Subject: Retrospective: Abyss, The (1989)

From: Dragan Antulov <[email-masked]>
Date: Wed, 09 Jan 2002 19:38:44 -0000

THE ABYSS (1989)
A Film Review
Copyright Dragan Antulov 2002

When James Cameron started working on TITANIC, many expected
that project to fail and with a good reason. In late 1980s
Cameron was heavily involved in project with many striking
similarities to 1997 "Oscar"-awarded epic - both were shot
on water, both required revolutionary special effects, both
required ridiculously high budgets, both represented
incredible psychological challenge to the cast and crew. The
results of Cameron's efforts were, however, different in -
while TITANIC became one of the most successful cinema
projects of all times, his 1989 science fiction epic THE
ABYSS is almost forgotten by now.

The plot, based on Cameron's script, begins with American
nuclear submarine USS Montana chasing unidentified
underwater object in the waters near Cayman Trench in
Caribbean Sea. The chase results with USS Montana hitting
the underwater reef and sinking with all hands aboard. Due
to heavy Soviet naval presence in the area, US Navy wants to
organise quick salvage and enlists the help of civilian
divers situated on nearby experimental underwater oil rig.
Virgil "Bud" Brigman (played by Ed Harris), the team leader,
is not particularly happy about this arrangement, and his
enthusiasm is further diminished after arrival of his
estranged wife Lindsay (played by Mary Elizabeth
Mastrantonio) who designed the rig. Lindsay is accompanied
by the team of elite Navy SEALs led by Lt. Coffey (played by
Michael Biehn), and soon the series of incidents would put
everyone on the rig to the ultimate test. Severe storm cuts
all links with the surface and the rig crew is faced not
only with the immediate task of survival but also with the
series of strange phenomena. While Lindsay becomes convinced
that those events have something to do with friendly
underwater aliens, increasingly paranoid Lt. Coffey wants to
prevent submarine's nuclear missiles from falling into enemy
hands.

When the author of this review saw THE ABYSS for the first
time, he was so blown away by the experience that he gave it
the best possible "10/10" grade in his review for the local
science fiction fanzine. As years passed, the author of this
review learned that some great films can't look that great
after the second viewing, so this was the last time I gave
such a high grade without allowing some time to pass and put
into perspective. However, although THE ABYSS to me now
looks worse than during the first viewing, it is still more
than interesting film experience that includes better
display of Cameron's filmmaking talents than TITANIC. But
those two films had separate fates - one was commercially
successful, and had its commercial success was mirrored in
rave reviews; the former was commercial failure and many
critics jumped on the bandwagon by calling it a setback in
Cameron's career. Cameron had additional reasons to be
displeased by THE ABYSS - the film was subjected to heavy
cutting by the studio, leaving some important plot issues
unresolved and audience had to wait 1992 Special Edition
before seeing Cameron's true vision.

However, even in its 1989 version, THE ABYSS is great film.
The film lasts for more than two hours, yet the audience
could hardly expect to be bored. On the contrary, there are
few films so exciting as this one, due to Cameron's ability
to fill almost entire running time with spectacular and
breath-taking action scenes and, in the same time, allow
enough plot development to make us care about the
characters. Three years earlier Cameron used the same
technique in ALIENS and this is probably the reason why some
critics viewed THE ABYSS as repetitive and tried to describe
it as "ALIENS under water". There are plenty of similarities
between those two films - plot takes place in isolated,
claustrophobic location; characters are almost constantly
forced to fight for their lives; roles are played by
ensemble cast of character actors instead of regular
Hollywood stars; relationship towards technology is
ambivalent; heroine fits into Cameron's post-feminist
stereotype of strong, self- conscious woman who can take
care of herself in male-dominated environment; political
subtext of the film is again influenced by the Cold War
escalation of Reagan years - but there are also differences.

The major difference is, of course, in the way Cameron
treats First Contact. While in ALIENS he stuck to the dark
and disturbing vision of original creators and portrayed
outer space as a place full of unspeakable horrors human
beings can't handle, Cameron takes more optimistic approach
in THE ABYSS. New frontiers - in this case depths of ocean
instead of outer space - represent both the challenge and
opportunity; the biggest threat to mankind is not from the
outside, but from within - irrational instincts from our
subconscious that make us react to anything new and
different with ignorance, paranoia and outright hostility.
According to this film, civilisations technically more
advanced than humanity are also morally superior to humans;
they managed to overcome such instincts, otherwise they
would perish in self-annihilation similar to nuclear war
that used to haunt us during Cold War. This thesis is
explicitly given in final scenes of 1992 version that
explain a plot, but also seem somewhat too preachy and
simplistic. 1989 version, on the other hand, suffered from
plot not being explained enough. It takes almost an hour
before the protagonist experience first alien sightings;
until that time (and even after the finale) THE ABYSS might
be viewed as a standard action/disaster film with whole
alien subplot being nothing more than screenwriter's
afterthought.

However, this structural flaw won't prevent the audience
from enjoying THE ABYSS. Cameron again shows his tendency
towards perfectionism and extracting all talents and
resources at his disposal. Acting in this film is really
good. Ed Harris shines in his role, allowing class conflict
to play part in love story. Mary Elizabeth Mastrantonio is
very convincing as a woman whose social skills represent
total opposite of her abilities to handle extreme
situations. Michael Biehn, who played squeaky-clean heroes
in two previous films by James Cameron, is refreshingly
menacing as psychotic naval officer. Todd Graff serves as an
excellent comic relief. Photography by Mikael Salomon
creates effective atmosphere, and special effects are
top-notch. Musical soundtrack by Alan Silvestri is good,
although it might sound somewhat too corny compared to
Horner's work in ALIENS.

Another reason why fans of science fiction cinema should pay
attention to THE ABYSS might be found in the scenes where
Cameron pays homage to the classics of the genre. Aliens and
their vehicles look like those in Spielberg's CLOSE
ENCOUNTERS OF THE THIRD KIND, while "Bud"'s visit to alien
underwater city might remind many of the final scenes in
Kubrick's 2001: A SPACE ODYSSEY. Some might argue that the
level of originality in this film below criteria of
masterpiece, but THE ABYSS is nevertheless great film that
should deserve much better reputation.

RATING: 8/10 (+++)

Review written on January 8th 2002

Dragan Antulov a.k.a. Drax
E-mail: [email-masked]
http://film.purger.com - 
Filmske recenzije na hrvatskom/Movie Reviews in Croatian

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