Aaron Schneider
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The ideal version of this story needn’t last as long as the unabridged Das Boot , but in only an hour and 20 minutes, it’s difficult to convey Krause’s exhaustion or the endurance required to outlast his assailants.
Perhaps remembering such gut-wrenching movies as Das Boot, Hanks and Schneider streamline everything to the point where the other characters hardly matter.
I was at least expecting something claustrophobic in the line of Wolfgang Petersen’s seminal Das Boot (1981).
You can see the effect Hanks and director Aaron Schneider, whose last directorial effort was 2009s Get Low , are going for — an immersive, no context tour-of-duty onboard a besieged warship — but it doesn’t have that filmmaking excitement of, say, Das Boot .
This briny war film can take its place among the greats – The Cruel Sea, Western Approaches, Das Boot, In Which We Serve.
Every encounter with a sub involves coordinates and orders being relayed ad nauseam, which yes, could be fashioned into high drama (see Das Boot ).
Dunkirk was about how to get men off a beach and 1917 was about the delivery of a message.
Greyhound also departs from the valueless forensic depiction of warfare seen in Dunkirk (2017).
Much like Christopher Nolan’s Dunkirk, it is a calculated choice to foreground an anxious ticking clock scenario.
For a certain subset of dads — drunk on Dunkirk, still high on 1917 — Greyhound will no doubt be catnip, Hanks himself after all being Dad über alles.
If alarm, urgency, subtle bravery, silent resolve, etc., is all you’re looking for, “Greyhound” will likely satisfy, but many would point you to “Dunkirk” for a similar war film with much more depth, heart, soul, and meaning.
But compared to gritty and classic World War II films such as “Saving Private Ryan” and “Dunkirk,” it’s just a very disappointing and trite film, where the action and character development are far inferior to other World War II movies.
Retaining the commander’s deep seated Christian beliefs from the novel, oft-referenced, assist in channeling the heroism of studio era Hollywood efforts, and Hanks’ kind but restrictively rigid persona as Krause is sometimes reminiscent of the Christian sacrificial lamb played by Edward Woodward in The Wicker Man (1973).
And, in a touch that evokes 1957’s The Enemy Below , with Robert Mitchum and Curd Jürgens , Krause is repeatedly taunted over the radio by a U-Boat commander who somehow knows a lot about their mission.
Hanks has skippered a picture that stands with the best of them, movies like “The Enemy Below,” an action-packed thriller with pathos, patriotism and military professionalism.
While not quite up to the level of "The Enemy Below" (the Robert Mitchum American destroyer vs. German U-boat spectacle), this entertaining film leaves little time for thought.
Master and Commander: The Far Side of the World (2003)
Directed by Peter Weir
influenced Greyhound (2020)
Themes Plot Visuals
Like Peter Weir’s 2003 classic, “Master and Commander,” which in retrospect seems like a kind of miracle, “Greyhound” immerses you in the world of seamen at war, in this case the early years of WWII.
Tom Hanks writes himself into World War II and sells everyone’s grandparents an Apple TV+ subscription with the DAD-liest naval warfare movie since Master and Commander , Greyhound , a lean and detail-oriented “battleships versus U-boats” thriller that’s all boat, no bloat.
Greyhound keeps its focus on observation and decision, something Peter Weir also did in Master and Commander , set on a British ship during the Napoleonic wars.
Once in a great while, we’ll see something like Master and Commander: The Far Side of the World , which straddles the line between character investment and military history deep dive.
Master And Commander is one of the greatest dad movies ever made.
Even Crimson Tide and The Hunt for Red October are sparse, but make up for it in other ways.
It has uniforms, certainly, but nothing like Master and Commander‘s “lesser of two weevils” scene* , or even that moment, common to almost every Naval battle movie (certainly Master and Commander and Crimson Tide) when the captain has to sacrifice a good man to save a ship.
Watching Greyhound, I couldn’t help thinking of another nautical thriller, Tony Scott’s Crimson Tide (1995).
There’s never a sense of more human flaws, like Gene Hackman in “Crimson Tide.”
This briny war film can take its place among the greats – The Cruel Sea, Western Approaches, Das Boot, In Which We Serve.
An interesting comparison to Hanks as a more modern ship’s commander in Captain Phillips (2013), the old-fashioned universality of Greyhound , a WWII thriller boiled down to its most basic components, is not far off from the Noel Coward scripted debut of David Lean in 1942’s In Which We Serve .
