboat. A U.S. naval task force responds. Its mission is to intercept the boat before it reaches the Somali coast and Phillips is ransomed for millions of dollars. After a Navy SEAL team arrives, the situation devolves into one of desperation for the Somalis -- and for Phillips.

Being aware of the general outcome doesn't diminish the intensity for viewers. A surprising amount of emotion is wrung from the story and many resonant themes bob to the surface. These motifs cluster around one form of power disparity or another -- economic, military and interpersonal. And the vulnerability of each party is keenly felt at some point.

There are moments when it seems on the verge of striking a triumphal note, but "Captain Phillips" never trumpets American military might. Nor are the Somalis demonized. They're motivation is money, not a terrorist ideology, and they answer to a warlord. For their part, the American forces act at the behest of politicians.

Greengrass and screenwriter Billy Ray, who based the script on Phillips' memoir—written with Stephan Talty—home in on the emotional heart of each scene. Although there's no reason to doubt its accuracy, fealty to the facts, or at least the facts according to Phillips, becomes a secondary concern as artistry supersedes genre distinctions.

Henry Jackman's intrusive score is the only major flaw. By trying to carry too much of the expressive burden, the music threatens to overwhelm the experience. Still, other aspects of the production, such as taut editing and cinematography and sterling acting, diminish the negative impact of the aural onslaught.

Hanks delivers one of his most nuanced performances. Often when interacting with his captors, it's unclear whether Phillips is being wily or considerate, scheming for his release or behaving altruistically. This uncertainty adds another layer of depth. And Abdi's memorable turn as Muse provides a fascinating counterweight to the title character.

"Captain Phillips" leaves the viewer with mixed feelings yet few unanswered questions. Its equanimity and determination to keep everyone's humanity intact, even those who lose their lives, implies that human beings are always the most precious cargo, no matter the circumstances.

Because its fair and empathetic treatment provides a model for processing the events depicted, "Captain Phillips" is probably suitable for older teens, the elements listed below notwithstanding.

The film contains numerous menacing sequences, several violent episodes with nongraphic bloody images, substance abuse, two instances of profanity and three uses of crass language. The Catholic News Service classification is A-III—adults. The Motion Picture Association of America rating is PG-13—parents strongly cautioned. Some material may be inappropriate for children under 13.

*****
John P. McCarthy is a guest reviewer for Catholic News Service.



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Bernard of Clairvaux: Man of the century! Woman of the century! You see such terms applied to so many today—“golfer of the century,” “composer of the century,” “right tackle of the century”—that the line no longer has any punch. But Western Europe's “man of the twelfth century,” without doubt or controversy, has to be Bernard of Clairvaux. Adviser of popes, preacher of the Second Crusade, defender of the faith, healer of a schism, reformer of a monastic Order, Scripture scholar, theologian and eloquent preacher: any one of these titles would distinguish an ordinary man. Yet Bernard was all of these—and he still retained a burning desire to return to the hidden monastic life of his younger days. 
<p>In the year 1111, at the age of 20, Bernard left his home to join the monastic community of Citeaux. His five brothers, two uncles and some 30 young friends followed him into the monastery. Within four years a dying community had recovered enough vitality to establish a new house in the nearby valley of Wormwoods, with Bernard as abbot. The zealous young man was quite demanding, though more on himself than others. A slight breakdown of health taught him to be more patient and understanding. The valley was soon renamed Clairvaux, the valley of light. </p><p>His ability as arbitrator and counselor became widely known. More and more he was lured away from the monastery to settle long-standing disputes. On several of these occasions he apparently stepped on some sensitive toes in Rome. Bernard was completely dedicated to the primacy of the Roman See. But to a letter of warning from Rome, he replied that the good fathers in Rome had enough to do to keep the Church in one piece. If any matters arose that warranted their interest, he would be the first to let them know. </p><p>Shortly thereafter it was Bernard who intervened in a full-blown schism and settled it in favor of the Roman pontiff against the antipope. </p><p>The Holy See prevailed on Bernard to preach the Second Crusade throughout Europe. His eloquence was so overwhelming that a great army was assembled and the success of the crusade seemed assured. The ideals of the men and their leaders, however, were not those of Abbot Bernard, and the project ended as a complete military and moral disaster. </p><p>Bernard felt responsible in some way for the degenerative effects of the crusade. This heavy burden possibly hastened his death, which came August 20, 1153.</p> American Catholic Blog One of the things that we need to remember is that we’re preaching Jesus, not the institutional Church. It’s easy to get caught up in the rules and regulations of the institution and forget that we are saved not by the Church but by the person of Jesus or the Church as the body of Christ.

 
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