Satisfactory Movie Endings

 A friend of mine complained that she has watched many movies and streaming TV series that did not provide satisfactory conclusions to the stories. She urged me to write about ones that ended well. So, before analyzing the next film, here are a few well known motion pictures that have noteworthy endings.

The Shawshank Redemption

I’m not talking about how Tim Robbins’s character Andy escapes from Shawshank Prison and acquires the corrupt warden’s money, although that is something the audience has reason to cheer about. I want to focus on the very end of the film when Morgan Freeman’s Red has finally received his release from incarceration. He has become what he calls an “institutionalized” man, meaning he has spent so much time behind bars, he doesn’t know how to deal with the outside world. But, Andy left him a note and some money so he could join him on a beautiful beach in Mexico, restoring boats for tourists. Earlier, Red spoke about how dangerous it was to hope in prison, because those dreams would just be crushed. Now he can finally allow himself to look forward to something. He says, “I hope I can make it across the border. I hope to see my friend and shake his hand. I hope the Pacific is as blue as it has been in my dreams. I hope.” Some of the best lines ever spoken at the end of a movie.

Casablanca

How could I not include the ending to this movie. It’s not just because of the rounding up of the “usual suspects” line that allows Humphrey Bogart’s Rick to escape arrest for shooting Major Strasser. And yes, the surrendering of Ingrid Berman’s Ilsa to Paul Henreid’s noble Victor as Rick gives his “hill of beans” speech is a wonderful scene of romantic aching. But the ending filled with baptismal rain is a scene of redemption for Rick and Claude Rains’s (appropriate name give the scene) Louis Renault. United now, their “beautiful friendship” will go on to symbolically point toward the movement away from isolationism to battling the Nazi threat before them.

The Maltese Falcon

This film contrasts fantasy with reality, as film noir characters dealing with the seedy underbelly of life seek escape by acquiring an almost mythical object that they hope will transport them away from their dark realm. When Gutman (Sydney Greenstreet), Cairo (Peter Lorre), and Brigid (Mary Astor) realize that the black bird they have sought is a fake they come crashing back to the real world. Brigid must take “the fall” for her crimes, and she boards the elevator, going down, of course, to be arrested. The elevator grating looks like prison bars, so she already appears imprisoned. Humphrey Bogart’s private detective, Sam Spade does not buy into the delusionary vision of the others (his last name reminds one of calling “a spade a spade,” a saying that appreciates facing facts). The quote he uses to describe the phony falcon is perfect for the film. He borrows it from William Shakespeare’s The Tempest, as he says the object is, “the stuff that dreams are made of.” The stress here is on the imagined ideal world versus the harshness of transient mortality.

When Harry Met Sally …

At the end of all Hollywood romantic comedies, one person either runs, takes a cab or airplane, whatever, to reconnect with that individual’s love interest, leaving the audience with the fairy tale “They lived happily ever after” ending. This film is no different in that way. Harry (Billy Crystal) is alone on New Year’s Eve and finally decides he wants to be with Sally, so he runs to the party where she is. What’s great is the speech, by screenwriter Nora Ephron, he gives that finally wins her over, which, in my opinion, is the best dialogue about loving another person. Harry delivers it not in a sweet manner, but like he’s delivering an argument to make a point. It’s almost like he wishes the illogical truth weren’t so, but he can’t escape it. He says, “I love that you get cold when it’s seventy-one degrees out. I love that it takes you an hour and a half to order a sandwich. I love that you get a little crinkle right there when you’re looking at me like I’m nuts. I love that after I spend the day with you, I can still smell your perfume on my clothes. And I love that you’re the last person I want to talk to before I go to sleep at night. And it’s not because I’m lonely. And it’s not because it’s New Year’s Eve. I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.” Doesn’t get much better than that.

The film actually ends, appropriately, on the couch where throughout the film couples briefly state how their long relationships began. Harry and Sally now are included among those others.

The Graduate

This whole film appears to be about protesting the false values of the white upper-middle class, with Benjamin (Dustin Hoffman) realizing the banality and hypocrisy of his world, and revolting against it. The conclusion of the film has him driving and running (there it is again) to unite with his love, Elaine (Katharine Ross). He is a Christ-figure, presenting a crucifixion image as he bangs on the glass partition of the church’s second floor as Elaine is about to be wed to a clone of the established order. When she calls out to him he springs into action, wielding a crucifix (director Mike Nichols stressing the Christian symbolism). They run off, supposedly toward that fairy-tale ending.

But wait. Despite taking action here, throughout the film, Benjamin looks like he is passive, letting the world’s current carry him along. We first see him on a conveyor belt at the airport, and he exits the building through the wrong door. He floats in the family pool, and later appears to be running in place as he approaches the church. Is he really able to escape the forces around him holding him back? When he and Elaine get on the bus to take them away, the looks they present are not joyful, but appear to show what is to follow is a letdown. They may be wondering: What do we do now? They are leaving on a bus (again, passively being carried forward), but Simon and Garfunkel’s “Sounds of Silence” plays, as it did in the beginning, repeating its pessimistic message, implying that, in the long run, no progress has been made.  

The Caine Mutiny

 SPOILER ALERT! The plot will be discussed.

