È l'odissea di due coniugi, i quali partiti in crociera per dimenticare la tragica morte del figlio piccolo, hanno la brutta idea di raccogliere un naufrago. L'uomo è in realtà un assassino.È l'odissea di due coniugi, i quali partiti in crociera per dimenticare la tragica morte del figlio piccolo, hanno la brutta idea di raccogliere un naufrago. L'uomo è in realtà un assassino.È l'odissea di due coniugi, i quali partiti in crociera per dimenticare la tragica morte del figlio piccolo, hanno la brutta idea di raccogliere un naufrago. L'uomo è in realtà un assassino.
- Premi
- 5 vittorie e 6 candidature totali
- Dog Owner
- (non citato nei titoli originali)
Recensioni in evidenza
After a 100+ reviews, two comments might be helpful. Note that in the struggle to survive, Hughie's (Zane) main adversary is not the expected other male, John (Neill), Rae's husband. Instead, John spends his time trying to keep his head above water in that broken-down old schooner, a long way from the malevolent Hughie. No, it's up to the girl Rae (Kidman) to save the day any way she can, without the expected masculine help. Good thing, Hughie's got an eye for her "fine-boned head" and certain other features, otherwise she's a dead duck in the first five minutes. Thus, the real contest is a resourceful woman versus an unpredictable man that breaks with the long-established convention of combat "mano y mano". And this departure, I take, to be a reflection of a surging feminist movement then making its way into popular screenplays.
Another sign of the times is the anti-climax "add-on". In the old studio days, killing a guy once was usually enough. Then, after the bad guy was dispatched, the audience could relax and await a return to normalcy for the good guys. However, clever modern filmmakers found they could supply a surprise extra jolt by breaking with convention and bringing the menace back from the apparent dead. That way, the audience can never feel secure enough to relax, and suspense is kept on high right up to fade-out.
The price they pay, however, is moving from a semblance of reality into the realm of cartoon violence. Here, Rae hits Hughie with everything but a laser blast. So how does Hughie, who appears to be a mere mortal like the rest of us, survive to provide that extra jolt. As you might guess, only by departing from reality as the rest of us know it. Thus, the structure of the screenplay migrates from "what could happen" into "what happens only in the movies". And, for me, at least, I'm reminded that this is, after all, only make-believe. Nonetheless, the movie really does accomplish a whole lot with a surprisingly very little.
What's so good about Dead Calm is not its plot - it's the wonderful oceanic cinematography by Dean Semler. The performances too, are first-rate. The storytelling tries to balance John's struggles to survive as the Ingrams get separated, and Rae's personal battle with Hughie on the yacht as he tries to overpower her. John's scenes (with zero dialogue) on the ship are more thrilling than what happens aboard the Ingrams' yacht. As the antagonist, Zane was awkwardly creepy at times and laughably funny at others.
There's also the incoherent twist at the end, which was completely unnecessary. In this case, I'd have preferred the ambiguity. Nonetheless, it's a neat watch for the solid performances and some deliciously packed thrills.
The acting is really what sells this movie. A boat movie with only three characters can get boring quickly, but thanks to the cast, I was totally in it. Sam Neil is separated from the others for a good amount of the film, but when he needs to shine, he does. The anchors of this movie are Nicole Kidman and Billy Zane. Kidman is excellent as the emotionally distraught wife who is doing everything she can to keep it together while desperately trying outsmart the stranger. Billy Zane had me worried for a bit - I could tell he was acting, and at times he was a bit cartoonish, but by the end you come to realize that the character is an absolute nutcase so his erratic acting makes sense. You're not sure if he's just a guy who had a rough week, or a sympathetic victim of circumstance, or a straight up maniacal psychopath. This uncertainty helps keep the thriller afloat (yeah) and keeps you anxious to see whatever happens next.
The only real complaint I have about Dead Calm is that it does get a little slow at times. It's very atmospheric and moody for a majority of the film and there's no problem with that, but I couldn't help but be distracted during some of the longer quiet moments. Regardless, it all builds up to the movie's exciting climax which doesn't disappoint. The music is great as well - haunting and subtle. Keep in mind Dead Calm is not a jump-scare type of horror thriller. It's slow-paced, grounded and completely plausible, which for me is the scariest kind.
Lo sapevi?
- QuizBefore filming began, Nicole Kidman took lessons from the owner of the Storm Vogel on how to operate the ship. During the storm sequences near the end of the film, she is actually piloting the yacht.
- BlooperAt the end of the film, the suds from the shampoo in Rae's hair disappear.
- Citazioni
[assuming it's her husband that is washing her hair]
Rae Ingram: You know what I'd love for lunch? Fresh asparagus, then, um, pasta - angel hair pasta with heaps of basil, garlic, olive oil and, um, apple pie. Yeah. Uh, John, have you got a towel?
- Versioni alternativeOriginal prints of the film omitted the current ending (see Trivia).
- Colonne sonoreWho Stole the Isopropyl Alcohol
Written & Performed by Tim O'Connor
Copyright © 1988 Kennedy Miller Productions Pty. Ltd.
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Dettagli
Botteghino
- Budget
- 10.400.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 7.825.009 USD
- Fine settimana di apertura Stati Uniti e Canada
- 2.463.551 USD
- 9 apr 1989
- Lordo in tutto il mondo
- 7.825.135 USD