Based
on Paul Gallico’s 1969 novel of the same name, Irwin Allen’s The
Poseidon Adventure (1972) is one of those disaster movies from the
seventies that even today proves nearly impossible to resist.
It’s not just human curiosity that makes this film appealing, with audiences inevitably wondering how, in the same situation, they
might fare.
On
the contrary, there’s actually a strong spiritual component at work in this thriller
directed by Ronald Neame.
Indeed,
the movie offers a full-throated, abundantly muscular version of Christian faith that many viewers will find appealing now, in 2016, and must have proven highly appealing at the time of the film's original release, in the aftermath
of Time Magazine’s “Is God Dead?” cover story.
The
filmmakers knew what they were onto, I believe, and so the film’s promotional
materials read, pointedly. “Hell, Upside Down!”
That
tag-line very nicely sums up the movie’s thematic through-line.
Specifically, a
widely-disdained man-of god -- a Moses or Jesus figure -- played by Gene
Hackman leads a group of would-be survivors through an industrial Hell on Earth:
the capsized ocean-liner S.S. Poseidon.
The
path to safety and indeed, salvation, is veritably Dante-sque in its grueling, horrific dimensions, consisting of floods, fires, and other challenges for the faithful to overcome. Again and again, Reverend Scott’s
tenets of faith are asserted, challenged, and vindicated as he rallies the spirits and courage of his
wayward flock.
This
approach is quite different, for certain, from the specifics of the novel.
In the literary version of
this tale, Scott possesses some rough edges, and takes his own life. Additionally, the character
played by Pamela Sue Martin in the film is, in the book, raped by a fellow survivor. The filmmakers have removed this controversial material so
that Scott and his “flock” are easier to identify with and root for, perhaps.
And
that’s the thing worth lauding about The Poseidon Adventure (1972).
In the final analysis, it
doesn’t matter how much Ernest Borgnine over-acts, or if the special effects
have aged poorly (and mostly, they haven’t).
Despite any such superficial drawbacks, the film enthralls the viewer because we desire to see the characters live up to their leader’s words. We hope to see them take responsibility
for their own lives; for their own survival.
When they do so, their victory is not merely one of physical endurance. It is one of spiritual strength.
“Resolve
to fight for yourself and others.”
At
sea, the ocean liner S.S. Poseidon is struck by a tsunami, and it cap-sizes. The
captain (Leslie Nielsen) and bridge officers are killed instantly, leaving
survivors of the disaster to fend for themselves.
In
the ship’s main hall, a ballroom where a New Year’s Eve party was in full swing, the
Reverend Scott (Gene Hackman) attempts to convince the others that they must leave the hall and
head for the upside-down vessel’s aft propeller section. There the metal hull
is at its thinnest, and rescue is therefore possible.
Many
don’t heed his message, but some do.
Climbing a Christmas tree and escaping the ballroom with the reverend are a young woman, Susan Shelby (Pamela Sue Martin) and her little brother, Robin (Eric Shea), and an older Jewish couple, the Rosens (Shelley
Winters, Jack Albertson).
Also going with Scott’s group are an argumentative
police officer, Rogo (Ernest Borgnine) and his wife, Linda (Stella Stevens), as
well as a single man, Mr. Martin (Red Bttons) and a traumatized singer, Nonnie (Carol
Lynley).
The
group escapes the hall just as water floods it, killing those who stayed
behind.
But the survivors can’t look back, and must soon navigate a passageway
called “Broadway,” a kitchen riddled with fire, a submerged compartment, and
the obstacles of a burning engine room.
“Nobody’s
gonna help us except ourselves.”
Early
in The
Poseidon Adventure, Gene Hackman’s outsider reverend (who is bound for
exile in the third world for his non-dogmatic views of Christianity) delivers a powerful sermon on the ship's deck.
He declares that God cares about
humanity, but sees humanity on a different scale than we can understand. God is looking at man over the
generations, over a huge span of time, and can’t worry about each one of us, says Scott.
Instead,
Scott informs his flock -- and the audience -- when we “pray to God” we should “pray
to that part of God within” all of us.
“God
wants winners, not quitters,” he says. Scott then suggests that his listeners “resolve
to fight” for themselves and "for others."
Scott’s philosophy comes in handy during the
crisis, but on a much more significant level, also informs the rest of the film.
It is not actually in Scripture that “God helps those who help themselves,” but
The Poseidon Adventure puts forward that philosophy, on steroids, as a
guide-post for the faithful in harrowing and uncertain times.
Again,
one must consider historical and cultural context when thinking about a film’s meaning. In the
early 1970s, the pop culture was agonizing over the issue of God and faith. The
1966 Time Magazine with the “Is God Dead?” cover appeared in Rosemary’s Baby
(1968), for example.