 

The Caine Mutiny (1954) deals with the strains of military command, and honor and self-sacrifice versus selfishness. The film begins with a graduation ceremony for ensigns in the U. S. Navy who are about to join the fight in WWII. The man giving the address uses high-minded words that do not anticipate what happens when the fight against the enemy is compromised by confrontation with fellow seamen. Willie Keith (Robert Francis), a Princeton graduate, is one of the ensigns who, despite his adult status as a military man, is controlled by his wealthy mother. Mrs. Keith (Katherine Warren) bullies him into coming to her party instead of celebrating with fellow soldiers. He disappoints his girlfriend, May Wynn (same as her actual name), by gesturing he will join up with her later instead of introducing her to his mother right then. Willie probably knows that his mother will not like any woman who lessens the connection to her. Willie meets the angry May later at the club where she sings. She becomes more upset when she realizes he only has a couple of days to spend with her until he ships out. There is the sexual implication that instead of going out that they could use the forty-eight hours otherwise. She stops him short, and suggests that they get married first. She knows he's dominated by his mother, and her hopes of liberating him fall flat as he dismisses the idea of a wedding.

 

After Mrs. Keith’s overprotective advice about staying safe no matter what, Willie travels to Pearl Harbor to board the Caine, a minesweeper, which is a dilapidated ship. It does not live up to Willie’s expectations of a battleship or aircraft carrier that would carry him into glorious battle. As one man says of the Caine, “the only thing that’s keeping the water out is rust.” Willie meets communications officer Lt. Tom Keefer (Fred MacMurray), who fancies himself a writer. If there is a villain in the story it is Tom, not Lt. Commander Queeg (Humphrey Bogart), the captain. Tom is an elitist who stirs up trouble but doesn’t have the courage to stand by his convictions, allowing others to take responsibility for actions he incites. He calls Willie’s orders, “Those monstrous papers that transform ex-civilians into men without minds.” His comment reveals his disdain and his prejudice as to how the military functions. (It’s interesting that the story is based on Herman Wouk’s novel, and that the writer made the author the bad guy).

 

Willie also encounters the executive officer, the second in command, Lt. Steve Maryk (Van Johnson). He is a man who becomes torn between his military loyalty and what he feels he must do to protect the other servicemen. Steve takes Willie to see the current captain, Blakely (Warner Anderson), who tells him he is in the “junkyard navy,” suggesting he better adjust his expectations. Tom orients both Willie and Ensign Barney Harding (Jerry Paris) while displaying his sarcasm. He says that during a year and a half they have yet to sweep one mine, which means that their equipment was “designed by geniuses to be run by idiots.” He says that to run the engine room, “all you need is any group of well-trained monkeys. Ninety-nine percent of everything we do is strict routine. Only one percent requires creative intelligence.” He continues to show contempt for those who must do the dirty, hard work of fighting the war. 

 

At lunch, Tom says that those assigned to the Caine are “all doing penance, sentenced to an outcast ship, manned by outcasts, and named after the greatest outcast of them all.” He is, of course, referring to Cain who killed his brother as told in the Bible. He is likening deployment on the ship as the equivalent of permanent exile for violating the rules of society. Blakely even complains about wanting relief from the Caine. He says he received a request from an admiral to have Willie transferred to his staff. His mother probably used her influence to try and have her son reassigned to a cushier position. Willie is obviously embarrassed by his mother’s attempt at gaining preferential treatment for him, and requests to stay onboard, to which Tom says he will regret that decision. Tom only cares about his own needs and is not concerned about integrity. Steve, however, puts himself in danger of a shark attack by diving overboard to retrieve some lost equipment, something the self-serving Tom would never do. 

 

Blakely summons Willie to reprimand him for not decoding and delivering a dispatch that the ensign forgot when he was aiding Steve in his rescue mission. Blakely enters a negative comment in Willie’s record. The ensign feels that it was just one mistake and that everyone on the Caine is not performing the way they should. He basically feels that Blakely’s negative stance encourages the poor attitude of the other sailors. It turns out that the dispatch stated that Blakely is being relieved. When asked if that is favorable to Willie, he says it is. His response turns out to fit the saying, “watch out what you wish for.”

 

Blakely tells the new captain, Queeg, the ship should be made into “razor blades” given its rundown appearance. This physically negative assessment also applies to the crew according to Blakely, but he says each man is a worthy soldier. However, being assigned to a second-rate vessel most likely plays into Queeg’s doubts about his own self-esteem which places self-imposed pressure on him to counter the look of failure with which he has become associated. Blakely unofficially accepts a watch as a going-away gift from the sailors, but says that he will run it one half-hour late to remind him of the fouled-up crew of the Caine. He’s being falsely sarcastic, but it does reflect the negativity that the men of the Caine have come to adopt. 

 

Queeg’s first interaction with the officers of the crew is standard military toughness tempered by some humor as Queeg says he had some tough times in the Atlantic and sometimes thought the enemy was going after him personally. They laugh but it does hint at Queeg’s paranoia that becomes overt later. Blakely was loose with the rules and said that may have made him a lesser captain. Queeg is just the opposite, wanting unreasonably high standards to be followed. He considers himself a “book” man, and says that he is the ultimate authority since there is “the right way, the wrong way, the Navy way, and my way” of doing things. He rewrites accepted standards of performance to fit his level of desired achievement by saying, “excellent performance is standard, standard performance is sub-standard, and sub-standard performance is not permitted to exist.” On the one hand he sounds extremely exacting; however, could it be that the crew’s acceptance of mediocrity aids in bringing out the worst in Queeg? 

