Latest / Houselights: A Film Director Podcast / Crimson Tide (1995) - Tony Scott | Houselights #166

Transcript

Crimson Tide (1995) - Tony Scott | Houselights #166 · Houselights: A Film Director Podcast

0:03
Welcome to the net Party. Welcome back to House Lights, our director discussion
0:23
show here on the Nerd Party Network. Today we're continuing the House of Scott
0:27
with the works of Tony Scott and his nineteen ninety film Crimson Tide. Well,
0:32
the tension of this military epic caused us to break out into sweat like
0:36
every other crewman of the USS Alabama him EXO Darren Moser, and I'm joining
0:41
again by my friend's weapons officer, John Webbs Mills and Chief of the Boat
0:46
Tristan Cobb Riddell. Gentlemen, the set Condition one s Q as we discuss
0:52
a Crimson Tide. I think you guys would like that, you know,
0:56
I gave you a nice nice positions. One of you is Vigo Mortison.
1:00
I mean, you're welcome. I think it's the ambitious to call for a
1:02
sequel for one sequel already Condition one SQ. You want a Crimson tie to
1:07
the tidening, you know, so, I will say, my wife doesn't
1:11
like the title of this movie. She's ever watched it, but she's just
1:15
like men made the title for this movie, like a woman would never title
1:19
something Crimson Tide. I'm like, oh no, it's but it's called this
1:21
because that's what the that's what it's Alabama. It's the football term. No
1:25
I know, I know, okay, I know, all right, No,
1:29
all that even I knew that. Yes, even even Tristan, even
1:33
Christan, even Tristan knew that. Yes, I were for three years and
1:38
that's all that I got from this. Well, even with Tristan. It
1:42
is funny because I looked up. I was wondering when was the Red October
1:47
because that's the other large, you know, submarine based movie, and it
1:52
was only five years before this, in nineteen ninety that it came out.
1:55
Obviously the book predates that, but yeah, it this was just definitely a
2:00
really strong entry into the you know, United States submarine based action movie with
2:07
a rippin' zimmer score. We'll get all that to hear. But Tristan,
2:14
I a little submarine Birdie told me maybe it was a Jack Russell terrier,
2:19
a little submard. It's an ultra low frequency message, I think is what
2:23
you got that you this is your first time watching Crimson Tide, So what
2:28
were you expecting? What did you know? I'm excited to hear. You
2:32
know, this is one of those movies that I was really ashamed that I
2:36
haven't seen and it's one of those I not walked by the cover in Blockbuster.
2:39
I mean it's like the Red and Black. I mean, so is
2:44
Red October. So is Red October really that different? I was gonna say,
2:47
it's not that unique. I mean, like I still remember the Red
2:51
vhs with Red October. No with this one. I just don't know why
2:54
I kept skipping it like I didn't. I never saw it on TV.
2:58
It never popped up on TV when I was around. No one was ever
3:01
watching it. I none of my friends were watching it. None of my
3:06
friends owned it. I you know, wentever to somebody's house, they didn't
3:08
have it in their library. It was just something that just completely got missed.
3:12
The only thing that I knew about this movie, the only thing,
3:15
and I'm not exaggerating, was the Star Trek conversation between Dinzel and bas Bassler
3:23
Fossler Fossler. And the only reason why I know this is because I think
3:28
it was a clip included in like the twenty fifth anniversary celebration of Star Trek
3:32
because it had like a whole bunch of startarkup culture references as Star Trek and
3:38
this was one of them. So that's literally the only thing I knew about
3:40
this movie was that scene. I was like, Dinzel, isn't it and
3:45
he's talking to a guy about Star Trek And it's probably Tarantino that punched that.
3:49
We know it is. I actually it looked it up that we know
3:53
exactly that Tarantino punched up all the nerds stuff, the friggin nerd yes.
3:58
And for the record, the Mobia Silver Surfer is actually the authoritative one.
4:02
Just gonna come in on that one. You gotta respect Kirby's but def con
4:06
two right away. Yes, I'm just stating at the fact you didn't know
4:11
very much. You just knew, you know all of that. But what
4:15
was your I mean not that we're jumping to end results, but you know,
4:18
what was your kind of initial reaction to this? Then? Oh,
4:21
I want to go ahead and jump to end results. I don't even care.
4:25
I freaking love this movie. This was an amazing movie. I was
4:30
the entire time I was watching it. I was just like, oh my
4:31
god, I cannot believe I slept on this one. This was so much
4:34
fun. This had great I mean, Tony Scott intension, it's just their
4:40
siblings. Basically at this point I just was this was a great Tony Scott
4:45
film. This was so much fun and just from the first scene, Gene
4:48
Hackman shows that he is just a master at his craft. Yeah, well,
4:54
I mean the thing is Gene Hackman. I always think of the joke
4:56
that Mistery Science Theater picked up where every time you see Gene hack Years to
5:00
go, oh, he's good in anything. But I think that, like
5:04
to to speak to your point, I saw this in the movie Theater.
5:06
Uh, and you know, I too have an affection for it, dating
5:11
all the way back to when I first saw it. And in terms of
5:15
that tension, I think that the best thing we can do is draw a
5:19
direct comparison back to House of Peterson and say, okay, compare the way
5:25
tension is done in that movie and the way tension is done in this movie.
5:29
Now, this doesn't take anything away from the positive that instances dost Boat.
5:34
Yes, sorry, dost Boat. You go to Doss Boat, tension
5:39
is handled differently. Okay, they still climb up out all that. Basically
5:43
once they go into the submarine. Here, Tony Scott keeps you invested in
5:46
everything and you feel like there's a lot of energy and action even though everybody's
5:51
in a little two foot wide room, and he still manages to stage it
5:56
in such a way. I think, going back to talking about true romance,
6:00
one of the criticisms that we leveled at, like you know, the
6:03
Drexel fight and stuff like that, is where's the topography all that I come
6:06
out of Crimson Tide. I feel like I could probably navigate my way around
6:11
this sub pretty well because I know where things are in relation to each other.
6:14
I think one thing that really helped that was I mean, I know
6:17
this is an obvious statement, but they did tons and tons of research and
6:23
they actually got to be like before they started production, I should say,
6:27
principal photography, they got a chance to tour an Ohio class submarine just you
6:33
know, just like the Alabama, and the Alabama is a real boat,
6:36
Like it's straight up a real boat and for those of you who don't know,
6:41
and it's an Ohio class submarine. And they got actually filmed then they
6:44
filmed the exterior of that was that happened to be the Alabama that day,
6:48
I know. And it's such a fun story. Do you want to tell
6:50
the story, like, ohah, how they did our good friend Tony Scott,
6:55
a friend of the US military, but to no surprise of anyone,
7:00
and they didn't really want to help with this movie once they learned it was
7:02
about a mutiny on board a nuclear submarine, and Tony Scott was really perplexed.
