Die letzte Nacht der Titanic

Walter Lord sadly died in May 2002 aged 85 and is justly famous for his meticulous research of the circumstances surrounding the sinking on Monday 15/4/1912 of the White Star liner,RMS Titanic and stirring the public's interest in this disaster.There are a few factual errors in this marvellous Rank Organisation 1958 film.The ship is seen to sink in one piece but this was the received wisdom in 1955 when the book was first published.The picture above the fireplace in the first class smoking room is seen to be "The Approach to the New World (by Norman Wilkinson).In fact this hung in the equivalent location on her earlier sister ship, RMS "Olympic".The correct painting should have been "Plymouth Harbour" by the same artist.Also White Star and the ship's constructors, Harland & Wolff just launched their liners at their Belfast shipyard without flowery speeches such as "....I Name this ship Titanic.May god bless her etc etc".The launching scene is actually of the "Olympic" which you can tell because of her light grey painted hull made more photogenic for the cine cameras of the day - Titanic's hull was black. with white superstructure and a gold band separating these two colours.Lord admitted these understandable errors in his sequel "The Night Lives On" (1986) after Dr Robert Ballard ( of the Woods Hole Oceanographic Institute ,Massachussets) at last found the final resting place of the ship, 2 1/2 miles down on the Atlantic floor in 1985.

That said, this is a riveting and unforgetable docu-drama of this historical event, arguably the most infamous maritime disaster (although loss of life has been greater in other shipwrecks).The fascination lies in the "if onlys".i.e. if only she had been going a few knots slower, if only she had had enough lifeboats for all instead of the maximum laid down by the British Board of Trade in their already out of date 1894 regulations, when the maximum tonnage was deemed to be up to 10000 tons.Titanic came in at 46000 tons.If the weather had been rougher, waves would have broken over the base of the iceberg thus making it more visible.If the crow's nest crew had been given binoculars (they were removed at Southampton).If the Titanic had not been delayed in her construction (and therefore her 31/5/11 launch) by her shipworkers being transferred to the repair in September 1911 of the RMS Olympic following a collision in the Solent with HMS Hawke.If 1st officer Murdoch had steered straight at the berg instead of trying to avoid it the ship may have stayed afloat (although deaths would have occurred by the crumpling of the bow).If the "California's" captain, Stanley Lord had raised wireless operator, Cyril Furmston Evans who had just retired for the night, instead of trying to contact the mystery ship with a Morse lamp.If Alexander Carlisle, marine architect who originally planned 32 lifeboats had not been over-ruled by White Star because it made the boat deck look "cluttered".In fact RMS Titanic ended up with 16 lifeboats, the regulation number required by law, but then White Star actually exceeded the quota by the provision of an extra two Englebert collapsible sided lifeboats with a further two lashed on top of the officers' quarters.If a vital ice message from the "Caronia" sent on behalf of Capt. Barr and received by senior Titanic Marconi operator John Phillips, had gone to the bridge in good time, warning of icebergs directly in the path of the ill fated vessel.And so the "if onlys" go on.

The fascination is of a small Anglo Saxon floating town set in 1912 with all the social classes represented from the aristocratic and rich (first) class, to the professional middle (second) class down to the emigrant and poor (third/steerage) classes - and "never the twain shall meet".The "gilded age", as termed by Mark Twain, had begun in about 1890 and society was marvelling at the wit of man and the many technological innovations and inventions.Perhaps Mankind could outdo Nature but a Greek tragedy was waiting in the wings to punish man for his rash hubris and arrogance.