 We get an immediate example of Queeg’s placing overemphasis on small details to build up his sense of self-worth when he tells his officers that untucked shirt tails, non-regulation haircuts, and facial hair will not be permitted. He assigns Willie to be the “morale officer,” but the annoying rules that he must impose produce the opposite of creating good feelings onboard. Queeg says they have been assigned to tow targets and they will be the best at that job. He pulls out three metal balls that he rotates in his right hand which becomes a manifestation of his obsessive, ruminating mind. One could say that he is losing his “marbles,” his mental faculties, and he is trying to hold onto them before going insane. After Queeg leaves the cabin, Willie says the captain “certainly is Navy,” to which Tom wittily says, “Yeah, so was Captain Bligh.” His comment indicates that an overzealous attitude toward adherence to regulations can lead to cruelty. Since Bligh’s actions led to the mutiny on the Bounty, Tom’s remark is also a foreshadowing. 

During the assignment, one of the seamen, nicknamed “Horrible” (Claude Akins), the name possibly implying the state of affairs on the Caine, wears his shirt out because of a heat rash. Not a good enough excuse for Queeg. He yells through the public address system for Willie and then also blames Tom since he was the officer on deck during this lack of regulatory appearance. He tells Tom that his duties preclude his novel writing, which is all that Tom really cares about. Queeg’s focus on minor infractions allows him to lose sight of more important issues. As he yells at the crewmen, the Caine continues on the course Queeg set and the ship navigates in a circle and cuts the target towing line. Queeg is so insecure he can’t admit he is at fault, so blame must be placed elsewhere, and instead says the towing line was faulty. 

 

Queeg then shifts his harsh manner to a more genial one when talking with Willie. He shows that he is a character with different facets. He attempts to explain his concern about “petty” details, saying “big things are made up of details.” He says that a loose nail in a horseshoe can lead to the loss of a battle. Because of this point of view, he admits that a captain’s job can be lonely and misunderstood. In a way, he is looking for some relief from that isolation. He tells Willie, “Forget that I bawled you out.” Willie seems relieved. But Queeg tends to veer off his mental course when he can’t see the big picture of the forest by concentrating on the individual trees. 

 Tom receives a message that the Caine must return to San Francisco, and he believes Queeg will be reprimanded for the towing line incident, and he reminds Willie he will be able to see May. However, Willie doesn't seem excited about the prospect, since his relationship with her most likely reminds him of his inability to stand up to his mother. It is interesting that Willie’s taking orders from his mother led him to being a soldier taking commands. Mrs. Keith and May meet him at the pier, and he first gravitates toward his mother but then quickly introduces May. His attempt at independence continues as he plans some time at Yosemite Park with May. His mother makes him promise not to do anything “rash,” which means getting married, which would loosen the tightness of her apron strings. 

 

At Yosemite, Willie’s attempted defiance of his mother’s rule is evident as he says he came without needing any permission. It is suggested that he and May spent the night together, since in response to his marriage proposal the next day she says she doesn’t want him to feel obligated to marry her because he feels it is “the decent thing to do.” She tells him “no” about the marriage because she sees that he is more concerned with making a show of independence than really not caring what his mother wants. She says that he will be miserable without Mrs. Keith’s blessing. So, his default position is taking orders. Later Tom emphasizes this point when he tells Willie that he has to get over being impressed by those in authority, like captains and parents. This sequence allows for some time off of the boat, but some may argue that the romantic sublot distracts from the suspense of the main story.

 

Contrary to Tom’s prediction, Queeg is still the captain, who says that there was some misunderstanding about what happened with the tow line. Queeg said that they were in San Francisco to get new radar equipment installed as opposed to Queeg’s removal, which is what Tom had hoped for. Queeg told the admiral that he was at a disadvantage in inheriting such a lowly ship and crew and that he would work to compensate for this fact. Any mistakes he makes he denies and places the blame on others, which is a political maneuver. Their new orders are to assist in an invasion. 

 

During the mission to escort Marines in amphibious landing craft to a beach, Queeg makes a couple of blunders, allowing the inexperienced Willie to take command and thus putting the Marines in danger of a collision with the Caine. Steve compensates for these mistakes. There is heavy fire around them and Queeg appears shaken. He possibly is experiencing post-traumatic stress disorder from previous battles. He pulls out of the area too quickly and leaves a yellow dye marker in a feeble attempt to help the Marines navigate to shore.

The yellow stain becomes a symbol for the men of Queeg’s supposed cowardice. They even make up a sarcastic song called “Old Yellowstain.” Steve hears them and puts a stop to it since it is cruel as he sees it to insult the man. Queeg has another meeting where he says he doesn’t feel well, probably because he is upset by his actions during the assignment. He again shows his humanity as he tries to make a connection, as he did with Willie, by saying he has a wife, child and a dog who are fond of him, so he is like the crew, and they should not be afraid of him. He says he can use “constructive loyalty,” so he is asking for “help.” He likens a ship to a family, which, despite differing ideas, the members “pitch in for the good of the family.” His eyes shift around as if seeking some support and says he would listen to their suggestions. Nobody reaches out a hand to help the shaky captain, so what follows is not entirely Queeg’s fault.

