University of Virginia Library

CINEMA

Flick Fails, Falls On Stereotypes

By CAROLYN LEWIS

Poseidon Adventure: Well Executed Plot

While The Poseidon
Adventure is definitely an
exciting experience, it cannot
be termed a great or even a
good film. This Irwin Allen
production has the
emotionalism and suspense to
achieve strong audience
involvement but it lacks too
many essentials to be
considered much more than an
enjoyable adventure flick.

The pacing of the plot
progression is well executed by
director Ronald Neame and
many of the action scenes are
extremely convincing and
engaging. However, the film is
hurt irreparably by a weak
script and a reliance on stock
characterizations.

The script's failing is not so
much in its unbelievable plot,
as in most adventure films, but
in the dialogue. The basic
script has many similarities to
the old 1953 film Titanic. The
story involves a disaster at
sea–the sinking of an ocean
liner which had been hit (in
this case) by a tidal wave.

The focus is on the lives of a
few main characters before the
sinking and their desperate
attempts to escape. This script
lacks, however, the finesse to
bring this adventure above a
suspense thriller. The dialogue
is riddled by one liners that are
reminiscent of Burt Reynolds
and his immortal words in
Deliverance.

The characters are left as
two dimensional stereotypes;
the well-meaning captain
(Leslie Nielsen) fighting the
greedy and negligent ship
owners; the old lovable Jewish
couple (Shelly Winters and
Arthur O'Connell); the lonely
bachelor (Red Buttons) whose
life finds a purpose by helping
a young singer (Carol Lynley)
through the crisis; the
ever present parentless but
resourceful "Walt Disney"
children; the semi-defrocked
liberal priest (Gene Hackman);
and the hard hitting cop
(Ernest Borgnine) with his hot
too respectable wife (Stella
Stevens). The script simply
tacks the scope necessary for
these individuals to develop
satisfactorily.

The actors themselves,
however, overcome the
shortcomings of the script to
some degree. Shelly Winters
and Arthur O'Connell finely
portray the elderly Jewish
couple on their way to see
their only grandchild. The rest
of the cast, as well, turn in
convincing performances but
with the exception of Ernest
Borgine their personalities were
never fully realized. The lead
and highly accredited actor
Gene Hackman is foiled
constantly by a cliche-ridden
script and never breaks free
from the swearing liberal priest
role. His high point indeed is in
a silent and touching scene
with Shelley Winters at her
death when he has no lines to
spoil his emotional impact.

Although there are basic
weaknesses which cannot be
overlooked, the film deserves
notice as an exciting two hour
experience which may not
leave you with too much to
think about after it ends but
one that involves you totally
while you are watching it. If
you want pure entertainment
this film is worthwhile.

(Now at the University)