Au début de la Seconde Guerre mondiale, un capitaine inexpérimenté de la Marine américaine doit diriger un convoi allié traqué par un sous-marin nazi.Au début de la Seconde Guerre mondiale, un capitaine inexpérimenté de la Marine américaine doit diriger un convoi allié traqué par un sous-marin nazi.Au début de la Seconde Guerre mondiale, un capitaine inexpérimenté de la Marine américaine doit diriger un convoi allié traqué par un sous-marin nazi.
- Réalisation
- Scénario
- Casting principal
- Nommé pour 1 Oscar
- 1 victoire et 24 nominations au total
Jeff Burkes
- Shannon
- (as a different name)
Ian James Corlett
- Dicky
- (voix)
Maximilian Osinski
- Eagle
- (voix)
- (as a different name)
Dominic Keating
- Harry
- (voix)
Avis à la une
Not sure why there's so much criticism. This was a thoughtful showing of what must have been a terrifying time for all the crews in the Atlantic
It gave us nothing more than getting straight to the point kill or be killed in 24 hrs and to think the reality would have gone on for weeks .
I thought the effects were great and the realism worked well , really saw what a cold , wet and very hostile place and they were stuck in a very cramped tin tub without a break .
Because it was only about a day then the film is kept very short , especially compared to most nowadays.
Just watch and enjoy and thank it will never be like that for any of us
I will keep this short, I enjoyed the movie, the action and atmosphere was gripping. My only issue was the historically inaccurate scene at the end of the film when you see a troop ship with several thousand men cheering the Greyhound and its captain as they break off screening the convoy. No troop ship would ever sail in a convoy. Troop ships were usually passenger liners which could travel at 25-30 knots. This speed meant that u-boats usually could not target them, most troop ships travelled solo. A convoy could only travel at the speed of its slowest ship which sometimes was only 8-10 knots. The allies would never risk a troop ship under those conditions.
This is a movie about the procedure of command. This is an innately more complex task than the more common episodic approach that buries the procedural reality under a mask of plot and character. But this film pulls it off, largely by not shying away from the task.
Guess what? Naval warfare, especially the sort of highly asymmetric warfare shown here, doesn't really revolve around the captain demanding more speed while the engineer says she canna take it. If you're looking for a movie that's truly respectful of the labours and sacrifices made in the Battle of the Atlantic, then this is a fitting tribute.
Don't expect a character movie, don't expect to spend time below decks exploring the usual stereotypes. This movie is seen through the eyes of the captain, and the captain alone. I can think of very few other films that dare to depict the loneliness of command quite so clearly. There's little time for thought, there's no time to process or even truly grasp the horrors that they encounter (something which forms one of the roots of PTSD). What there is is the fight.
The fight is relentless and deeply technical. We've become used to fight scenes carrying a few bits of technical gibberish followed by some visceral and personalised action. There's no gibberish in this film, and the latter consists of the captain cutting his feet on broken glass. The movie, like the mind of the captain, is consumed with the intricate technical and personal demands required to hunt down a submarine at that time. That was clearly the aim here, and the movie has succeeded admirably at showing that particular aspect of this type of warfare. This is not a common way to stage a war movie, but it's worth doing well on a few occasions, and this movie achieves its goal.
The reviews show that many come looking for something more conventional, and end up missing the point, which is a shame.
Guess what? Naval warfare, especially the sort of highly asymmetric warfare shown here, doesn't really revolve around the captain demanding more speed while the engineer says she canna take it. If you're looking for a movie that's truly respectful of the labours and sacrifices made in the Battle of the Atlantic, then this is a fitting tribute.
Don't expect a character movie, don't expect to spend time below decks exploring the usual stereotypes. This movie is seen through the eyes of the captain, and the captain alone. I can think of very few other films that dare to depict the loneliness of command quite so clearly. There's little time for thought, there's no time to process or even truly grasp the horrors that they encounter (something which forms one of the roots of PTSD). What there is is the fight.