 

After the meeting, Steve looks at the plaque that shows that the ship is named after a war hero, not the biblical criminal that Tom metaphorically suggested. Fiction writers do warp reality. Tom has no sympathy for Queeg and amusedly suggests contacting columnist Walter Winchell, another winter, to go outside the chain of command to blow the whistle on Queeg. Steve and Willie were moved by Queeg’s speech, but Willie says the man turned coward on them. Steve points out Willie’s inexperience and stresses that Queeg has been worn down by his past combat encounters. Tom quashes any sentimentality, which is what a writer should do, but not necessarily a human being. Tom doesn’t see Queeg as being exhausted by war but instead paints him as a “Freudian delight.” He says that he has a pathology that indicates paranoia separate from his military life. Tom says the metal balls, not looking others straight on (which would most likely imply looking for threats), and constant headaches point to mental problems. Steve is defensive, saying “everybody’s a screwball in some way. That doesn’t make them crazy.” Tom, always thinking of his own interests, says he will not go to the fleet physician’s office with Steve unless he supports Tom’s viewpoint. Steve doesn’t believe the diagnosis at this point and says they must drop the accusations immediately or he will report them.

 

Tom’s comments have worked their way into Steve’s thoughts. He reads a book about mental disorders and begins a log about possible examples of Queeg’s psychiatric problems. Incidents are enacted showing Queeg not informed about the showing of a movie and then prohibiting films for thirty days. It’s possible since he wasn’t notified, his subconscious felt neglected, and he lashed out in retribution. He penalizes everyone by denying recreational liberty because some are not wearing combat gear during an exercise. He actually sees a few men not outfitted but by the time Willie looks all the men are equipped, and it appears to him that Queeg is seeing things that aren’t there. Steve notes that the morale on the ship is very low.

 The famous incident that follows in this story revolves around a gift the ship received from another vessel which consisted of a gallon of frozen strawberries. Queeg calls his officers together at one o’clock in the morning about the remainder of the fruit that he says is missing. He has a steward dole out sand to represent the portions eaten at dinner and interrogates each officer as to the number of servings they had. He says there should be a quart remaining. Not only was this a prized gift that he sees as having been stolen, but he continues to see himself as the victim of conspiracies to make him look like a fool, which would point to a paranoid state of mind. He orders an investigation to go through the night, an extreme demand considering this “petty” incident that is similar to one he talked about earlier.

 The officers, represented by Steve and Tom, report that their findings were inconclusive. Queeg of course is unsatisfied and says that he has been able to reason it out that a duplicate key to the icebox was fashioned by the crook. Of course, there is no evidence of this fact, only a possibility that Queeg has constructed to justify his warped view of events. Queeg’s plan is to collect all the keys onboard and label which ones belonged to whom. Then have the men strip so they can’t hide any keys. The key that opens the door will identify the thief. He relates that he found the culprit of a similar crime on another ship. Thus, his pathology has its roots earlier on. Queeg insists that the strawberry felon will not toss the key because he went to too much trouble to make it, which is a dubious claim. There is joking about the whole affair during the stripping, as Meatball (Lee Marvin) wants to know if they will x-ray him to see if he swallowed the key. Harding is leaving because his wife is ill, and he confides to Steve, Tom, and Willie that he saw the mess seamen eat the rest of the strawberries. He told Queeg who threatened him with a delayed departure if he revealed the facts. Queeg didn’t want his theory about the key undermined since it would make him look foolish. He probably wanted to show himself off as a great detective. 

 

Tom tells Steve that Queeg is reenacting his triumph over discovering the cheese robber, implying he is attempting to bolster his paranoid ego. Tom is like Iago whispering in Othello’s ear, urging him to act on his suspicions. He quotes regulations that would allow Steve to relieve Queeg of command. After the strawberry investigation, Steve asks Tom and Willie to accompany him to talk to the fleet admiral. But, the cowardly Tom pulls out since he only wants others to take risks to get what he wants. He says that the admiral will not believe them since those not on the Caine haven’t seen Queeg’s mannerisms and will side with Queeg since it will only seem like he was disciplining them. He even admits that he has, “a yellow streak fifteen miles wide. I’m too smart to be brave,” which shows how he has disdain for those soldiers who put their lives on the line to protect their country. The film suggests that his selfishness would mean defeat in war if all are as “smart” as he is. Steve abandons the meeting since he needed Tom to make the argument. 

 

A typhoon engulfs the area. Queeg will not admit they are in trouble which fits with his concern over his self-esteem. He freezes when the ship is in danger of sinking because he wants to hold to the course that was initially ordered. He doesn’t want to look like he is not following his assignment. But Steve points out that the orders did not take into account the danger they are in. Steve relieves him and changes course, saving the ship. Queeg, not willing to admit his inability to handle his duties then says all officers who go along with Steve will all be convicted of mutiny.