Although this aspect of the war might not have gotten as much attention, it makes for a very cinematic experience and, because of modern technology, is wildly more sophisticated than movies made during the war like Humphrey Bogart’s 1943 Action in the North Atlantic could be, despite their patriotic and entertainment value.
Even Crimson Tide and The Hunt for Red October are sparse, but make up for it in other ways.
What Movies Will It Remind You Of?: Greyhound features a decent fraction of the Hanks performance in Captain Phillips and the hemmed-in qualities of a sturdy submarine thriller a la U-571 or The Hunt for Red October .
The Hunt for Red October is a masterwork in this respect, but Schneider does only a so-so job clarifying the tactics involved, though he revels in the primitive mechanics of the work, with officers mapping out courses on glass, with grease pencils and protractors.
It’s essentially The Cruel Sea on steroids, and it needs the largest screen available and the loudest possible speakers to be truly appreciated.
Combining various elements of “The Cruel Sea,” “The Caine Mutiny,” “Run Silent, Run Deep,” “Hacksaw Ridge” and “Dunkirk” (among others), “Greyhound” is a mostly fine movie that offers a great lead performance through how much is reserved and not said.
This briny war film can take its place among the greats – The Cruel Sea, Western Approaches, Das Boot, In Which We Serve.
It’s all very “Run Silent, Run Deep,” and if you’re into this sort of thing (I am), you’ll be in war movie heaven.
Combining various elements of “The Cruel Sea,” “The Caine Mutiny,” “Run Silent, Run Deep,” “Hacksaw Ridge” and “Dunkirk” (among others), “Greyhound” is a mostly fine movie that offers a great lead performance through how much is reserved and not said.
Given the recent focus on how films such as Gone with the Wind (Victor Fleming, 1939) are tarnished by very false and ugly suggestions that black people enjoyed living in servitude to their white masters, seeing a black character in a contemporary film – even though set in the past – who seems to only exist to serve a higher ranking officer is extremely unpleasant.
Parts reminded me of David Ayer’s equally ‘B’-inspired and exceptional Fury (2014), both sharing an interest in the claustrophobia and minutiae of warfare, only in a cabin rather than a tank.
The inspiration for “Greyhound” comes again from the films “Saving Private Ryan,” with the addition of “Apocalypse Now,” and “Das Boot.”
But this is not The Caine Mutiny ; they still follow orders, shouting and repeating them to exhaustion.
Combining various elements of “The Cruel Sea,” “The Caine Mutiny,” “Run Silent, Run Deep,” “Hacksaw Ridge” and “Dunkirk” (among others), “Greyhound” is a mostly fine movie that offers a great lead performance through how much is reserved and not said.
Walt Kowalski recalls previous Eastwood roles in the Dirty Harry movies, Unforgiven and Million Dollar Baby, among others.
Aaron Schneider’s Greyhound (2020), starring and written by Tom Hanks based on C.S. Forester’s novel The Good Shepherd , is what you’d get if you combined the flight scenes of First Man (2018) with the problem-solving sequences of The Martian (2015).
Aaron Schneider’s Greyhound (2020), starring and written by Tom Hanks based on C.S. Forester’s novel The Good Shepherd , is what you’d get if you combined the flight scenes of First Man (2018) with the problem-solving sequences of The Martian (2015).
Director Aaron Schneider ( Get Low , Margaret’s Museum ) shows us just what a miracle wartime survival was almost 80 years ago.
While his performance and Blake Neely’s ( Riverdale , Batwoman ) atmospheric sonar ping-inspired score deserve plenty of plaudits, Hanks’ masterstroke, in pulling a rare double-duty as screenwriter (his first since 2011’s Larry Crowne ), is in keeping the enemy offscreen.
Hanks, who previously wrote or co-wrote (and directed) the originals That Thing You Do! and Larry Crowne, acknowledged at Empire, “In the early drafts of Greyhound I was able to go deep, ignoring budget and physics.
The last one he wrote and starred in was "Larry Crowne," which is a lesser entry in his filmography.
His presence has the effect of making a movie as adrift as this WWII thriller one that is still admirable and imminently watchable, with Hanks doing something he hasn’t done since Larry Crowne, which is writing a role for himself.
Y Hanks no sólo protagoniza: el grado de atracción fue tal que “Greyhound: En la mira del enemigo” es el primer guión escrito por el amado actor desde “Larry Crowne” en 2011.
Hanks didn’t drop the mic in the same way that Laughton did — he did make Larry Crowne after all — but it’s always interesting to see his output as a full creative.