December 24, 2015 Leave a comment
Herman Melville (Ben Whishaw) has become preoccupied with the story of the Essex, and, convinced that the only way to rid himself of his latest obsession is to commit it to the page, travels to Nantucket where he has arranged to speak with the only surviving crewmember. Reluctantly, Thomas Nickerson (Brendan Gleeson) recalls his experiences as a cabin boy (Tom Holland) under novice captain George Pollard (Benjamin Walker) and his rather more experienced first officer, Owen Chase (Chris Hemsworth). Fast foes, the pair are determined to be rid of one another as quickly as possible, and in their haste steer the Essex into unfamiliar waters after hearing tales of a bounty of sperm whales in the remote Offshore Grounds. In so doing, however, they ignore another rumour, of an enormous white whale intent on destroying any ship that crosses its pod.
Prior to the release of the first trailer, buzz for In the Heart of the Sea was relatively positive. Ron Howard had just made Rush with Chris Hemsworth, a compelling sports drama with a charismatic lead, and had put together an impressive cast for their next film together, the story behind one of the greatest American novels ever written. The trailer changed everything, however, as discussion soon turned to the famous white whale, and how poorly rendered it appeared in the various effects shots that dominated the footage. For while Melville’s novel might have been a treatise on race, religion and revenge, in which the whale is as much metaphor as monster, Howard’s adaptation seemed to be positioning itself as a disaster cum survival movie in the blockbuster, in which the whale attacks were the main draw. The only problem? It didn’t look as though anyone involved had ever seen a whale before. Had Moby Dick already sunk its own adaptation?
It might come as something of a surprise, then, but In the Heart of the Sea isn’t nearly as bad as it looks. It’s no classic — nor is it even another Rush — but there is more going on than anyone had any real reason to expect. For one, the narrative device employing Herman and Nickerson is not only a more substantial part of the movie, it is also one of the most memorable. There is never any threat that the story won’t be told — history tells us otherwise, as does the poster for the film — but it makes for engaging drama nonetheless. With Michelle Fairley providing support as Thomas’ wife, the trio quickly build an uncanny rapport that foregrounds their subplot against the rather more more straightforward main narrative. Hemsworth is compelling as ever, but his characterisation — and his conflict with Pollard — is so by the numbers and predictable as to nullify any perceptible dramatic tension. There is a slightly unreal aesthetic to the film, and whether or not the performances are meant to ape that quality, their rivalry does feel a little cartoonish at times.
In context, meanwhile, the whale doesn’t look any more realistic, nor do the pods of regular-sized sperm whales that feature throughout, but Howard finds other ways of provoking a visceral reaction. The film doesn’t shy away from the butchery and barbarism of the whaling industry, and there are a number of shots demonstrating both the hunting and harvesting of these animals that really gets beneath the skin, no pun intended, and leads to some pretty interesting places. (When it is revealled that oil can now be extracted straight from the planet, you really fear for our poor little world.) Tom Holland is exceptional throughout as the young Nickerson, but never better than when forced into the carcass of a freshly harpooned whale and told to extract the more hard to reach pockets of oil from its depths. It’s an upsetting scene, and Thomas’ own tumult is plain to see. That is to say, then, that the whale’s retribution feels perfectly justified, leaving the real horror to come from the survivors’ own treatment of one another. Life of Pi and Unbroken didn’t shy away from desperation, but even within the boundaries of its 12A rating In the Heart of the Sea really makes you question not just the value of survival, but the very essence of humanity.
Not swashbuckling enough to compete with Star Wars, and not substantial enough to convince as any sort of counterpoint, it’s unclear exactly which audience Howard is fishing for. Like Blackhat, another of Hemsworth’s 2015 efforts that suffered a similar issue, however, it might yet make its bounty back on DVD. By the power of Thor — and Spider-man, too — if nothing else.