7:06
He's just like, wait, I was your boy with top Gun.
7:10
Why can't you help me out with this one? So yeah, but basically,
7:15
he through means discovered when a submarine was going to be leaving Pearlo Harbor,
7:21
hired some boats and helicopters to follow it, and legally in public view,
7:30
filmed the boat and it just happened to also catch it going down,
7:33
and that's what we see in the movie. Didn't technically do anything illegal,
7:38
but I'm sure if he wanted to make another military film, it's probably not
7:43
gonna He didn't go through the process. We all know where it's like you're
7:47
supposed to go and grovel to the Navy on your hands and knees and beg
7:51
for permission to photograph things and kudos, because it seriously is It's like,
7:57
you know, if you're gonna drive your car on the road on my on
8:00
my block, yeah, I might take a picture of it, and it's
8:01
like, you know, I think that out honestly, it's it's it's it's
8:05
the same thing. It's just like they weren't on a base that you know,
8:07
they they weren't on government property, and they were just out out tell
8:11
what to do. Hey, turn left, come over here. Yeah,
8:15
none of that. And also he just wanted to get some shots of it,
8:18
you know, skimming, and he didn't know that they were going to
8:20
submerge, and they did, and he's just like, yes, it's like
8:24
stars align. They got the end. He's like, did we get that?
8:26
Tell me we got that. Yes, can't have the sub come back
8:31
up, it's not going to listen to us. Yeah. Uh. And
8:35
then we also, you know, again very little actual military shots. At
8:39
least in the real world you had the French naval carrier and all of that.
8:43
So the French helped us out making this movie. So that was good.
8:48
Well them from w W two, well, I'm sorry, I can't
8:54
do it. But but the the funniest thing too is I think people lose
8:58
perspective as well. L that CNN in the mid nineties is a different animal
9:03
than CNN of the present, true and the twenty Yeah, but like the
9:09
twenty the twenty four hour News Network was like still something of an oddity,
9:15
like it because of the Gulf War, it became c this is CNN,
9:20
but like it was still like there wasn't like real competition for CNN. So
9:24
having CNN make an appearance in the movie was like, Oh, it's just
9:28
like the real world. Like it's a it's a nice touch. It's a
9:31
really nice touch. It's not VNN or some fake GNN in the movies.
9:35
Yeah, yeah, that one hurts a little bit to be us. But
9:39
once we get past that, and once they submerge to amazing rendition of you
9:45
know, was it men? Oh it's the hymn. Oh yeah, but
9:50
it's the naval hymn. You guys should look it up. But once we
9:54
once we're underwater, like we never resurface, we never cut to things is
10:00
happening. We are as cut off as our characters, which is brilliant.
10:03
I don't think they ever should have changed that. And yeah, so we
10:07
introduced to these characters, we introduced to all these things. But John,
10:11
what were you what were you going to say? No, I was going
10:13
to say, in terms of the cutting to the outside world. That is
10:18
something that I think Scott deserves a lot of credit for because you could probably
10:22
list at least ten directors that would have at least had a shot of somebody
10:26
in a frantic run down a hallway, Sir, we've lost contact with the
10:30
Alabama. We're as clueless as the rest. Yeah, where's clueless as the
10:33
rest of the crew. And I think it does a great job of like
10:35
making that stress land with the audience because you're as cut off as they are.
10:41
You don't know what's going on in the outside world. We had to
10:43
be the audience had to be cut off because if we're not cut off,
10:48
if we know what's going on in Washington, if we know what's going on
10:52
outside, then there's no tension between Joel has happened and what is not even
10:58
though we know, No, we know, but we don't know. Yeah,
11:01
we're both right and wrong. Well, Schrodinger' Submarines basically. Well,
11:07
actually, I spoke to a couple of people who were in the military,
11:11
and what was interesting was one of them said that in the course of his
11:16
training, there was like some day where they watched two movies and this was
11:20
one of them, and it was just a free discussion day where people could
11:22
sort of voice like who was right, who was and it was designed to
11:26
spur discussion. And there was another person who a little bit older than I
11:31
spoke to about it, and his perspective was, well, yeah, you
11:35
know you could, you could argue the point. And he said, the
11:37
only thing is that Denzel's character it's sort of drilled out of you. Pretty
11:43
hard not to disobey your commanding officer. He's like, the likelihood of Denzel
11:48
doing this is pretty slim in his experience. But he actually, I didn't
11:52
know this. He talked about a guy. His suspicion is that the story
11:58
I probably butcher the name Vastly Arkipov or Vasilli Arkipov. Apparently during the Cuban
12:05
missile crisis, this guy refused to hand over the codes because they wanted to
12:09
launch the missiles. And he's like, nah, I'm not going to do
12:11
it, and he wasn't. He's like, we're not sure what's going on.
12:13
Yeah, it's it was the exact scenario, like this is based off
12:16
of that that boat where the commander and the political officer like agreed, but
12:22
the XO was like nope, not nope, can't do it, not going
12:26
to do it, and they couldn't launch without all three confirming and uh.
12:31
And then once they rose up, once he actually was able to convince the
12:35
captain or the commander or whatever to surface. And when they surfaced, they
12:39
were surrounded by US destroyers and they're like, oh, crap, I hope,
12:45
I hope the nuclear war isn't going on. And thankfully, you know,
12:48
they got called home. They're like, nope, it's all good.
12:50
And they were able to able to go home. And the exo was right.
12:52
And it was really cool to read that that this actually happened on a
12:58
Soviet sub and then we translated it to an American story and Arkipov had a
13:03
apparently a successful career afterward. And that's one of those things where you hear
13:07
that and you're like, oh, thank God, Like you want somebody like
13:09
him or in this case, Denzel on the po continue to be in the
13:13
military. Yeah, those minds, Yeah, you do very much. So,
13:16
And I loved the I know this is the entire crux of the movie,
13:20
but I loved the combative nature between Gene Hackman and Denzel So Ramsey and
13:26
Hunter is just that I feel like you know with John, with what you're
13:31
with, with with what your guy said about you know, drilling it out
13:33
of you like to not disobey your your CEO. I think that they did
13:39
a good job of showing that Denzel was a very different kind of officer than
13:43
Gene Hackman. And I think if they didn't do that, that kind of
13:48
material wouldn't be believable because Gene Hackman is all about experience a man in the
13:52
trenches, like one of the few officers and commanders who has actually seen combat,
13:58
you know, in a submarine. And then you have Denzel who's all
14:01
book smarts and you know, academy grad and everything like that. Like I
14:05
like that they really drilled that home that these are two different schools of thought.