 Barney Greenwald (Jose Ferrer), a lawyer, meets with Steve, Willie, and Tom, who says he is “holding” the coat of the other man, and says he is a “friend of the family.” His inappropriate humor does not fit the seriousness of the situation, which Greenwald points out. Tom will not put himself in the same category of the other two as he distances himself from the effects resulting from his actions. Greenwald says he thinks what happened “stinks,” and that eight other lawyers turned down the case. He is there to talk with Steve before he decides to defend him. This resistance to defend Steve’s actions shows how the allegiance to the chain of command is difficult to counter. Greenwald points out that a few ships were lost regardless of the competency of the captains because of the ferocity of the storm. The overwhelming number of ships in the fleet were saved without having to remove captains, the lawyer says. Greenwald points out that the Navy has psychiatrists that will testify to Queeg’s sanity. Tom says Steve should get a medal and that paranoids are shrewd at not being detected. He says, “They walk a thin line between sanity and lunacy.” Greenwald points out that Tom is no psychiatrist, but if he was the one who first recognized Queeg’s symptoms, then he can testify. He tells Tom that he will share in the responsibility for the removal of Queeg if he does so. Tom points out that he isn’t on trial and walks out. Steve is honorable, unlike Tom, and says it’s his responsibility alone for what happened. Greenwald says he’d rather be the prosecutor, but takes the case. Greenwald is sarcastic when he says that Steve will plead not guilty because he is “a great naval hero.”

 Lt. Commander Challee (E. G. Marshall) is the prosecutor who points out Queeg’s experience and the crew’s subjective dislike of the captain for being strict. When Tom is on the stand he lies that he wasn’t the one that suggested Queeg’s mental illness and says he wasn’t on the bridge to determine who was right or wrong When Steve relieved Queeg. He then says that he did not think the evidence shows that Queeg should have been relieved of command. He sells out Steve to save his own skin. Greenwald doesn’t cross-examine because he says that Tom will just continue to lie and make it more difficult for Steve. (One may question why Greenwald would not recall Willie to the stand to contradict Tom’s testimony). Willie, outside the courtroom and ignorant of the testimony, thinks Tom is good with words and knows what he was doing. Tom says, “Yeah, I knew what I was doing.” It shows that he realizes how he double-crossed his friend. 

 

Lt Commander Dickson (Whit Bissell) says that Queeg was not mentally unstable, but says he compensated for his problems. Greenwald brings out that Queeg had an inferiority complex brought about by his childhood and arduous service that made him have “rigidity of personality, feelings of persecution, unreasonable suspicion, a mania for perfection, and a neurotic certainty that he is always in the right.” He gets the doctor to admit that Queeg has a paranoid personality. Dickson says that that kind of disorder would not cause a problem for someone in command. Greenwald points out Dickson’s lack of naval experience so he was not qualified personally to know how the strains of naval command would act upon a paranoid personality. But Dickson saw those in positions of authority in private life, so the prosecutor tries to show that Dickson’s judgment is sound.

 Steve is not convincing as a witness since he hasn’t the understanding to professionally judge Queeg’s mental competence. But, he says, as Willie pointed out earlier, these distanced reviewers were not witnessing Queeg’s actions firsthand. 

 

Queeg takes the stand and reverses the accusations, stating that Steve was the one who was acting wildly and thought he was the only one who was in the right. Queeg says that Willie was a poor officer who sided with Steve, but he is not angry with them and says he feels “extremely sorry for them.” He is crafty, as Tom said, and appears very reasonable at this point. When Greenwald questions him, Queeg’s personality problems surface when he is under stress. He admits to several crewmen being disloyal, and becomes flustered when answering about cutting the towline and dropping a yellow dye so he could steam away from an intense situation. He becomes agitated when insisting that there was a duplicate key to the freezer housing the strawberries. When Greenwald says he can produce Ensign Hardy who will state that he told Queeg that the mess seamen ate the remaining strawberries and that Queeg conducted a false search to justify his prior accusations. It is at this point that Queeg pulls out his marbles in his hand and says that Harding will only tell lies. The court can now see Queeg’s agitation and paranoia for themselves, which surfaces under stress that is far less intense than that of a ship in a typhoon. 

 

There is a celebration following the court’s acquittal of Steve, which is inappropriate given how an experienced officer was humiliated in court. Tom shows up and is grateful to Steve for not telling the others how he sold his friend out. Steve is a decent man who turns the other cheek and says to just forget it. Greenwald arrives, drunk, and sick about his part in the court martial. He indicts the partygoers for their lack of empathy and refusal to help Queeg when he was open to connecting with his fellow officers. He sees their actions as contributing to the man’s downfall. Greenwald points out that people like Queeg were protecting the country while those like the young Willie were at Princeton. Greenwald then confronts Tom, and calls him the “man who should’ve stood trial,” and he discloses what Tom said on the stand. Greenwald says to Tom that, “you hated the Navy. And then you made up this whole idea. And you managed to keep your skirts nice and starched and clean, even in the court martial. Steve Maryk will always be remembered as a mutineer. But you, you’ll publish your novel, you’ll make a million bucks, you’ll marry a big movie star, and for the rest of your life you’ll live with your conscience, if you have any. Now here’s to the real author of “The Caine Mutiny.” Here’s to you, Mr. Keefer.” Greenwald is likening Tom’s manipulation of people as to how a writer controls his fictional characters. He then throws his glass of champagne in Tom’s face and says he’ll wait for him outside if he wants to fight concerning what he said. Greenwald stresses Tom’s lack of courage for what he stands for when he says, “I’m a lot drunker than you are, so it will be a fair fight.”

