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Master and Commander: The Far Side of the World Reviewed By Stephen Groenewegen Posted 11/19/03 13:27:25

"Classical Flourishes" (Awesome)

Once upon a time, making an epic movie at sea seemed the surest sign of an insane director, or insanely profligate studio. The phenomenal success of Titanic changed all that. Still, the major Hollywood studios haven’t exactly been rushing each other back into the water with competing nautical blockbusters. So executives at Twentieth Century Fox must have been wet with excitement at the coincidence of this year’s two biggest hits - Finding Nemo and Pirates of the Caribbean - being set on or in the ocean. For Fox, along with Universal and Miramax, has sunk a lot of money into Peter Weir’s Master and Commander: The Far Side of the World.Weir and doctor turned novelist John Collee collaborated on the screenplay, based on Patrick O’Brian’s celebrated novels featuring Captain “Lucky” Jack Aubrey and his ship’s doctor, Stephen Maturin. The film is as much a literary adaptation and painstakingly detailed historical recreation, as it is action adventure. There are 20 Aubrey/Maturin Master and Commander books, and The Far Side of the World takes its narrative cues from the tenth.It is 1805 and the Napoleonic Wars between England and France have transformed oceans into “battlefields”. The HMS Surprise, captained by Aubrey (Russell Crowe), waits off the coast of Brazil with orders to intercept and disable the French vessel Acheron. But it is the phantom French privateer that ambushes the Surprise from behind bluish-grey dawn mist. Aubrey becomes obsessed with avenging the attack and capturing the Acheron, despite an exhausted crew and the misgivings of Maturin (Paul Bettany), his confidante, sparring partner and closest friend.Peter Weir’s films have frequently revolved around enclosed communities, from the Amish village in Witness to the artificial confines of The Truman Show to the single-sex schools of Picnic at Hanging Rock and Dead Poets Society. Master and Commander is no exception. Weir and his team revel in exhibiting the “little wooden world” of the HMS Surprise in all its period detail. Collee and Weir integrate their prodigious research with the action, so you absorb it as the film rolls along. The depth of historical detail means we’re seeing a traditional adventure story through new eyes.The interplay of Aubrey and Maturin is one of the film’s strengths. Aubrey is the man of action who thrives on conflict, but is always aware of his responsibilities as captain. Maturin is a naturalist and medical doctor, with a marked distaste for violence. He personifies Aubrey’s conscience. Both are keen students of human nature and stand apart from the rest of the crew - Maturin by station and choice, Aubrey by duty and necessity. Their conflict spells out the story’s themes of tyranny and the corruption of power.Crowe learnt to sail for the role and conveys the authority of a leader of men. He’s also refreshingly human in the part. A look of intense sexual longing at a Brazilian girl, which he reluctantly breaks, speaks volumes about the loneliness of command. There’s also a roguish playfulness to his Aubrey. A scene of Crowe standing atop the mast - 137 feet above the ocean - is awesome.Bettany makes the resigned and equally stubborn Maturin likeable. The actors previously worked together on A Beautiful Mind and have a solid on-screen rapport. Their characters’ friendship is exemplified in spirited musical duets, with Maturin on cello and Aubrey on violin. Crowe studied the instrument until his rendition of pieces by Bach and Mozart looked sufficiently convincing.An experienced Shakespearean cast lends gravity to the supporting roles. 13-year old Max Pirkis is also noteworthy as a junior midshipman. Unlike so many pompous historical epics (Gladiator, anyone?), the dialogue is colloquial and delivered naturally rather than declaimed. If anything, lines are sometimes thrown away too casually. Until you acclimatise, you have to concentrate to keep up with exactly what’s going on.The scenes of naval warfare are realistic and thrilling in their immediacy. The accomplished work of cinematographer Russell Boyd and the art, design, sound and visual effects departments add to the feeling of being transported somewhere new. Literally, in the case of an episode set on the Galapagos Islands. Master and Commander is - surprisingly - the first feature ever granted permission to film there. The photography in this sequence is breathtakingly beautiful.I wouldn’t have missed the loss of a drawn-out and clichéd subplot about a gnarly old doomsayer amongst the crew and a weak-willed officer. But the sequence does allow Weir a suitably atmospheric and nightmarish view of below-decks from the officer’s perspective. We’re also given a feeling for the cycle of a life at sea in Lord Nelson’s navy - the interaction of crewmen with their superiors, and the natural progression from unexpected death to unexpected promotion.Not having read any of the novels, I can’t speak for the loyal O’Brian readership, reputedly as picky and defensive about thoughtless liberties as any Tolkien or comics fan. But as a stand-alone entertainment, Master and Commander is enthralling and engrossing; classical storytelling with satisfying adventure novel flourishes.
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