14:09
And one thing that I think one thing where I kind of rolled my
14:13
eyes and was just like no, no is when Denzel it was when the
14:18
fire went out, I mean, when the fire was in the kitchen happened,
14:22
and then they got it out, and then Hackman said, Okay,
14:24
we're going to run a drill, and Denzel said, out loud, why
14:30
the hell is he doing a drill? Now? The XO would not say
14:33
that out loud. I don't care how exasperated he was. I don't care
14:37
what situation he would have been in an EXO. Would never have say it,
14:41
said that out loud in front of other people, Yeah, exactly,
14:45
would not have betrayed the chain of command as it were. Because the man
14:48
at the XO is openly defiant or questioning the captain's orders, it gives everybody
14:54
the permission to do so. Yeah, he shouldn't have said it, But
14:56
I understand in the story them including that because we're still just getting to know
15:01
these characters. It's very early. And so one of the things I noticed
15:05
in this rewatch was I like how Gene Hackman uses an analog stopwatch and Denzel
15:13
uses one of those giant nineteen nineties you know, digital start watches, you
15:18
know when they're timing the crew or whatever. And it was just a nice
15:22
little nod of like old versus new, analog versus digital, which we see
15:26
that play out over and over in this movie. But it's a great little
15:30
detail, you know, to include. And and I didn't even pick that
15:35
up, I don't think the first time I saw it, but on a
15:35
later we watch did Yeah, I definitely on this rewatch picked up bits like
15:41
that, really highlighting certain things. I think that the visual thing that I
15:48
disliked a little bit this time around, to show sort of like the differences
15:50
in people's views and everything is Tony Scott gives James Gandolfini a little too many
15:58
instances of mugging at the camera to make it look like he's having a little
16:00
bit too much fun with it. It's like, you know, like it
16:04
sort of detracts a little bit from the seriousness of the scene because it feels
16:07
like too strangely, even though it's just a you know, give me,
16:11
give me a reason to shoot you, a want to shoot you? Right,
16:15
It's like, do you is that what? You've known him for two
16:18
Yeah, you've known him for two days? How do you hate him this
16:19
much? Like what's going on? I don't get it. I don't get
16:22
it, although it is fun, you know, because I don't normally,
16:26
unless I'm doing this podcast, watch a director's filmography in order, and so
16:32
it's really interesting to see things like that with James, like, oh,
16:36
yeah, he's in this because we saw him in True Romance and he obviously
16:40
killed it in that, and so so I love seeing the actors that reappear
16:45
throughout a director's career, and you know, like, oh, yeah,
16:48
that's my boy. I got he's gonna he's gonna love this role. He's
16:51
gonna get to him a gun at somebody and do this and that, and
16:53
well we're about to see a whole lot more Denzel as we continue on in
16:57
the House of Scott. That's true. He seemed to really get along with
17:00
Tony. They seemed to have a good rapport I think, speaking of which
17:06
diametrically. Uh, Denzel caught Quentin Tarantino on set. Yep, you know
17:11
we all know this story where call this one, tell this one. So
17:15
Tarantino, uh, you know, went on set because he became friends with
17:19
Tony Scott, like they they developed a fast friendship with their work together on
17:23
True Romance, and Tony Scott brought him, brought Quinton on to sorry to
17:29
just use his first name, brought Tarantino on just to do a little bit
17:33
of punch up. And that's what we were talking about earlier with the nerdy
17:34
crap that he inserted that sticks out like a sore thumb. And so he
17:40
went on set to visit and Denzel approached him and said, hey, I
17:44
want to talk to you. You know, you use the in word a
17:47
lot in your movies. Let's talk about that. And Tarantino got really embarrassed
17:51
and said, hey, if you want to, if you want to,
17:52
you know, if you want to talk about it, we can, you
17:53
know, we can kind of kind of go off to the side here and
17:56
talk about it. He's like, no, let's talk about it right now.
17:57
Let's talk about Let's talk about it in front of everybody. And Tarantino
18:00
got really embarrassed and left, and Denzel and Tarantino didn't really have too much
18:06
interaction after that. But I think the story goes that Denzel felt a little
18:10
guilty afterwards and did apologize and saying like, I shouldn't have called you out
18:14
in front of everyone. He didn't say I shouldn't have called you out.
18:15
He said I shouldn't have called you out in front of everybody. But then
18:19
you know, reached out to him and say like, are you gonna hold
18:22
a grudge forever? What's going on? But they have compliment each other in
18:26
through the press, back and forth throughout the years. So I think it
18:29
was a situation of, you know, Denzel is Denzel, and he didn't
18:33
like it, and you know, like and Tarantino has kind of put his
18:37
stamp on that word in his movies. Well, the one one version of
18:41
the story that I've heard also is that Tarantino, when confronted like hid the
18:45
rest of it, like because he was on set to do with the on
18:48
set punch ups and everything, and he basically like closed and locked his door
18:51
and you couldn't get in and less you knock, the sort of thing,
18:53
which is an interesting sort of thing, you know, in and of itself,
18:59
because you know, having the let's just go ahead and address Tarantino's you
19:03
know, contributions. We've already touched on it and everything, but I'll go
19:07
ahead and say it. The attempt to recreate the scene between Christopher Walken and
19:12
Dennis Hopper with that final talk that they have as they're waiting, you know,
19:17
for the three minutes at the end, Yes, terrible sticks. It
19:21
like absolutely sticks. Like when I first saw it years ago, I was
19:25
like, oh, okay, this is familiar. I watched it this time
19:26
and it comes so out of left field, specifically because Gene Hackman's character betrays
19:33
nothing about any racial animus previous to that moment, and it makes no gosh
19:38
darn sense. It has no place in the script, And as I'm watching
19:44
it, I'm actually sitting there saying, this movie would actually be better if
19:48
it was quote unquote three minutes of them just staring at each other, not
19:52
even talking and cutting to other people, sweating and looking around, sort of
19:57
the way that or if you want, I have some sort of countdown of
20:00
the loudspeaker or something, or you know, the guy calling him is like
20:03
we've almost got the radio on, sir, going on in the background,
20:07
sort of the way Nicholas meyer Bild's attention in Star Trek six as they're flying
20:11
in and you just see all of these silent crews sweating and listening, like
20:14
you know, two minutes until it's like, uh okay, what's going on
20:18
me? Where the mutineers the first mutiny are trying to convince weps. That
20:23
was a great scene. You had a little bit of a Dutch angle going
20:26
on. They're all like basically like we need you, like we can't do
20:30
this without you. And I noticed in this in this viewing, really what
20:36
turns him is like they kind of just stop talking and just stare at him
20:41
like it's the you always want to f fill the silence, and so they
20:45
make their point, but then they kind of just stare him down and he's
20:49
internally struggling with do I do this? Do I go against my friend?
