TYB
WWG1WGA!
>>8200814 (pb) Wanted you to have this.
Spoilers for hose who have not seen the movie.
White Squall
Ridley Scott’s White Squall (1996) was the telling of a true story about tragedy on the seas that brought home what coming of age is all about. The struggle for growth, discovery, and humanity is all around; based on true story filmmaking can ground us enhancing our connection to the reality that surrounds us. In 1961 a group of students set sail on the Albatross School Ship with an experienced crew, near the end of the voyage the Albatross sank and claimed 6 souls Jewel (1996). This film tells that story under Ridley Scott’s direction. It reminds us that we live in a reality where life can be challenging & tragic. Out of the experience of life we learn how important we really are to each other, irrespective of how different we may think we are.
While the film never was a box office success there are many cinematographic elements in this film that are worthy of consideration. The character development in this film is multi-layered and something the likes of which are rare in modern filmmaking. The camera work, panoramic beauty, natural lighting, and sound combine for an experience that brings you along with real people and real events.
The lighting in this film is what struck me most of all, it really enhanced the sense of realism in the film. Lots of natural lighting, in fact there were only a few parts that detectibly used artificial lighting. In his review for Entertainment Weekly Schwarzbaum (1996) expresses this fact: “the sky never looked so blue and the oceans never heaved so awesomely as they do in this adventure saga inspired by the real story of a two-masted sailing vessel called the Albatross.” The blues in the sky were in fact amazing, peppered with clouds, and handing over the ports of call with the rich green hills of the Caribbean. Resting under this panorama were the the deep blues of the ocean. Establishing shot after establishing shot of incredibly vivid scenery - usually keying off of the double-masted Brig Albatross.
One of the opening scenes with such a framing was a long shot showing the late arrival of one of the students, where a big seaplane buzzes the dock area and then circles around to land. The specific framing of the long full showing the ship from a distance and panning right to left following the sea plane as it traverses the background. It is a very grand shot but also an important shot to the story. It established the wealthy arrogant father of one of the students who arrives by private seaplane in demonstrative fashion. This theme later becomes an important part of the storyline. The sequence plot closes with an evidentiary shot of the arrogant father’s cigarette dropping onto the precious wooden deck of the boat, burning the wood as the father squished it out. This is followed by a reaction shot of the ship’s captain: and after suffering this disrespect is restrained issuing a terse response “We’ll do our best” (sir notably absent).
For obvious reasons the staging, lighting, sound and camera are hidden from view. Director Scott went for natural lighting as this was shot mainly outdoors. The 3 light system uses backlight, key light, and fill light; natural lighting has its own challenges to this paradigm. It is challenging but possible to synthesize natural lighting, in fact it is possible to shoot night shots outdoors in the middle of the day. In the case of this film however, it seems that much of the fill lighting in the open sunlight was done using a light reflector. Reflectors are a good way to achieve subject lighting while not inducing a mismatch with the direct natural light. The direct sun shots, on deck for instance, has the fill lighting achieved with reflective natural sunlight. This leverages the sensory reality of the familiar world around us.
Another aspect of this film which is somewhat unique, compared to the conventional Cinematography wisdom or definition, was the copious use of low angle shots. Rules are never hard and fast, cut and dry. Well that is a bit dramatic, the “general rule” for low angle shots is showing a subject in a dominant position. But not always, right? Low angle shots can be used to convey scale or even vertical distance in relation to point of view, or between objects. This film used very few high and low angle shots in relations to dominance, the vertical shots were mainly done as a course to properly convey the location being on a ship. The low angle shots played important part to the storyline and even provided some special effects utility (more on that later). In keeping with the “rules” the low angle shots also conveyed danger in several segments of the film.
