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.'Seasickness;. . .'
'Doubtless this film had some momentum before production was even begun. Some ten years previous, Orson Welles also began a version, though never completed because of the death of a principal actor. And actually, both versions are based upon a novel that had to be re-written for the screen.
Hence, there are some possible rational explanations for discrepancies of the continuity of the script. After the sequence about the couple recovering together on their yacht, the continuity leaps and bounds away. There are really no supporting sequences about the dis-oriented survivor of The Orpheus, a brigantine rigged sailing vessel that has begun to sink. Instead of an accurate depiction of the psychopath, the film stetches the hysterical of the audience's imagination to put the characterization together themselves from what begins to transpire aboard the couple's yacht.
As a viewer, you are asked to believe the perspective of the paranoic couple, even though they behave somewhat anti-socially themselves, considering that the younger, distraught survivor may also be suffering from hypo-thermia, dehydration and other conditions typical of the survivor of a shipwreck. The scripting continues to exploit the viewer's feelings of paranoia and hysteria as the two characters. youngish wife shipwreck survivor, are presented as diametrically opposing partners of a bizarre, mini sex encounter. Of course, her motivation may also be explained as female manipulation of a sex partner for a particular purpose, but her facility for this mode of behavior also presumes another stretch of audience imagination heightened with paranoia and hysteria. Thus, both of the partners of the mini-tryst are being depicted as being at least somewhat extreme. And though this does not occur as a denouement, the film would have benefited from the earlier portrayal of the truer side of the characters' personalities. Instead, the incongruities of the personalities begin to parallel other discrepancies of a nautical sort; the naughty and the nautical. Specifically, why would they be rowing back and forth between the two ships, why wasn't an SOS signal transmitted immediately, why does the hull of The Orpheus have only a layer of rotten lap-strake and if the bilge pump wasn't going, what explains the water behind the cabin? Well, there are others, but the idea would be to have the audience assume the continuity for themselves, over the discrepancies, incongruities and ambiguities.
The males of the dramatis personae are well-enough cast, but there are some questions about Nicole Kidman being convincing as a sex manipulator and pilot of a 12 ton schooner, and still bumbling at putting together a shotgun and transmitting an SOS right away. So perhaps we have to relegate the portrayal of Rae to the oceanic vastness of the feminine mystique. While Neil portrays a character with few or no ambiguities, those of Zane's characters are similar to Kidman's. Both seem youngish and lacking worldliness, yet are depicted as being ruthless and calculating, as well as nearly psychically intuitive. Thus, a sort of pubescent conflict of wills, male against female prevails, while other characters, including even the dog, Benji, are secondary to the struggle between the two. With the fuel depleted and the sea claiming the sinking Orpheus, the prevailing winds and tides resolve the struggle as being that of the characters against the enormity of the sea.'Lire l'avis complet...
movie fan
This is a very suspenseful movie and holds your attention throughout the whole story. It's one of those movies that every time I discovered it was on TV, I would stop whatever I was doing and watch it. So it only made sense to just go ahead and buy it. It must be one of Nicole Kidman's earlier movies because she looks very young. If you haven't seen this but enjoy a movie that keeps you sitting on the edge of your seat, you need to see this one.Lire l'avis complet...