20:53
Go against the chain of command and the orders and all that, And so
20:57
that scene was great, but you're I think you're right, John, I
21:00
think anything but what that was in that last scene would have babably been better.
21:06
Actually, I'm so glad that you brought that up, John, because
21:07
that was kind of at the top of my list of what I wanted to
21:11
talk with you guys about, because as I'm watching this and then they bring
21:15
up the whole they're born black but turn white or something like that, I'm
21:18
just like it like it. It literally made me kind of twitch where it
21:22
was just like, wait, where did that come from? Exactly, Like
21:26
we didn't establish that in his character whatsoever throughout the movie. And then all
21:32
you can make a horse do whatever you want. It's just a matter of
21:33
voltage. I'm like, the undertones of what you're saying, dude, are
21:37
like not yeah, And I'm just like because at first I'm just like,
21:41
wait, is it a race thing? I Mean, could it not be?
21:45
But the more I think about. I was like, of course it
21:47
is, but then I just it was so strange. It was so nothing
21:51
else that telegraph that it was an old young, old new dynamic throughout the
21:56
whole movie until that point. And a much better moment and a much better
22:00
speech to try to mimic what have actually been James Gandelfini's when he's talking to
22:07
Alabama, right that moment where he's talking well, but he's talking at her
22:11
in true romance about and you know, now, I just do it to
22:15
watch her expression change, right, Give Hackman something like that where he's talking
22:21
about he's like, yeah, everybody says the world is changing, but you
22:23
know what, the world doesn't change people. And you find and basically have
22:27
him espouse his worldview that I refuse to believe that they didn't launch them first
22:33
because you can't trust anybody. And you find out that he's been trained to
22:37
believe all of this so he just can't escape it. So move that.
22:41
Yeah, the conversation he and Denzel have where and they're both right again.
22:48
He's like, well, you're assuming all of our other subs didn't get taken
22:51
out, and I have to assume that they did. Move like have a
22:56
little bit of that in that moment, because it is the inciting moment of
22:59
the of the fur of the takeover, I guess. But yeah, I
23:03
think if you had moved more of those points into that last three minutes where
23:07
you're like, Okay, well man, like you you're making a really strong
23:12
case, Gene Hackman, like you're again, you're not absolutely wrong. And
23:18
what it does come down to is time, because I started to think towards
23:22
the end when they're like, oh, this many minutes until they have launch
23:25
capability, and I'm thinking how long does it take our missiles to get to
23:27
them because we're kind of running out of travel time, Like if we launch
23:33
at one minute left, does it take a minute? Does it take five
23:36
minutes? Like, I don't know, but it takes time amount of time,
23:41
and so yeah, it don't don't don't think about that, don't double
23:45
care, you know, I'm just thinking about it. Then on clocks where
23:48
we reset the counter, you know, it's like daylight saying, I just
23:52
wish I could do that at all. My clocks just open up. And
23:55
now that is a solid question in the Yeah, it's one of those things
23:56
where you're not supposed to think that hard, right. Well, I'm not
24:00
saying it was bad to think that way. It added attention to me because
24:03
it was absolutely yeah, yeah, I mean we're supposed to. I think
24:07
the reason we're able to gloss over it is to make a point to talk
24:11
about how they're basically right along the coast, and so the idea is that
24:15
they'd be able to hit that missile site before they could even launch anything,
24:19
because if they get there after they launched, then it doesn't it right,
24:23
but they could blow up the missile site. I always I take it as
24:27
they were targeting the missile site, and that yeah, I always took it
24:32
as that. Yeah, and and and the thing is, though, is
24:33
that I get I'm going really into the monuti here, is that if they're
24:38
sneaking up and they're targeting the missile site, why does it have to be
24:42
nukes that they're that they shoot towards the missiles, like well, a destroyer
24:48
or something. I I'm not speaking from a position of authority here, but
24:53
I believe that basically what the submarine would have had is the nukes or torpedoes
24:57
to shoot other ships, and they wouldn't have necessarily had cruise like they wouldn't
25:03
have had ordnance somewhere in between, because space is that it's designed to just
25:07
drop nukes and defend itself. I get that. I get that, and
25:11
I think you guys are absolutely right. But again, is this is the
25:15
story. This is what it is. It's about nuclear war. I get
25:18
that, guys, I totally do. And listeners, I get that.
25:19
No, no, but I mean, like in the real world, I
25:22
think these subs go out and they don't have a capability. They're either going
25:26
to start slash finish nuclear war or defend themselves, and like that's it because
25:30
space is at such a premium in the in the submarine. Again, I'm
25:33
not speaking from a position authority. You're not wrong, Tristan, but eh.
25:40
So yeah, so we get this powerhouse dynamic between Denzel and Hackman,
25:45
But for a moment, I want to talk to about a lot of the
25:48
other officers because man, this was a stacked cast of like really really good
25:55
acting. We got Vigo Mortison as his friend and buddy with his kid's birthday
26:00
party, had to choose between him and his captain as WEPS. I just
26:06
want to say I love all the like acronym name calling in this It just
26:11
it makes me think of like capcom and Fight Go, you know in Apollo
26:15
type mission, so like webs and ops and comms. And I'm just like
26:19
everybody should just have a name like that. It just sounds so cool.
26:23
But yeah, there's man these you want to talk about the one thousand miles
26:26
stare Like, these guys know how to stare each other down again pouring in
26:33
sweat. It's like the sweatiest ship I've ever seen. That's how you show
26:36
tension. Guys, just doubse them, get a little mister like, okay,
26:41
shoot the scene. But what do you guys think of? Just yeah,
26:44
all these amazing I love Chief of the Boat. Again. I don't
26:47
know the real names. All I know is their position. But you have
26:51
George I can never pronounce George Zinza, who is a fantastic character actor who
26:57
played Cobb. You know je Galdofina, which we all know. Rocky Carroll
27:02
who played Lieutenant Westergard. He was He was on n CIS for like almost
27:07
four hundred episodes, Oh damn was and he I he is a very underrated
27:14
actor. And also Jamie Gomez. I love seeing Jamie gomaz I just he
27:18
just pops up every now and again, and then of course you know again
27:22
another name that I can't pronounce, but Michael Milhone. You know, he
27:26
is one of those character actors that, like, this movie is filled to
27:30
the brim with character actors. And then we get a young Steve's On and
27:33
Ryan Phillippi who has no lines. Correct, he has no lines. It's
27:37
just the beginning. And I I love the fact that we even get treated
27:41
to a to Jason Robard's at the end of it as oh yeah, one
27:45
heck of a guest appearance as it were. I Oh, and Ricky Schroeder
27:49
was the guy who was closing the he had to lock Steve's On down.