The fight is relentless and deeply technical. We've become used to fight scenes carrying a few bits of technical gibberish followed by some visceral and personalised action. There's no gibberish in this film, and the latter consists of the captain cutting his feet on broken glass. The movie, like the mind of the captain, is consumed with the intricate technical and personal demands required to hunt down a submarine at that time. That was clearly the aim here, and the movie has succeeded admirably at showing that particular aspect of this type of warfare. This is not a common way to stage a war movie, but it's worth doing well on a few occasions, and this movie achieves its goal.
The reviews show that many come looking for something more conventional, and end up missing the point, which is a shame.
Having served in the Cold War on both a destroyer and on a submarine, I found this story contrasting the tensions between both worlds. The action is shown from the bridge, CIC, and decks of the Greyhound, which BTW is the slang term for destroyers and those who serve on them. Hanks subtly conveys the ache of leaving a loved one behind and her presence with him during the battle. He and his crew feel the presence of the subs stalking the surface ships and the deaths of sailors both above and below the icy water. There is no perfect rendering of combat in film, but the repeated commands and protocols between naval personnel and vessels are accurate enough to convey a sense of proper urgency to the story. Compressing roughly 48 tense hours into a ~2 hour film doesn't give much time to absorb all that's happening, and that's the point. Training and subsequent reactions shape the story in the faces of the bridge crew as they watch the captain and follow his orders which he does not explain. This is about relationships between combatants, among the ships in the convoy, and between U.S. and British allies. This film, The Enemy Below, and Das Boot make a reasonable trilogy for a weekend marathon. Enjoy this story from either a technical or a relational view as you see fit.
Loved the authenticity and general faithfulness to the technical side of naval warfare. For me, this is a great movie, I love seeing small little details in how the captain commands his vessel, and every crewman doing their job, and quick glances to the CiC trying to keep track of enemy vessels. The movie didn't need to show the crewman following the captain around and repeating every word that Sonar/Radar reports, but it does so and adds a very nice detail that I found to be great, and also helped build the stress and tension everyone was under.
My only complaint is that the movie could have been longer. I could definately have watched a 3 hour version of this that took it slower in the style of Das Boot. Other than that, I recommend this movie for anyone that loves the more technical parts of warfare and especially naval vessels.
My only complaint is that the movie could have been longer. I could definately have watched a 3 hour version of this that took it slower in the style of Das Boot. Other than that, I recommend this movie for anyone that loves the more technical parts of warfare and especially naval vessels.
Le saviez-vous
- AnecdotesWhen the Captain refers to "Huff-Duff," he is referring to high-frequency direction-finding. This was a key method of how Allied naval forces detected and tracked German U-Boats: the Kriegsmarine's U-boat fleet maintained a high amount of radio traffic with its shore command and with each other for their Wolfpack tactics against Allied shipping. Huff-Duff allowed Allied naval ships to detect those radio transmissions and determine the location of those transmitting ships to attack them.
- GaffesOne of the German U-boat commanders taunts Greyhound over the radio. This would never have happened in reality. Each Navy ship had a radio signal direction finder and if a U-Boat broke radio silence, triangulation would reveal its exact position.
- Crédits fousDuring the first part of the end credits, some black and white WW2 era clips are shown.
- ConnexionsFeatured in Half in the Bag: Blumhouse's Dirty Secret (2020)
- Bandes originalesIt Came Upon A Midnight Clear
Public Domain
Arranged by Bill Cunliffe
Performed by Bill Cunliffe
Courtesy of Black Toast Music
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- How long is Greyhound?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langue
- Aussi connu sous le nom de
- Greyhound: en la mira del enemigo
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 50 300 000 $US (estimé)
- Durée1 heure 31 minutes
- Couleur
- Mixage
- Rapport de forme
- 2.39 : 1
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