A main subplot relied on the low angle shot, not to convey dominance but danger and fear. One of the main character development aspects surrounded a student on the ship with an acute fear of heights. This was in fact a central sub-plot to the film and low angle shots were very important to this mini story. One of the defining moments of the film was when the character, who was afraid of heights due to his brother dying from a fall, conquers his fear to climb to the top of the mast. The setup shot was taken with a dolly: as we are walking along the pier with the student that was kicked off the ship: he stops, turns, and looks up to see his crewmate standing atop the mast. This was done in support of his friend who had been kicked off the ship by the captain. A central theme to the movie is: Where we go one, we go all (WWG1WGA). Somewhat similar to the Musketeers slogan: All for one and one for all. WWG1WGA, as demonstrated by the character who decided to face his fear and climb the masts where his crewmates had also gone. In Alien (1979) there was the fictional fear of a malevolent and scary creature, in White Squall we are faced with a very real fear that we can directly interface with. In this story of overcoming that fear we can relate to fear grounded in our own realities.
This film is a prime example of continuity editing in relation to the consistency of time. The story unfolds across a horizontal timeline with no noticeable deviations. It takes the viewer from the early stages of the student’s decision to join the expedition to and climactic end in the courtroom without a single lack of continuity in time. With Director Scott’s telling of the story the desire is to make the person feel as if they are living that story as an observer. Although our minds tend to wander in reverie and even flashback, we experience this world across a uniform and consistent time continuum. Various editing styles such as Jump Cuts, Intercutting, Flash forward(back) breakdown that sense of time continuity. With the breakdown in time continuity our movie experience changes: it moves more into an abstract and logical interpretation. Neither is better or worse rather different. What makes this movie special in terms of editing is its adherence to the time continuity (Continuity Editing). When the time element is retained it allows us to experience a story as if we were truly living in the film, a part of the events that unfolded. In this way the story becomes less abstract and conceptual and more real. It keeps us grounded in the story and enhances our perceptions of the reality that surrounds us.
The Mise-en-scene of this film is fantastic in a lackluster way. When telling a true story is important that the staging, elements, art, and props all match the time period in which the film is set. This includes lackluster elements: such as age, decay, generally lacking refinement within the world were appropriate to the time. In today’s world the buses are new, the roads are well paved, in general the world we are familiar with. Director Scott was an art and design educated man, he made is start in this facet of media and film. It was really by accident that he became a director having taken some classes sponsored by his BBC employer at the time Ridley Scott (2018). Given his extensive knowledge to art and design it is no wonder that the Mise-en-scene of White Squall is very well done. While lackluster for the most part, the beauty of the film’s stage work was that it enhanced the real-world experience which further absorbed us into the story as if we were participating in it.
The most pungent parts of the film in terms of art coloring and set design are the location shots in the Caribbean. One of the key subplots of the film that deviated from the natural Cinematography was the time spent between the boys and girls of the Dutch settlement. In this section of the film Director Scott let color, vibrance, and lighting take us to a world beyond lackluster. In this sequence he used significant amounts of artificial lighting, camera filters, and intentionally bright colors (namely red). This was done to enhance the experience of romantic young lust between the young adults. There is factually a human glow that occurs when people are in love; Ridley was able to capture this effect fairly well with the use of lighting, filters, and colors. This was one of the few parts of the film where he allowed himself to deviate from the strict adherence to natural Mise-en-scene and realism.
The film’s shooting of the tragic sinking of the Albatross occurred in the largest underwater shooting stage located on the Mediterranean. A life-sized replica of the ship was built for the purpose of shooting the ship scenes at a significant cost one would imagine White Squall (1996). The special effects of the film were mainly filmed here creating a chaotic sea and elements in a controlled and safe environment. To tie up the loose end on the use of Low Angle Shots: these were used to cover the sailing shots with the students in the ships rigging in a safe and controlled environment. Notable absent would be level shot which would then have to include the horizon. In turn this would have then required real location on an actual sailing ship or some advanced green screening on a large scale. The choice to us the low angle shots within the stage location allowed for this special effect or illusion.