 

Willie finally seems to find the balance he sought between service to others and individuality. He defies his mother and marries May but then reports to his new ship that happens to have his original skipper, Blakely, as captain. The man, like Steve, does not carry a grudge about Willie’s earlier disapproval of him, and maybe actually agrees now with Willie’s original assessment of him. He allows Willie to take the ship out so that the young ensign can gain the experience needed to be a successful leader.

The next film is Safe.

The African Queen

SPOILER ALERT! The plot will be discussed.

The African Queen (1951), directed by John Huston, is a story that deals with how people who have withdrawn from adversity can subsequently tap into their heroic nature when a crisis occurs. It also shows that people who are so different and would not meet under average circumstances are able to bond when extreme circumstances bring them together. Each person is capable of bringing out hidden aspects that were submerged before meeting adversity.

The story takes place in German East Africa in September, 1914. Missionaries are trying to bring their version of civilization to the inhabitants. The opening upward shot creates a view of the all-encompassing jungle and its majesty. The animal sounds immediately tell us how far this place is from so-called civilized cultures. But the real bestiality does not come from the land. The impending war points to how humans inflict their destruction and barbarity onto the continent. 

Rose (is she a flower ready to blossom?) Sayer (Katharine Hepburn) plays the organ and helps her brother, the Rev. Samuel Sayer (Robert Morley), try to lead the natives in a Christian hymn. The result is a cacophony of noise, stressing the lack of harmony between the two cultures. Another sound intervenes, which is that of the whistle on the decrepit-looking boat, the African Queen, belonging to Charlie Allnut (Humphrey Bogart, in a Best Actor Oscar winning performance). Bogart here is very different compared to the tough man-of-few-words but mostly moral types in other films he acted in. He is overly talkative in this movie. But he initially does not try to stick his neck out and put himself in danger, similar to Rick in Casablanca. His last name may suggest that he is crazy, a tough nut to crack, or he has the “nuts” (balls) that show he, potentially, can be a brave man. Here the sound of his boat easily distracts the African congregation who look baffled by what the white missionaries are trying to foster on them. 

Charlie, dirty, unshaven and smiling, seems at home in the wilderness of the jungle. The natives are familiar with him as he hands one a cigar. The Sayers are dressed as if they are in an urban setting, wearing fancy clothing that is unsuitable for the hot climate and which shows them to be out of place. Charlie has brought them their mail. The differences between these people continue when they sit down for tea, which the Sayers act like they are drinking in a British garden. Charlie’s stomach is growling since it is taking a long time for Rose to properly serve the bread and butter with the tea. He comments on the strange sounds a man’s stomach can make, but the uppity Sayers do not want common bodily functions discussed in front of them. Samuel reads that an acquaintance is now a bishop, and he seems envious. He dismisses the man’s abilities, implying he married well and that is how he was promoted. Samuel’s behavior is not that of an unselfish religious man devoted to loving others. The Sayers do not fit in with their new surroundings, but also are out of touch with what is happening elsewhere. Charlie tells them of the coming war between many European countries, and that each nation blames the other for starting the conflict. Samuel wonders if they will be considered hostile visitors in a German occupied territory, but Charlie tries to reassure them that nobody cares about “this God forsaken place.” This remark riles Rose who says her brother's presence points to God not abandoning this area on earth. Note that she gives all credit to her sibling as she allows herself to be subordinate to his leadership.

After Charlie leaves, Samuel again shows his disdain by calling Charlie a “wretched” man because he is Canadian and doesn’t seem to care about allegiance to their matriarchal country, Britain. Samuel says he can’t leave his “flock,” so he rejects Rose’s suggestion to depart. But he can do little when the Germans arrive and burn the huts of the natives and the wooden church, taking the men to use them as soldiers. Samuel seems to be broken mentally after this brutality, as he doesn’t even seem to realize he is in Africa. He becomes delirious and then collapses.

Charlie comes back because the Africans who were working for him at the Belgium mines heard about the German raids. The mine was abandoned and Charlie’s men ran off. Rose tells Charlie that Samuel died. Charlie says they must bury him and leave, because the Germans will be after his boat because of the supplies it is carrying. Thus, it is just the two of them now who must learn to survive together.

Rose is out of her depth at first when Charlie has her steer the boat so he can tie it up to the shore. She is starting on a new journey, physically and psychologically, and she must adapt without relying on her brother. Charlie says they have food and plenty of cigarettes and booze, the latter two drawing a look of disdain from the upright Rose. She wants to get out of there, but Charlie points out the difficulty of escaping the Germans. He seems to not want to put himself in any danger and wishes to sit it out until the war blows over. Charlie points out that the Germans have a large ship called the Louisa with a huge gun that prevents the Allies from getting across the lake to rescue people like Rose and Charlie. He also informs her that it will be difficult going down the river since the Germans are stationed where it flows into the lake. 

