Caine - Die Meuterei vor Gericht

I love Robert Altman's persona, a kind of hippy apres la lettre. He'd be fun to have dinner with. But I can never get with his movies. No matter how carefully he explains why he constructed them as he did, it always comes out sounding to me like a burglar's explanation of why the victim brought it on himself because he should never have left the windows wide open in the first place. This TV production is better than most of his movies, though. As a courtroom drama it almost has to be since the focus is almost always on exchanges between two or three people in an otherwise silent courtroom. (When Altman gets a chance, as in the party scene, he lets everything go so that when Barney Greenwald gives his climactic speech, the signal is almost buried in the surrounding noise.) I hate to be negative because, as I say, I like Altman and think the novel is marvelous -- I reread it every two years or so. But the production seems underlighted and unnecessarily dark, which casts a gloom over the exciting proceedings. The performances are okay but they don't always fit the part. Bogosian is nice as Greenwald. Daniels is a bit trim and comes across as more intelligent than he might be. (He ought to be like a brown bull getting the banderillas placed.) The Keefer character is miscast, period. Here, he is soft-spoken and deliberate, completely in control of himself, whereas Keefer knew very well that he was tanking his close friend during his testimony and was nervous and guilty. (His right foot danced all during his testimony in the novel, and he could not meet Maryk's intense gaze.) Keefer is always nervous -- except when he's lambasting the navy, then he comes into his own. These nervous tics are here given to the psychiatrist, a guy who definitely should NOT have had them, so that his frosty complacency could be more effectively destroyed by Greenwald. Altman turns the shrink into a complete fool with big pursed lips and thick glasses, which is extremely amusing, whether it fits or not. Just looking at this poor neurotic is a treat! Much of the success or failure of the production devolves onto Brad Davis's performance, and again the results are mixed. He is the person whose presence undergoes the most dramatic change, and Davis delivers during the breakdown scene. When I first saw this, in 1988, I was somewhat surprised at a particular twist Davis gave Queeg's character, especially during his first court appearance, a kind of wispy lisping quality, and I thought, "Geeze, is Davis trying to suggest Queeg was a homosexual?" I worried that he was going to wind up in a snit when he went to pieces, but Davis in the end projects a genuine-enough paranoid anger. Maybe if I'd never read the novel I'd have enjoyed the movie more, although I did in fact enjoy it. At least it was never insulting. I'd happily watch it again if it were on.

Excellent dramatic rendition of the final segment of Wouk's great novel. All the players made this picture come off looking like a real court marshall. Davis' portrayal of the oddball Queeg showed a man with a skewed personality and totally obsessed with an authority complex. Finally, Bogosian's Barney Greenwald's rant at the celebration party was the high point of the film. Courtroom enthusiasts should go for this one.

Overall, this is an entertaining, if not instructive, rendition of what Wouk got onto paper. It's well worth watching for everyone who loved Wouk's novel. The richness of what he wrote has led us to the world of private imagination, and films can seldom satisfy the complexity here. The problem seems to be miscasting in several directions. One is expecting a little more gray and perhaps a bit more subtlety in Davis's performance of the paranoid Queeg; this constant rolling of steel balls is probably overdone. That is to say, perhaps, there is only one Bogart, but there is a certain plausibility missing here. Bogosian makes a capable Greenwald, but once more, there is no solid grounding here of a wounded flier -- and so we also have a puny Keifer and a Maryk without the hue of seamanship. The callow Willie, however, fits the bill, as does Ken Michels as Dr. Bird, the smug psychiatrist. That, we found entertaining. We agree with the first reviewer that the director stepped on some lines with background noise, and we'll never understand why Greenwald had to fight to be heard at the party. In addition, everyone seems about the same age in this movie, like a fraternity costume party. Wouk's work has much to tell us about our own times. We'd like to see someone do this again, with a deeper commitment than what Robert Altman has provided.

Filmed theatre and made for television, yet as brilliant as any of Robert Altman's feature films, (and more brilliant than some), "The Caine Mutiny Court Martial", as its title attests, deals only with the trial that makes up the last part of Herman Wouk's novel "The Caine Mutiny" and is based on the Broadway play rather than the 1954 film version with which it will undoubtedly be compared. Of course, Dmytryk's film has already become legendary thanks almost entirely to Humphrey Bogart's brilliant turn as Captain Queeg, here played by Brad Davis and he's this films weakest link. What made Bogart's performance great was that his Queeg was a multi-faceted character whereas Davis comes across as a certifiable loon from the get-go. On the other hand, everyone else is just fine; Jeff Daniels as the lieutenant charged with mutiny, Eric Bogosian as his defending lawyer, Michael Murphy as the presiding officer at the court martial, Peter Gallagher as the judge advocate prosecuting the case and Altman's roving camera and use of sound ensures this is as cinematic as anything he did.

Robert Altman's simple and brilliant reprise of the celebrated fictional naval trial succeeds both as a series of character studies, and, more effectively than the Bogart film, as a rebuke of the sprawling anti-military novels (such as the Naked and the Dead) that followed World War II. Unlike the 1954 movie, this version is based on Herman Wouk's stage play and focuses exclusively on the trial itself. As events focus on the progression of witnesses in the temporary courtroom (it's a converted gym), each man is scrutinized under a microscope which reveals strengths, weaknesses, hypocrisy and anguish.

Facing the thankless task of following in Bogart's wake, Brad Davis gives an edgy performance as Qeeg, a ticky personality that slowly melts and becomes unglued in the witness chair. Eric Bogosian is just as watchable as Lt Greenwald, the razor-sharp defense lawyer who is torn as the issues of the trial tear into his own changing moral attitudes about the war. A cynical intellectual when he entered the Marines as a flyer, Greenwald now sees the pragmatic need for a structured military to defeat the evils of fascism (particularly as a Jewish American). To win the trial, he must destroy the life of a career officer and he's sick about it.

Jeff Daniels, Peter Gallagher and the rest of the cast are all top drawer. The 1988 TV Movie version is also able to briefly touch on issues of anti-Semitism and homosexuality that were expunged in the 50s big-screen version. The Caine Mutiny Court Martial offers that all-too-rare treat of allowing Hollywood stars to get into some meaty characters and performances which are normally reserved for the stage. Offered with Altman's trademark overlapping dialogue, it's great drama, an under-appreciated gem, and is well worth 100 minutes of your time.