The sounds from the film were for the most part Diegetic, it was by design but difficult to detect the use of Foley. In keeping with the film’s adherence to realism there was not a lot of Non Diegetic sound used in the movie. One scene does come to mind and that was the 50s rock and roll music that played in the background while they had a “swim party.” In that section there was music playing, though in some respects it could have been plausible it was a direct soundtrack rather than a Diegetic type source like speakers on the ship deck.
There was some very interesting Non Diegetic sounds that had a significant part in the movie. As part of the immersion in the time period (early 60s) Director Scott opted to include some radio / TV footage on the ships voyage to ground it to events most people remember. The first example was a radio broadcast regarding the Cuban Missile Crisis. There was a scene where the boat was stopped and challenged by a Cuban Warship, the later broadcast of Kennedy’s speech regarding Cuba re-enforced this. Although this is a continuity error as the speech and events were from 1963 it provided vibrance to the story. Another broadcast included the Apollo 11 mission and this was also likely a continuity error, though I am not certain intentional use constitutes a technical error. If the film was a documentary rather than “based on a true story” they likely would be considered technical errors.
The film was a great example of fact-based storytelling, the immersion of realism was present and valuable to the Cinematographic style. The lighting was natural and only deviated a few times which was entirely appropriate. The character development was very good, if you are willing and able to connect with the “becoming a man” story it works out really well. In his review for Time Magazine Schickel (1996) writes about the disaster: “It does not, however, sweep away quite as many of the boys as one would like” a very scathing part of a scathing review. Clearly Schickel felt his Schekels would have been irrevocably and irredeemably spent on this deplorable film by Ridley Scott (whom he appeared to respect). Though one cannot completely discount his review; the film was boring and predictable in his eyes. Real life is that way compared to the flash and pomp of modern Hollywood films, it fell short of his bar. Still, there was much more to that story. In the end he did not connect or appreciate the character development and personal responsibility / morality of the film. This is an important lesson for us as filmmakers and filmophiles: if we are willing to look at the deeper meanings the reality of the real world is every bit as fascinating.
Another review seemed to be much more balanced gave the movie a B- overall. In his review for Entertainment Weekly Schwarzbaum(1996) wrote: “White Squall is, however, a Ridley Scott creation, and therefore this rousing salute to the power of the elements, the lost innocence of the Kennedy era, and the goodness of young men when they are allowed to ripen with their shirts off is, above all, a tone poem.” I think that Mr. Schwarzbaum connected better with the characters and story which enabled him to more objectively evaluate the merits of the Cinematography. While discussion of movie reviews is not direct analysis of the Cinematography it teaches us important lessons about properly judging a film on its pure merits and the perils of personal biases.
In the end the film would be considered a box office failure grossing roughly half of its budget. It would not be for a few more years until Ridley took on another based on true life film in Black Hawk Down (2001).
The film’s ending was, for the most part, a work of great fiction. According to Gieg (one of the actual survivors of the ordeal) the courtroom scene was a relatively routine look into the events. One of the greatest things about true story-based filmmaking is that we can cross-reference the impacts the events had on the public and the characters who actually lived it. It seems that the event had very profound impacts on those involved, where many of the survivors dealt with isolation and interpersonal issues for the remainder of their lives Jewel (1996). This is one aspect of the struggle for growth and humanity that is far bigger than the two hours of like the film showed. Just as the scrolling credits often refer to what happens to the characters after the film: it opens the doors of our imagination and grounds us like an anchor, an anchor tied with a silver chain to this bouncing ball we call home.
In his 2012 TEDx talk titled “Love Forgives Everything” John Perry Barlow talks about a real-life story that he experienced. One that completely changed his outlook on life and it’s meaning. He picked up a hitchhiker in a desolate part of Nevada known as Fallen (the same place where Top Gun pilots hone their skills). The hitchhiker had some very important lessons in life he imparted to Mr. Barlow. Not the least of which was the concept that: “Love Forgives Everything.” John Barlow was deeply impacted by these lessons and added a lesson of his own to the TEDx Talk: “By learning how to actually accept love, from other people, we win that battle.” A very profound talk, inspired by a fateful meeting of two souls. This is a shining example of discovering the humanity that is all around us. Do you believe in coincidence?
