DEEPWATER HORIZON
US, 2016, 107 minutes, Colour.
Mark Wahlberg, Kurt Russell, John Malkovich, Gena Rodriguez, Kate Hudson, Dylan O’ Brien.
Directed by Peter Berg.
2016 has seen Their Finest Hour, Sully and Deepwater Horizon. These are stories of American disasters and stories of American heroism – the heroism of ordinary men and women who rely on their courage and on their abilities to save situations, to rescue men and women in danger. One might ask: are they becoming alternative to comic book stories and superheroes!
Many audiences will remember the actual events on which this film is based, the oil rig in the Gulf of Mexico, South-east of Louisiana, the BP rig which exploded, 11 men losing their lives, and millions of gallons of oil poured into the sea for almost 3 months. This is a dramatic reconstruction, relying on the dramatic story, the dangers, the heroism rather than any detailed portrait of the characters involved. These are quite sketchy with only the central character, Michael Williams, getting something of a family story, an electronics expert who was to go on the rig for three weeks, leaving his wife and daughter, enabling the screenplay to have some characters on land, anxious about what was going on at sea.
With its slight delineation of characters except in these crisis situations, the film is of much more interest to audiences with some knowledge of engineering, the oil industry, the building and working of rigs, the extraordinary technology in their building, then maintaining, their mission of discovering oil.
The screenplay uses a little device at the opening of the film when Michael Williams’ young daughter is explaining her school project on her father’s job and using a Coca-Cola? can and a straw inserted to illustrate pressure and gusher. The only woman seen on the staff, Andrea (Gina Rodriguez) is having a difficulty with starting her car and riding on her boyfriend’s bike to work. We are shown the security for those going out onto the rigs, the helicopter flight, the vastness of the rig (which, publicity tells us, has been one of the largest film sets ever constructed – and destroyed).
One of the principal workers on the rig, Mr Jimmy (Kurt Russell appropriately strong and tough) has been honoured by BP and Deepwater Horizon has been named as one of the safest sites for years.
Trouble is indicated when workers are leaving the rig without having completed cement testing and is compounded by the presence of an official, played with his often sinister style by John Malkovich, with the critique that the company is cutting costs (recklessly).
The main part of the film shows the build-up to the explosion, the work of each individual and their competence, the gradual difficulties, rumblings below the surface of the water, difficulties with pipes and communications.
When Oscar time comes round, it is usually the superhero films which receive nominations for special effects and stunt work, with this kind of film being taken for granted that it was just dramatising what was actually seen on news footage. But, it has to be said, the director Peter Berg emerges his audience totally in the experience, has editors who are able to create a swift and anxious pace, and special effects experts who could persuade an audience to believe that they were seeing the real thing.
Mark Wahlberg is Michael Williams, given the opportunity to be a serious expert, a loving husband and father, a loyal member of the crew, strong in his commitment and heroism. Kate Hudson plays his wife (and for a momentary embrace with Mr Jimmy, the first time that she has acted with her father, Kurt Russell).
There is a visual tribute at the end to the 11 who lost their lives, some glimpses of court proceedings and hearings.
1. Audience knowledge of the facts on which this film is based? BP as a company, into oil explorations, in the Gulf of Mexico, the rigs, their size and power, their work? The tragedy? The explosion, the loss of lives, the pouring of the oil into the sea?
2. The impact of the recreation of the rig and its giant set, the exteriors, the interiors of the rig, the tug in attendance? The audience immersed in the life of the rig? The technology, the details? The depth of the rig for exploration?
3. The stunt work, the special effects for the explosions, the burning of the rig, underwater, in the night? The heroism and the saving of lives, the dangers from fire? The rescues?
4. The atmospheric musical score and its contribution to the audience involvement?
5. The work of the director, a sense of realism, immersing his audience in the experience? The importance of the editing and pace?
6. The title of the film, the Deepwater Horizon in the Gulf of Mexico, its safety record? The personnel, the decorations of merit? As owned by BP, the implication of cutting costs, individuals, executives and their pressure on staff and crew? The consequences? The film opening with the voice-over of the court case? The final footage from the court proceedings? Judgment? The consequences of the spill and the responsibility for BP?
7. The human touch with the Williams family, Michael and Felicia, her dream, breakfast, their daughter, her love for dinosaurs, the preparation of the project for her father’s job, and the use of the Coca-Cola? can and the straw to alert audience to the work of the rig? The contact by Skype? The consequences for waiting wives? Children? The dinosaur tooth?
8. Michael Williams, his character, electronics expert, three weeks on the rig? His friendship with Mr Jimmy, his leadership, honours given to him, strong, relating well with his crew? The assembly, security, the helicopter ride, the overview of the rig?
9. Taking the officials on the helicopter, the hit with the bird and the alert? The later oil-covered bird on the rig?
10. The BP official, his insistence, noting what he thought was insolence? The effect of the explosion on him, bewildered, the rescue?
11. Arriving, the technicians leaving, the enquiries about the cement test and its not being done? The decision to have substitute tests? Seemingly successful?
12. The ordinariness of life on the rig, cabins, Mr Jimmy having his shower, the camaraderie amongst the crew? Andrea and her work? The background of her car not starting and riding on her boyfriend’s bike and getting to work?
13. The initial signs, pressures, sounds, the BP official and his dominance? The range of technology, testing? The sense of responsibility of Jason and his using his wits?
14. The gradual build-up for the explosion, the mud coming up, the mud pouring out, the igniting of the fires? The issue spread? The vastness of the rig, the vastness of the fires, the further explosions, the people getting caught up, burning, injured, dead, falling from the rig? The vast machinery, breaking down, crashing?
15. Michael Williams, the injuries, going to find Mr Jimmy, Mr Jimmy in the shower, the glass, his boot, being rescued, going to the centre, ordering people off? Andrea and her supervisor and his refusing to touch the switch because not authorised? Andrea authorised?
16. The scene showing the escape from the rig, the man swinging the machinery but dying, Michael and his associate and the burns, turning on the power? Andrea, the rescue, going higher, seeing that the raft had gone, Mr Jimmy and the raft from above, going into the water? Michael urging Andrea to jump over the fire, her fears, his pushing her, his own jump, underwater, their being saved, her gratitude?
17. The work of the Coast Guard, the communications, phone calls, surveillance, decisions, the helicopters, the rescues?
18. Those saved coming to shore, relatives waiting, the angry big man wanting his son and accosting Michael? Michael collapsing in the room, Felicia and their daughter finding him?
19. The consequences, Mr Jimmy continuing working, Michael and Andrea not continuing on rigs? And the consequences for BP?