27:53
That was a really, really awesome moment, Like I when Steve's on guns
28:00
smacked in the face with that metal plate, I literally gasped like I was
28:03
by myself, and I gasped out loud. And it was so necessary to
28:08
do that because I think in that moment, you the audience then becomes much
28:15
more sympathetic to the idea of closing that hatch because if he closed like,
28:18
that's gonna stick with you. And so having having Steve's On get smacked,
28:22
you're okay with rick Schroeder closing the hatch at that point, like, oh
28:26
yeah, okay, that's gotta happen. So I remember the first time he
28:30
went by the camera and I'm like, that looks like a really young Steve
28:33
song with the buzz cut and all that. Yeah. That, yeah,
28:37
the hatch scene. That was that was a great scene. And you don't
28:40
you don't walk away normal from that, No you don't. You know that
28:44
a therapy for the rest of his life. But I love the Choku in
28:45
his voice where he's like, sir, like like it was a it had
28:49
to be done, like I am, I am an extension of your will
28:52
at this moment. I did not want to do this, but I followed
28:56
your order and those men are dead now. Yeah, it's it's It's interesting
29:03
to me that True Romance is a movie where everybody talks about how stacked the
29:07
cast is, but Crimson Tide has a stacked cast but doesn't get the same
29:11
sort of shine on it. And I think that's largely because Hackman and Washington
29:17
are so clearly the characters that we're focused on, whereas True Romance around them.
29:22
Yeah, True Romance feels much more like an ensemble piece. And this
29:26
is much more like Star Trek, where it's like you have your two or
29:30
three leads and then everybody else is supporting them no matter who they are after
29:33
that point. So that's probably why probably I wonder if it would have been
29:37
interesting because like the dynamic works well, but like by not having Webs on
29:42
the bridge, like you kind of split, because I think this would have
29:48
been a really interesting movie if Webs was standing right there. Those are the
29:52
three guys, but they're in two locations, so you have this kind of
29:56
separation like above ground blow ground kind of ynamic. Uh, And I mean
30:00
it definitely worked the way it was, but you know, when you mentioned
30:04
Star Trek and the three, I'm like, Okay, who would have been
30:07
Who's bones? It's like, oh, that's Webs obviously, Like that's the
30:10
character we know the most of I love that they give. They give Webs
30:14
the moment, they give Vigo Mortenson the moment to look away from Denzel Shame.
30:18
Yes, because yes, once everything he looks at everybody. He looks
30:22
at the one guy, and the guy likes like he looks at everybody.
30:26
Eybody looks away when's not happy about it. But I gotta I gotta quite
30:30
like I imagine they never attended a birthday party together. Ever, it can't
30:33
ask. That's the end, right, he is not invited to the next
30:37
person. They didn't. They didn't reconcile after this. It didn't go well,
30:41
you know, and I felt with them for petty officer glasses, mister
30:45
I'm gonna get shot by my captain. Oh. I hated that part.
30:49
That was my least favorite part of the entire movie. And too far,
30:53
one step too far. I think that scene works better if somebody who's trying
30:59
you know who the captain is has on his mutanty crew. There should have
31:03
been two or three people who peeled away and they were like whoa, hey,
31:06
no, no, no, no, no, this is we if
31:07
we can convince people, yeah, but no we're not. We're not doing
31:11
this. Or it's Gandolfini who does it like for the captain and the captain
31:17
comes and it was just like, hey, whoa, okay, well yeah
31:21
that could have been right. It makes me think of The Rock where Ed
31:25
Harris has that stand down captain where his voice cracks and you're like you're realizing
31:30
he's losing control. Like, I don't know, we needed some voice cracking
31:34
or something something else. Order, Yeah you will, I won't do that
31:40
order. Yeah. Yeah, Oh that's a great scene. That would be
31:44
like the only reason why I want to do like House of Bay was still
31:47
so we could talk about the rock. Thirteen and a half hours is a
31:49
pretty darn good movie. Has his painting gain good pain and gain is I
31:56
think, just a delightful little I'll keep hey, everybody listening, it's John
32:01
here. I'm going to keep trying to talk Tristan and to doing House at
32:06
Bay. We'll keep working on that for you. Transfer. But yeah,
32:10
like to go back to it? Yeah, that was that was something where
32:15
I was like it back to it? Yeah, I was like, that's
32:16
too far. I don't like that Hackman did that. I know that.
32:20
I know that thermal nuclear war is in Hackman's brain. I understand that.
32:25
And like he's trying to say, like he's trying to save America, speech
32:30
it. He needs to speech it to webs to convince him. Yeah,
32:32
it's just I just didn't like that because it felt too foreign, bad guy
32:37
eighties movie, like, oh you pissed me off, and so I'm going
32:40
to shoot my own men. That doesn't happen, you know, like on
32:44
an American, don't you. I'll admit at him, it's like, what,
32:49
yeah, I just if you excise that scene in the Tarantino stuff,
32:52
I think this would have been a near perfect movie. Well, I do
32:55
want to say just on Tarantino's behalf, like, yes, those two scenes
33:00
are the most blatant recognizable. I'm sure he punched up other stuff in the
33:04
script that I want to make sure we give crap for him. Well,
33:07
I'm willing to bet because I did watch it with the eye toward Okay,
33:09
can I sniff out the Tarantino? There is definitely a difference in John I'd
33:16
be dead, But there's a definite sort of shift in certain scenes where all
33:22
of a sudden there's a heck of a lot more cursing. And I phrase
33:25
it that way on purpose, but like there's you know, you're going along,
33:29
You're like everybody's prim and proper and they're talking navel and then there's a
33:32
scene where everybody's dropping the F bomb like every other word, and I'm like,
33:37
this feels like Tarantino touched this. It just really feels like Tarantino was
33:40
in the room. But how powerful was that? Shut the f up?
33:45
Yes from gene Hackman to Denzel. They chose their moments. Oh yeah,
33:50
yep, they did. That one worked. That one worked. That should
33:53
have been the only one that should have been the only one to get a
33:57
PG thirteen rating. What f bomb? You give it to gene Hackman right
34:00
then, I would take it. I take it. I mean that's what
34:04
this got R for was language. I'm pretty sure, which is which is
34:07
pretty crazy because the themes are pretty strong and he does threaten people with uh
34:13
murder. So you mean, well maybe that's but primarily no, But I
34:19
think I think you're right because you don't see anybody's like brain scattered across something.