The ending sequence is set within a courtroom where the skipper played by Jeff Bridges goes on trial to determine his fitness to maintain a Captain’s license. The scene is mostly dark and is one of the rare cases where Ridley use very strategic artificial backlighting and cookies to set a dark tone. Additionally, the Non-Diegetic sound in the form of the soundtrack make use us a dark minor key orchestrated sound enhancing the dark tones. The scene was setup by the evidentiary shots and dialogue between Gieg and Preston (who was kicked off the voyage). It is discovered that the boy and his rich Father were using their power and influence with the intention of destroying the Skipper’s livelihood and career.
The courtroom drama is where the film’s drama climaxes and the true art of cinema graphic story telling occurs. We see the Skipper crucified on the stand and by the prosecution. The story is recounted with the diegetic sound of the ohhhs and ahhs from the courtroom attendees. It has a very faint glimmer of a Few Good Men (1992): where Jeff Bridges gives a great performance of indignation and contempt for the prosecution’s contrived narrative. The exchange is climaxed when in a final act of defeat the Skipper falls on his sword, turns in his “ticket” (license) and walks away from the trial.
The post-trial sequence is very emotionally charged pinnacle of character development and dialogue. The lighting is warmer and less ominous the chaos of the situation playing in the background. Camera shots are closeup showing the complete emotional distress of the character Gieg complete with alligator tears. He literally reads the skipper the riot act: explaining to him that WWG1WGA is a complete sham if he walks away from this. In a final act of desperation to hold on to something of positive value he berates the skipper and attempts to tug on his heart strings at the same time. The skipper played by Jeff Bridges is an unemotional stoic figure through the entire film. He simply cannot accept his loss of control, of the ship, or of his emotions. True to form he turns his back on Gieg and walks away.
While he is walking out of the courtroom a very interesting twist occurs (though not entirely unpredictable). The Dean Preston character, who with his father decided to exact revenge for being kicked off the ship, walks into the aisle emphatically ringing the ship’s bell. An act of kindness, support, and most notably forgiveness. All of the surviving crew starts to come together. They were truly not together because one of the crew was pulling the strings with revenge on his agenda. He turns the corner, inspired by Gieg’s speech, and decides that all is forgiven breaking from his father’s mission to destroy the captain. In this scene we are shown that “Love Forgives All” Barlow (2012).
The other profound character act, and the real climax of the movie is how this impacts the Skipper. The straw that broke the Skippers back was Preston ringing the bell, the emotional back that is. When the skipper fell on his sword, he had to face internal conflict with the reality of the world he so fervently instilled in his crew (WWG1WGA). He was unable to accept forgiveness, being the responsible one in control he was unwilling to see that sometimes life is beyond our control. When we realize that their exists in the universe powers far beyond ourselves we become free, when we learn faith in something other than ourselves then we become truly free. Hearing Preston ring the bell hit him in a sweet spot that he was unable to suppress. He turns back to the room, seeing his crew, he runs back to them as emotion overcomes him. He hugs the group as the camera shot shows a closeup if the Skipper’s crying face. In the end the skipper learned the lesson: By learning how to actually accept love, from other people, the skipper won that battle Barlow (2012). He retained his license, though that was not shown in the film.
Although life is not nearly as romantic, tragic, or emotional as Hollywood fiction we do not need those extreme examples to enjoy a good film with real impact. Shakespeare said: “all the world is a stage.” His meaning was that life itself hold the same wonder and entertainment that we seek and enjoy in stage (or film). It is an important lesson to remember, especially as our own lives are a story of learning lessons and growth: sometimes like Astrophysics 401 Barlow (2012).
The realism used in terms of sets, lighting camera, and editing created a sense of a living story. The enhancements helped to give the film a deeper meaning but did not strip the viewer of the essence of the real-life senses. In closing we see: The struggle for growth, discovery, and humanity is all around; based on true story filmmaking can ground us enhancing our connection to the reality that surrounds us.