There is a companion video available called "The making of A Night To Remember" which goes behind the scenes at Pinewood studios and shows the locations used.Actual Titanic survivors were invited as advisors to the Irish producer, William MacQuity, among them were Fourth Officer Joseph Boxhall, Lawrence Beesley, the science master from Dulwich College (who wrote the book "Titanic Its Story and Its Lessons, published by Houghton Mifflin 1912)- a second class passenger who escaped in boat 13.Captain Edward John Smith's daughter Helen stated that the actor Lawrence Naismith who played him, was uncannily like her father as evidenced in contemporay photographs of the two men at approx. the same age.Captain Smith died aged 62, (probably on his last voyage before retirement although this can never be proved).Actor Kenneth More is seen chatting to Sylvia Lightoller the widow of Charles Herbert Lightoller who was second officer,- read his biography "Titanic Voyager".The convincing creaking sound you hear as Andrews tries to sit down in the first class smoking room just before the end, was the actual sound of the hydraulic lifting gear in the studio as it progressively raised the floor.MacQuitty was very careful to ensure the accuracy of the film set angles (of the ever slanting deck as she sank by the bow and rose by the stern), were always matching the dramas recorded by witnesses, so there is a marvellous sense of continuity in the filmed sinking.The B&W photography merges seemlessly with the authentic period film and all the actors convincingly say their lines many based on actual speeches said by the principal characters as remembered by witnesses.This is a superb film.Watch Cameron's "Titanic" 1997 only for the special effects.

Three years ago I wrote comments on the 1997 James Cameron film "Titanic" for this database. Either because of the number of Oscars collected by this film, or its fantastic production cost of some two hundred million dollars, I felt ashamed when reporting that I found it to be a most uncomfortable combination of a historical documentary and an entirely fictional romance. I found it hard to understand why such a major film should have been split between two such disparate styles of presentation. Although I had recognised that several scenes in Cameron's "Titanic" appeared to have been directly copied from the excellent 1979 TV film "S.O.S. Titanic", I did not feel this was adequate to explain the strongly documentary flavour of so many other sequences. All was explained very recently when, thanks to TCM, I had an opportunity to see "A Night to Remember" for the first time. This is an almost completely documentary 1958 film based on a very thoroughly researched and near definitive book of the same name that was prepared from the testimony given at the official enquiries in the U.K. and the U.S.A., and written by Dr. Walter Lord.. Much of Cameron's film was also documentary and appears to have been directly based on this much earlier film, the remainder was a romantic drama that was essentially incompatible. Cameron probably decided on this approach because ANTR, with no well known stars in the cast, failed to achieve the same success in the U.S.A. as in the U.K. I can now understand that featuring the romance in the way which Cameron did was probably intended to enable his film to create a greater degree of viewer involvement with the unfortunate passengers on the liner and so help to avoid this problem. Unfortunately in my view the documentary and the fictional parts of his film never melded.

These comments on the more recent film are necessary before I can meaningfully report my impressions when watching ANTR Although filmed in monochrome and created with a much more modest budget, ANTR is a film that I will find it very hard to forget. Characterisation of both the passengers and crew seemed to me to be spot on, there were none of the occasional caricatures which jarred so severely in the later film. The drama of the events was left to speak for itself and this created a much more powerful film. The three aspects of the Titanic disaster which have gripped public interest so strongly for almost a century are the sudden impact on a community of 2,000 ordinary people from all stations in life as they gradually realize that they probably only have another hour to live, the impact of the rigid class structures of the period on the way in which this situation was handled both by the passengers concerned and by those in authority, and the enormous number of "what if?" questions that the disaster raised (such as what effect pressure to win the Blue Riband for the fastest Atlantic crossing may have had on the seamanship shown by the officers). All three of these aspects are fully featured in the film, but often in quite subtle ways, and none is given excessive weight. The camera-work and attention to details of presentation, such as the creaking and groaning from the tortured ship, are truly outstanding. Special effects in the 1997 film are admittedly much superior (after all $200 million must buy something!), but those in ANTR are quite advanced for its time and are more than adequate to prevent any serious jarring notes from arising as the film is viewed. Ultimately a film has to be judged primarily by the credibility of the acting and direction, not from the special effects, and I certainly support the view of the majority of IMDb users that these raise ANTR to the status of an exceptionally fine, if not almost unique, movie. A documentary presentation of a major marine disaster which is realistic enough to closely involve most of its viewers will never be everybody's choice of film to watch; but for those who wish to see it, this film will provide an exceptionally rich viewing experience.