But Rose is seeking a new mission, and her inner strength begins to appear. She finds out that they have blasting equipment, but no detonators. There are also oxygen tanks on board. Since Charlie is sort of a mechanic, Rose says he can make a torpedo out of a tank, hang it over the side of the boat, and cause it to ignite and destroy the Louisa by scraping against its hull while they jump off. Charlie’s easygoing, joking manner turns to one of alarm at the suggestion. She calls into question his patriotism, and pushes him into leaving immediately as she has found an earthly crusade to embark upon. He now feels resentful of the pushy Rose, and mocks her demanding voice. Circumstances have allowed Rose to emerge from under the shadow of her brother’s spiritual crusade. Despite Charlie's reticence, he, as well as Rose, have not stayed in their comfort zones, having come to a place where there are many challenges. Their presence in Africa shows that they have the potential to be courageous and unselfish. 

As they go down the river, Rose is very inquisitive and learns more about the boat and how to “read” the waterway so as to navigate away from dangers. Charlie has to kick the boiler to let the steam out to reduce pressure because a screwdriver fell into it. He hasn’t removed the tool because he likes kicking the engine, which is a way for him to let off steam himself. She is becoming more worldly, so in that sense Charlie is her mentor. However, she does not want to learn about his drinking gin, and is relieved that he is considerate enough to make her tea. He now tries to duplicate the hospitality she showed him at the village. He likes to put a positive spin with a smile and a laugh even when things are negative, such as when he says the tea may taste rusty, but they “can’t have everything, now can we?” This overly courteous behavior seems forced, like he doesn’t want to reveal his own anxiety, or he can possibly be trying to cover up his roughness with a veneer of civility so as to be accepted by Rose. 

She says that she left England and has been in Africa for ten years. She does get nostalgic for her homeland’s peace and quiet on Sunday afternoons. Her genteel memory contrasts with his remark about “sleeping one off” on a Sunday as he recovered from a drinking binge on Saturday night. He says he came to Africa to get employment working on building a bridge. He misses the fun he had on the weekends, but during the week he had to take “orders” from others. He is his own boss in Africa, which shows his independent nature. They both need to wash up, and he says that they can go to opposite ends of the boat and avoid exposing themselves to each other. They both keep on their undergarments, however (this is 1951), and when Rose can’t climb back on board, Charlie must close his eyes as he helps her get on the boat. After falling asleep, it begins to pour. Charlie is drenched and reluctantly tries to get under the overhead covering where Rose is. She kicks him out, but realizes he just wants to avoid the downpour. She then invites him to get out of the rain. She kindly opens her umbrella to protect him from the rain coming in on the side where he sleeps. The scene adds a bit of sexual tension between the characters.

As he navigates through the rapids, there is a smile on his face while she looks alarmed. What he hopes is that she will become frightened and will call off her dangerous mission. But she surprises him by saying how excited she was, almost acting like it was a sensual experience. He is disappointed she isn’t willing to give up. He warns that their trip will get much worse, but she wants to do more steering and looks forward to the thrill. Ruth’s taking over most of the navigation shows her learning to take control of her life. Rose is no longer a wallflower and is becoming the wildflower she really is. 

After Charlie gets drunk, Rose sees that he is no longer polite and upbeat. He drops the pretense of being agreeable and says that her idea to sink the Louisa will not happen. He mocks her civilized speech. She keeps saying they will continue with her campaign, but he refuses. She says that he promised and is a liar and a coward. He reacts angrily, saying it’s his boat, and only invited her onboard out of pity for losing her brother. But her unrealistic demands are met with Charlie nastily saying, “I ain’t sorry for you no more, ya crazy, psalm-singing, skinny old maid!” He then goes off to drink more gin.

Charlie wakes to find Rose pouring all of his gin overboard, and there is a river of bottles floating along the waterway, as he bemoans his loss. Charlie does clean himself up by shaving, which he attributes to being around a woman with “clean habits.” He compliments her countering his procrastination about cleaning up the boat's engine, as he now performs that task. He seems to want to try to get back into her good graces. But she silently ignores him as she reads, and will not even respond when he says he will make her some tea. He appears dejected since she is not reacting to his attempts at being friendly. When she will not read from the bible for him, he becomes angry, questioning her Christian charity. He says it’s only natural for a man to drink a bit, but she counters by saying, “Nature, Mr. Allnut, is what we are put in this world to rise above.” She is espousing the denial of physical temptations which exist as tests to overcome. He apologizes for what he said when he was drunk, but she says that what is really bothering her is going back on his promise to go down the river and attack the Louisa. He says it is just too dangerous, but he can’t stand her silence, so he gives in. But, he sarcastically says he will eat his breakfast, which will be his last one. 