34:22
So it's like, yeah, miso, So okay, So speaking of
34:29
which, like you know, actually brains splow to everything. So when Denzel
34:35
successfully mutinied the first time and gene Hackman was sent to his quarters, I
34:39
wasn't paying attention to the time. You wait, wait, where'd gene Ackman
34:44
go? Well, no, no, part of me. It was just
34:45
like, oh, end of movie, you know the movie, right,
34:49
And I feel like in another time or a different director, that would have
34:53
been the end of the movie. But Tony Scott needs to add more action
34:57
to it. And take of the and then a retake of the retake.
35:01
Exactly. Yeah, it's a retake of the ship and then a retake of
35:04
the retake. And that's like after Gene Hackman's in his quarters, the captain's
35:09
cabin. Once we go from that moment on from the movie, it turns
35:15
into a little bit more of an action film and less of an intrigue and
35:21
less of a military drama. You know what I'm saying, alone in this,
35:24
No, you're not alone. You're not alone in that. I think
35:28
the only question is how well we think it works, Because that's my question
35:31
to you guys. I think that it builds up enough of the intrigue part
35:37
that the action y part feels earned enough to function if there was so much
35:45
as a five minute imbalance, like and there kind of is with that that
35:51
conversation at the end, Like that's the imbalance, right, That's that's the
35:54
over indulgence. Is that speech about the horses and some of the excess f
36:00
bombs and pointing the gun at the kid's head. It's like, those are
36:02
the moments where you're like, ah, like you were getting away with it
36:07
and then you got a little greedy. You made just a couple of bad
36:10
calls here at the back end of it that weren't set up in the front
36:15
half. Like I can completely get why it would devolve into this mutiny remutiny
36:22
re remutiny sort of situation, because the whole first half of the movie is
36:25
setting up how big the stakes are and how how fervently both sides would believe
36:31
they were correct. Yeah, I like when you're talking about payoff and set
36:36
up in payoff, I think they did a really good job with like the
36:40
petty officers, with Revetti the sonar supervisor. God Sonar is thenother guy over
36:45
here, and with Vossler the radio operator. So Revetti's the one he gave
36:51
the keys to. He's like, hey, come if things go south,
36:53
come get break me out of jail. And then Vossler was like again his
36:59
Scottie and like, hey, you gotta you gotta fix the the radio where
37:02
we're all dead or I'm gonna be in big trouble basically, So I love
37:07
the payoff we had of that as like later on in the story, Yeah,
37:10
I get to interrupt. I love that Vossler. I just hung up
37:16
on Denzel. It's like, how long is it gonna be yeah, and
37:22
then Dail's like, oh, that's not a good sign. He can't even
37:24
give me an estimate. But yeah, no, I I think you're totally
37:30
right, John, I think there was enough good will earned on what's happening.
37:35
And it was also clear they also told it well. I understood who
37:38
was in charge at whatever given moment. It was never confusing, like and
37:44
and there were a lot of great little moments I loved, you know again,
37:45
the first moment they put Gene Hackman in his stateroom and the petty officers
37:51
are like, what are you doing, Bob, He's like, I'm pissing
37:52
my pants. Like he's like yep, yep, because they're like, this
37:57
is not a good day. It's like we are the ones we're gonna get
38:00
screwed up. But and then the really it bookends these two moments. It's
38:06
that moment, and then it's the moment where Gene Hackman's walking onto the bridge
38:09
at the very end and he's like shoot me and the guy's like, crap,
38:15
crap, crap, cas. He's like, I can't. He's like,
38:17
the thread of the gun isn't working. The thread of the gun isn't
38:21
working. You know because there he's past that. That was a great moment,
38:24
Like that bookends the entire mutiny right there, those two moments. But
38:29
then not that they got greedy. But I think we all agree like that
38:32
conversation the three minutes. I don't know something else needed to go there,
38:37
but I love those moments. There's a lot of great little moments in this
38:42
whole movie. Well, speaking of great moments and such, one thing I
38:45
want to say, and we're all Batman fans here, but really, turning
38:50
an ear toward the soundtrack, you can really kind of get a sense of
38:55
Zimmer is going to revisit some of this. And Batman begins. There are
39:00
certain cues. It's not a one to one. He's not I'm not claiming
39:04
he's ripping himself off or anything, but listening to some of the cues,
39:07
I'm sitting there and I'm like, this is I feel familiar territory right now?
39:13
What feels a bit Batman begins. I'm not saying that as a day
39:16
no. I insist that it felt very nineties Zimmer. To me, this
39:22
felt very nineties z This This movie reminded me the difference between ninety Zimmer and
39:29
post Inception, Zimmer, I, well, Inception is still past Batman begins.
39:34
I still think there is there are hints point there. I think there
39:37
are definite rock next year was the rock after this? Yes, and I
39:40
see a lot of that in this. But but it's just it's definitely it's
39:45
I can see this sound evolved. I can hear the same composer here,
39:50
is basically what I'm saying right Like to your point, I might listen to
39:54
Inception and I'm like, I don't really hear Batman in there anywhere, but
39:58
I this, I hear him starting that journey towards Batman in this. That's
40:01
interesting. I'm gonna have to re listen to that soundtrack. And there is,
40:06
unquestionably there's a cue in this that became like later because ten years after
40:10
this. But I see what you're saying though, But but there is definitely
40:14
a vibe as well, because one of these cues is used in so many
40:20
action movie trailers for like the ten years after this, like and every time
40:23
I hear it, I'm like, oh, like I just want to say,
40:25
like coming this summer to a theater near you. I'm like action Red
40:30
Black Submarine movie post. Yes, Yeah, I want to talk about the
40:36
cinematography real quick. So this was Darius Wolfsky who became this is this is
40:43
interesting to me because because Tony Scott took his own life, unfortunately and sadly
40:47
he took his own life, and after that he became really Scott's director of
40:52
photography. I find that very interesting because huh, I didn't realize that because
40:58
after because we have like like there's Wolfski he shot Pirates of the Caribbean movies
41:04
and so like after Crimson Tide, you know, he did you know,
41:07
in the ninetiesid did a perfect murder Dark City, the Mexican Pirates of the
41:12
Caribbean movies. Like I said, he did Sweeney Todd with Tim Burton,
41:15
and he did Alison Wonderland with Tim Burton. And then we see him in
41:20
Prometheus, The Counselor Exodus, Gods of Kings, The Martian Alien Covenant,
41:24
All The Money in the World, The Last Tool House of Gucci, Napoleon.