Including the very first movie that dealt with the Titanic disaster, SAVED FROM THE TITANIC (1912) starring Dorothy Gibson, an actual survivor who wore the same outfit in the movie that she had on that fateful night just a few months earlier, there have been TEN movies made covering the sinking, A NIGHT TO REMEMBER, based on Walter Lords' ultimate reference work of the same name, was the 6th. The film has no equal! For those who are interested, the other nine ARE chronologically:

TITANIC (1915) TITANIC: DISASTER IN THE ATLANTIC (1929) TITANIC (1943) TITANIC (1953) A NIGHT TO REMEMBER (1958) SOS TITANIC (1979) TITANIC (1984) TITANIC (1996) TITANIC (1997)

The REASON that A NIGHT TO REMEMBER excels, is that it is a straight up docudrama of the event. Historical accuracy (lets forget the "split,"... although actually "suggested" by a few eye-witnesses at the time, it was believed the ship had foundered intact) was observed, the main characters were vastly better portrayed than in later films and the "scale" of the disaster far more keenly felt, for all James Cameron's $180 million! Kenneth More made an unimprovable-upon Captain Lightoller and Laurence Naismith simply WAS Captain Smith. (The less said about Bernard Hill's loopy characterization in Cameron's epic, the better!) Those who wish to compare multi million dollar digitization to that which was available in 1958 need to get REAL and for all that money, and exciting as Cameron's was - it just didn't either LOOK or feel anything more than, well...a massive film-set! The 1958 version went to the heart of the tragedy...and took the viewer with them. A NIGHT TO REMEMBER will remain a tribute...THE tribute to that night of madness. Little things, David McCallum fighting for his life-vest, Michael Goodliffe as Thomas Andrews - dignity personified waiting for his last moments, the drunken cook - they were all worth more than $100 million dollars worth of fx! You can't BUY credibility. This could never have been an American tale - it didn't work with the 1953 Barbara Stanwyck version and it didn't ring true for Cameron (good though it was as a movie rather than as the tragedy!) Did anyone notice dear old "Q" (Desmond Llewelyn) below decks and old Brit-turned-Aussie favorite Stuart Wagstaff, as a steward in Steerage?

As I looked in awe at the special effects used to create the more recent telling of the story of the Titanic, my mind wandered back to being ten years old and seeing "A Night to Remember" on our black and white TV. Watching the portrayal of the tragic deaths of all those people and realizing that the tragedy was real kept me from sleeping well for several days. While it doesn't have the flash of the contemporary film, it has the heart the newer version never has. No star-crossed lovers, no angry fiances wielding pistols, just the people who trusted the big companies and the engineers to produce an "unsinkable" ship.

This film, which starts slowly, draws us into the lives of the several characters--put together with delicacy from the text of Walter Lord's wonderful book. The tragedy is in the hopelessness of a group of people who are at the mercy of an overall antagonist--arrogance--which will destroy them. It is all dramatic irony, like so many disaster films are and we are the viewers. The movie tries to even inject an element of humor and show the totality of the human spirit, not just the incredible despair. It's what we are.

I'm sure modern viewers will criticize the pacing (although once the action starts, it is remarkably done), but this movie has more emotional clout than Mr. Cameron's also incredible film. The acting is subtle and controlled and if one is looking for heroism, there was plenty to go around on board that ship.

I've seen several film versions of the Titanic tragedy (I'm something of a buff--I'm distantly related to Mr. & Mrs. Edwin Kimball, who were 1st class passengers!) "A Night to Remember" is still the best, no contest. The effects are 1958 state-of-the-art, the script was meticulously researched, and the people are actually written and played as 1912 people (James Cameron's cast were a bit too much 1990's to be convincing). Even those characters who are slightly fictionalized (the "lady" who represents--without mentioning--Lady Cosmo Duff-Gordon, and "my dear son" and his family, for examples) behave as their real life counterparts would have in 1912, giving the film a documentary feel without failing to give the viewer people to identify with and care about. This is classic film-making at its finest!