As they get on their way, Charlie sees many crocodiles entering the river and says they’re waiting for their dinner, which he implies will consist of him and Rose. He acts ironically cheerful and says that’s because he “gave myself up for dead back where we started.” They pass by a German fortress and they stay down in the boat for protection. The Germans use the Africans they abducted to help fire on the African Queen. They damage it, but Charlie reconnects a hose to get the boat going again as bullets fly around them, just missing igniting the explosives. But Rose was right that the sun would get in the eyes of the shooters, who can’t finish them off. But they must next confront the rocks they are rushing toward. The boat is slammed by the waves as Charlie keeps trying to keep the engine functioning and Rose holds onto the rudder. They somehow get through, and they are ecstatic, shouting how they survived. They hug each other and the scene ends in a kiss, which surprises them both. Charlie goes to the front of the boat and symbolically feeds the steam engine, its fire mirroring the passion he now feels. 

There follows a suggestive scene where Rose helps with pumping water out of the boat, and Charlie is close behind her, almost hugging her, holding her hand as he shows her how to accomplish the task. As she vigorously pumps the handle, the dreamy look in her eyes implies a desire for intimacy that she longs for. She removes a thorn in his foot following the collection of firewood, and when he touches her shoulder and says some of the local flowers, “sure are pretty,” she knows he is talking about her. They then kiss.

The next day she calls him “Dear,” and wakes him with coffee. He now acts gung ho about blowing up the German ship to please her. She, trying to reciprocate, notes some ‘misgivings,” about the quest. But then she says she is strengthened by his resolve. The look on his face shows he realizes he may have blown the chance to halt the precarious journey they are on. Later, they momentarily laugh together as Charlie imitates hippos and monkeys, showing they can enjoy the jungle they are traveling through, but then the dangers quickly resurface as they approach some treacherous rushing through waterfalls. 

They get through the dangerous stretch but must bail out the boat. He dives under the craft and sees there was damage to the shaft and propeller. Despite the adversity, Rose stays positive and suggests different ways to make repairs, encouraging Charlie to push himself to realize his potential to solve problems. She joins him under the boat to help with the work. They must take off their outer garments which symbolizes their shedding of inhibitions and differences that would keep them apart under usual circumstances, and are able to make the repairs as a team. They are painting themselves as heroes now, like “Antony and Cleopatra,” as they have bolstered each other’s self-esteem.

But things do not remain “Rosie,” as Charlie now calls his companion. They are swarmed by mosquitoes, but they can’t jump into the river because there are crocodiles entering the water. He covers her so she will not get bitten, and he braves the onslaught by pushing the boat away. Charlie suggests that they will be committed to each other as he says they will have stories “to tell our grandchildren.” And there are more stories to tell as they have a difficult time steering the boat through the marshy reeds to stay on track. Even when he becomes frustrated and angry, Rose encourages him. He has to go into the river and pull the boat, so heavy is the burden he has taken on. He comes out covered in leeches, but Rose is smart enough to pour salt on the creatures to get them off. She shows her strength of character by clearing the way with a machete as Charlie continues to pull the craft. But they can’t get the African Queen off the mud, and Charlie is exhausted and shaking. But he says he doesn’t regret one moment of being with her, showing how love has given him his purpose in life. As he sleeps, she resorts to her faith, which has not been shaken, and prays that God welcomes them if it is their time.

 As if her prayers were heard, a storm occurs and the rain unleashes rushing water that frees the boat from the reeds and pushes them into the lake which is their destination. But they see the Louisa heading towards them. They hide in some reeds, this time for protection, and are safe. They then prepare the air tanks by adding the explosives, and Charlie rigs up some bullets to fire and ignite the makeshift torpedo when it rams into the Louisa through a hole in the African Queen’s hull. 

Charlie has Rosie on his shoulders as she raises the British flag on his boat as Charlie has, like Bogart’s Rick, decided that there is something worth fighting for other than one’s own interests. Love means self-sacrifice, so each says they will attack the Louisa alone, trying to protect the other. But, Rose realizes they must remain a team to get the job done. She admits that she doesn’t want to go on without him, now that she has found a rich life here on earth. They decide to attack at night, a dangerous time because of visibility, but the most efficient if they don’t want to be spotted. However, a storm adds to the problem because the boat takes on too much water and it sinks. Charlie loses track of Rose.

The Germans capture Charlie. On the Louisa, under interrogation, Charlie says he was just fishing, but is accused by the First Officer (Theodore Bikel) of spying, and he is sentenced to be hanged. Charlie is despondent since he believes Rose has drowned. But he rejoices when German sailors arrive in a rowboat and bring Rose aboard. She tells the German that they were prepared to sink the Louisa to show their resolve against their captors. She and Charlie tell the Germans proudly that they overcame impossible odds to come down the river which shows what a tough fight the enemy is in for.

There is a shot of the almost submerged African Queen, but part of it is still above water, suggesting that the plan to sink the Louisa is not dead yet. Just before they are to be hanged, Charlie asks The Captain (Peter Bull) to marry them. Rose sees it as a wonderful way to go out. The Captain delivers darkly humorous contrasting lines by saying, “I pronounce you man and wife. Proceed with the execution.” But the ship runs over the African Queen, igniting the torpedo, sinking the Louisa. Rose and Charlie jump off and are thrilled that they have completed their mission. Rose no longer needs to be subservient to anyone and Charlie requires the African Queen as his substitute companion. They sing, and their harmony as equal partners replaces the noisy voices at the beginning of the film, as they swim off together in married bliss.

The next film is Inside Llewyn Davis.