41:30
You know, I haven't seen Napoleon, but you know, that's really
41:32
interesting that you say that, because there is a certain visual quality about those
41:38
movies that you're talking about, where as I'm sort of playing certain shots in
41:43
my head I'm like, ha, okay, do you believe are you saying
41:46
you believe that this might be a way for Ridley Scott to have maintained some
41:51
sort of connection with his late brother. You know, I don't know if
41:53
I want to go that deep. I mean, I would like to,
41:57
I really would. I would like to, but I can't. I can't
42:00
surmise that. But I think it's one of those things where you know,
42:04
under the house of I think at the time it was called RSA, which
42:09
was Ridley Scott Associates, where you know, everything was like you have Scott
42:13
Free, which is the you know, is Ridley Scott's production company, and
42:16
then you have Ridley Scott Associates, which is kind of like an umbrella term
42:20
for his movies and his music videos and everything else. And I feel like
42:24
it's one of those things where you know he works so well, like because
42:28
he didn't work with Ridley Scott before Tony Scott's death, and so I feel
42:31
like it's one of those resources. This is complete conjecture, of course,
42:37
but he found one of those resources that Tony Scott left behind. And I
42:42
love that Wolski is one of those resources where he was able to stay within
42:46
the Scott family. And I think with me, one thing that really screams
42:52
Wolski is texture. I love his texture. And and and John, you
42:57
should wait for the and everybody should wait for the director's cut, the director's
43:00
cut of of Napoleon. Can we just call it the inevitable director's cut of
43:06
the inevitable director's cut of Napoleon? Yes, But I have seen the theatrical
43:09
theatrical cut of Napoleon and all the movies that i've I've referenced of Scott and
43:15
and everything else that he's talked about. The texture that he presents is really
43:19
fantastic. And and Darren, you joked about how sweaty this movie is.
43:24
I mean, think about the there's a pa on the just out a shot
43:28
who got it had a mister bile like on everyone, but hey, it
43:32
conveyed tension. It just was very obvious. Although to go back to the
43:37
talking about the radio ops guy working on everything, it was excessive to the
43:42
point where I was like, well, of course the radio is shorting out.
43:45
All the water's pouring off your face into the radio right now. Can
43:47
somebody get this man a towel, like wrap his head in it or something
43:51
I want to see the uh you know, the spoof version, like the
43:54
hot shots of the Summer movie, where like they're just sweat buckets of water
44:00
and like everything shortie elt sir, I don't know why like closing. That
44:04
was the scene an airplane, wasn't I? Yeah, yes, to be
44:07
an airplane scene. Yeah. Interesting side note, by the way, is
44:10
because I was fascinated by this, and you know, you lose it over
44:14
time everything. As I'm watching it, I'm thinking to myself, I'm like,
44:16
did they really let that much smoking happen on a submarine? It's a
44:21
closed environment with a recycle there, and in fact they did it wasn't done
44:24
until like twenty ten. I was like it took that long. Like look,
44:30
you know, setting aside everything else about how bad smoking is for blah
44:34
blah blah, all that type of stuff. Fire even submarine, well there's
44:37
fire, but there's also how like even smoke. Even when I was a
44:42
smoker, right, it wouldn't have occurred to me to smoke on an airplane
44:45
because I have the brain to go, now, this isn't closed environment.
44:50
I'm not smoking. We are smoking, right, everybody's smoking right now.
44:53
I don't really want to do that to everybody right now because they chose not
44:57
to. Now, if the plane was going down, I'd make it different
45:00
choice. But like, there's a whole thing where I'm sitting there staring at
45:04
him like this can't be accurate. And then I had to look it up
45:07
and I was like, oh, you could smoke on it. That seems
45:09
dumb. That seems so dumb. That's insane to me. Okay, So
45:14
the original Mission Impossible came out in ninety six? Is that right? It
45:19
was nineties? I think ninety six is the right. I think you are
45:22
absolutely correct on that. I'm gonna get four, but okay, I'm pretty
45:27
sure I think he's right. I think it's ninety six. So John Voight
45:30
in the beginning of that movie, you're right ninety six, Like when he
45:35
like when he says like this this video tape, Oh yeah, he's blowing
45:38
the struct to cover five seconds. Yeah, yeah, exactly, He's blown
45:42
the smoke to cover that. And that's he does it on an airplane in
45:45
ninety six. And when that was when they filmed it, it was legal
45:50
to smoke in an airplane. When it was released, it wasn't legal to
45:53
smoke in an airplane. So ninety six is ten years after I was born.
45:58
A lot of people who are listening to this who are younger, have
46:00
no idea what it was like in the nineties to go to a restaurant,
46:05
be on an airplane, to a smoking hotel room. You know, what
46:09
it was like, what it was what it was like in the nineties,
46:13
what it was like in the eighties. I would go out to dinner with
46:15
my parents. My dad was a heavy smoker, and I remember Saturday nights
46:20
would go out to a place called Mister T's God Rested Soul, and we
46:23
would go out to mister T's. No like it predates him, believe it
46:28
or not. But I would get my grilled cheese sandwich and play pack me
46:31
in with my brother. But the place, like it was fog in there,
46:37
like every like to your pointress, and everybody was smoking, like it
46:40
was it was crazy, like these it was just a given. It was
46:44
just a given. And it's like it was just a given, and now
46:46
here we are, we're like, it's such a foreign concept. But yeah,
46:51
the whole concept of like the no smoking section and stuff. Oh my
46:53
gosh, a no smoking section is like a no peeing section in a pool
47:00
in a pool. Yeah, yeah, yep. Yeah. We were at
47:02
Universal City Walk last week and we were heading back to our car and there
47:07
and there was somebody like ten paces in front of us in our corridor smoking,
47:13
So I too was smoking, and I'm like, wow, it's been
47:15
a while sins have actually smelled a cigarette smoke, Like, can this finally
47:20
It's been a long time since I've been a smoker, thank god, But
47:22
I can still smell. I can still tell the brand now if I'm going
47:27
around in public and somebody lights up and like, man, marble light,
47:30
Parliament light. What John's not telling you is that sometimes he just thinks up
47:34
behind them and goes, yes, sorry, cigarette inspector, Cigarette inspector,
47:40
I have to make sure this is emitting properly. Thank you so much.
47:45
Yeah, I'm like Dracula with the razor in Uh. That is exactly.
47:50
That is such a perfect visual of how I how I picture you as a
47:55
next smoker. It's a drug. We were addicted. Thank you very much
48:00
much. Well, oh man, we've been going for fifty two minutes.
48:02
You know, I feel like we've covered so much of this. Oh.
48:07
One thing I do want to mention before we go into rankings and Darren,
48:09
this is your show, so I started on your toast. But Val Kilmer
48:15
was like Tony Scott really wanted to get Val Kilmer in on this movie.
48:19
Oh I didn't know that. And for Webs, I'm kind of guessing him
48:23
as webs. That's the thing, exactly exactly. It was never revealed what
48:28
he was supposed to be on board for, but that is exactly what that
48:31
was going to be. My question, like Val Kilber, like his haircut,
48:36
like it's I can't picture anything else, totally would have it was gonna
48:39
be webs. It had to have been Webs. Whenever I see Vigo Mortenson,
48:44
I know this is sad, but every single time I see Vigo Mortenson
48:46
in anything pre Lord of the Rings, I'm like, oh, that's air
48:51
Gorn, yeah yeah, oh no, even Lord of the Rings forward,
48:54
I look at him and I go, oh, that's Lucifer from the Prophecy.
48:58
Look that one up, kids, that's uh. That one even has
49:00
Christopher walking in it and Eric Stoltz. It's a star studded extravaganza. Well
49:05
as I take back the helm of my ship as rightfully. So I just
49:09
wanted to say I did notice my favorite shot. I don't know why it's
49:13
my favorite shot in this movie. I counted how many times I saw it.
49:16
It's some reason use it a whole bunch. It's when they push and
49:21
the hull the dive planes. We had three pushes and two pulls. They
49:25
use that shot five times in this movie. They got their money was worth,
49:30
and it was. I'm pretty sure it was the exact same shot every
49:32
single time. And on another shot it was on another angle, it was
49:36
the same take. Just you know, hey, we need a shot of
49:38
it's going down degree down bubble. It's the editorial team sitting there. They're
49:46
sitting there with Tony Scott and he's like, I needed another couple seconds in
49:51
the scene to time it right with the music. Got your boss, no
49:53
problem. Yeah, and one shot of the am light turning off, yes,
50:00
judiciously. Yep. I know we didn't talk about Top Gun with Tony
50:06
Scott. I mean we did that on purpose because so much has been talked
50:08
about with what else can we say? Yeah exactly, But you know he
50:13
filmed he filmed one missile shooting in Top Gun. Yep, and he got
50:20
like seven cameras on that one missile to get as many angles as he could,
50:24
because the Navy said, we'll shoot one missile, and he's like,
50:27
could you please just give me two? And they're like no, because it's
50:30
a god dang missile. And do you understand what this is doing to our
50:38
budget? Right now? You get one? Just one? And he shot
50:43
that with seven different angles. And so every single time you see a missile
50:45
shoot shot in top Gun, it's the same missile. And that's exactly what
50:51
I thought of with the down bubble. Ah, all right, well one
50:57
ping only from your wait, wait, wrong submarine movie. Yeah, but
51:02
John, let's start with you. So this was a rewatch for you.
51:06
Yes, it sounds like this is often in the Mills slate, but what
51:12
degrees down bubble? Are you giving Crimson time? First time revisiting it in
51:16
a long time? Actually? Uh? And I didn't even get a chance
51:20
to point out the fact that Joey, who my reference, hates this movie.
51:25
So there you go, throwing Joey on. Of course he does.
51:29
He called it a rip off of the Hunt for aut October at the time,
51:32
and I looked at him. I was like, the two movies.
51:35
There's submarines, Like, that's it? What are you talking. That's it.
51:37
That's the only thing I have in common. Oh my god, fight
51:39
just like in Red October. You know what, every movie going forward,
51:44
I want to know what Joey thought, like at the very end, I
51:45
want to have a thumb up or a thumb Joey's scale. I will let
51:49
you, I will let you make you call him in the spreadsheet? What
51:52
did Joey think? Listen, Joey and I were dateless wonders in the nineties.
51:54
We saw a lot of movies together. So basically, it's so so
52:00
close to perfect. That scene where they like, I can even overlook certain
52:04
other things, but that scene where they have that horse discussion is so terrible.
52:07
It's so out of place, and it pulled me right out of the
52:10
movie. Right near the end. It feels like it feels like you're running
52:14
this great marathon and then all of a sudden you trip and fall and you
52:17
get up, but then you don't. You don't finish it like you got
52:21
like, oh, well, I guess I tripped. So this is a
52:23
four and a half for me. So close, so close, but four
52:27
and a half so close. Yeah, I'm gonna go next. So that
52:30
shake it up. Let Tristan go that I give this a five. I
52:35
totally agree with the things we gave it towards the end. I think that
52:38
last scene is the weakest aspect. But this movie just so many things right.
52:44
There's great writing, there's great speeches, there's you know, I know
52:50
again, like we talked about the swarm of secondary characters around our main two,
52:55
but I could identify all of them. I could remember their names.
52:59
I could, and that sometimes doesn't happen in military movies or movies with a
53:02
lot of moving parts. It's very easy to lose track of who is who,
53:07
and this did a good job of that. Like I've said before,
53:10
you know, I love this. I love all the military talk and the
53:14
webs and the Cob And honestly, I think the first time I watched this,
53:17
I thought his name was Cobb. I didn't really have an acronym.
53:22
And I'm like, oh, oh chief of the boat. Oh yeah,
53:25
okay, I'm dumb. Yeah that makes way more sense than a man named
53:30
Cobb on the Alabama. Sure that could have been his name, techob.
53:35
But yeah, so I have to give this a five. It's it's I
53:37
own it. I watch it, you know, not religiously. But you
53:43
know, whenever I'm wanting just a nice two hour, you know, action
53:46
movie to just to knock me over and have a lot of fun. Yeah,
53:52
you know, I maybe I should start like a submarine we watch,
53:54
because there's a lot of those, you know, only with red and black
53:58
covers. Though, what about you, Tristan? How many degrees up bubble
54:04
are you giving? A Crimson Tide? And final thoughts, I feel the
54:07
exact same way as John. This is four and a half stars for the
54:10
same reasons that he said. It was that scene the end with the horses
54:15
and the black and the white. It took me completely out of it.
54:17
Some of the Tarantino stuff took me out of it. I know that there.
54:21
I'm sure that there was more to it than just the nerdy stuff that
54:23
Tarantino did to punch it up. But if it wasn't for that stuff,
54:29
this would have been a near perfect film, a five star film. But
54:31
for me, I have to give it four and a half. This.
54:35
I love that we watch this, I love that this is now this is
54:38
now going to be in my rotation. This is a fantastic film. I'm
54:43
so happy that this is in my Tony Scott Rotation Crimson Tide four and a
54:47
half, great movie, and look at this, Look at this. We
54:52
go from three and three and a half at Beverly Hills cop to a little
54:57
bit of a stumble with Last Boy, Scout with everybody, and then Romance
55:00
turns it around and now Crimson Tide. All three of us loved it,
55:04
which means we're going somewhere special next week. I think that's right. Next
55:08
week we're taking a little bit of a jump to two thousand and four as
55:12
we're going to talk man on Fire here on house Lights. Join the Revolution,
55:19
Join the ned Party,