The Poseidon Adventure’s response to such questioning, is, essentially, to
say, stop being a crybaby about God and go pull your own weight.
God’s got
other things to do besides saving your scared ass. He made you in his image, so find that part
of God inside you...and survive. Quit being a
victim.
Now,
I am not advocating any viewpoint or belief system here (least of all regarding
belief in God), merely noting that The Poseidon Adventure reflects its
time, and accordingly puts forward a philosophy or way of commenting on that epoch.
Think
about that time just a little more: December, 1972. American pillars like faith in government were beginning
to fall, in part because of the Watergate Scandal. The first convictions in that crime
came just weeks after The Poseidon Adventure’s theatrical release.
Also, America was sharply divided by issues such as the Vietnam War, which it appeared to be losing...badly. The old ways of seeing and living just weren’t
working anymore. In short, We all seemed to be trapped on a capsized ship, one that was
sinking fast.
The Poseidon Adventure’s answer to that dilemma was simple but ultimately empowering on a personal level: When
things are falling apart, look to yourself. Summon the best part of yourself to
respond.
In
the film, Scott’s superior in the Church, also on the Poseidon, laments that
Scott “speaks only for the strong,” but I think he’s off-base in that assertion.
I believe that the message of Scott’s sermon is that we all carry the spark of the divine
within us, and can access it when we try.
We are all strong, and we must summon that strength if we wish to
survive. Again, I’m not advocating for
or against anything, including religious belief, merely noting what I saw and heard consistently expressed in this movie.
The
entire film can be read, at least metaphorically, as a religious journey. Scott
states his philosophy, and some follow it...while others (to their detriment) don't.
He leads them out of the hall or ballroom, specifically by
climbing up a Christmas tree. Certainly, that is a symbolically-important choice. In 2004, for example Pope John Paul noted that the
Christmas tree exalts “the value of life” and related it to Scripture, and the
tree of life in Genesis 2:9.
Note that a
key aspect of Scott’s philosophy, as repeated, in hushed tones throughout The
Poseidon Adventure is that “life matters very much.” Life, specifically, involves climbing that
Christmas tree and escaping the hall. It is literally a tree of life for those who choose to see it as such.
Moreover,
the Christmas tree in the film is topped by a star of sorts, if memory serves, and symbolically speaking, such a Christmas star is supposed to represent the one viewed by the Three Wise Men at the
time of Jesus’s birth. Likewise in the film, above and
beyond the star is, literally, salvation: an escape from the hell of the bowels
of the ship.
Scott’s
belief system, that “nobody’s going to save us except ourselves,” is
transmitted to the others, including Belle Rosen (Winters). She gives up her
life fighting to survive. Had she not chosen to
swim into a submerged compartment, Scott would have died then and there,
pinned under a sheet of metal, and the others would not have escaped the
ship. Belle Rosen -- whose name means beautiful flower -- "blooms" as a person, and puts into practice the belief
of her spiritual leader. She fights for "others," like her husband, Manny. She has resolved to fight for them, no matter the cost.
Next,
of course, in this spiritual reading of the film, we must consider Scott himself. He is
either a Moses figure, leading the survivors out of Hell to a promised land, or
a Christ figure.
I tend to prefer the
Christ analogy, because -- spoiler alert -- he dies living his principles.
Above the burning ruins of Poseidon’s Engine
Room -- literally a lake of fire in spots -- Scott gives up his life so that others
might live. He dies, essentially, for our sins, as Jesus did. Burning steam is being voided into the
chamber, and Scott hangs precariously from the valve to close it, and make the way passable.
Although we don’t explicitly get a traditional crucifixion pose here, it is important to
note that visually, Scott hangs isolated before the others, dying before their eyes, as he
makes his sacrifice.
He
dies living out his philosophy, fighting every inch of the way to survive, to
fight not just for himself, but “for others.”
The Poseidon Adventure's final scene is particularly Dante-sque, as it sees the survivors
escape the Hell of the Engine Room and step out onto the surface, into sunlight
and safety. This moment represents a catharsis, a cleansing. True, it’s not Easter Sunday when these individuals escape (like it was for Dante
and Virgil in The Divine Comedy), but it is a day of renewal and re-birth nonetheless: New
Year’s Day.
As
readers are aware, I admire tremendously those movies that work on two tracks of meaning
simultaneously.
One can absolutely enjoy The Poseidon Adventure as a straight-up
disaster film with some remarkable stunts.
But one can also view the film as a statement of philosophy; as a meaningful comment on spirituality and what it means at this particular junction in history. Although the
film is often criticized for over-acting and some cheesy dialogue, it also
manages to craft some beautiful and unforgettable compositions.
For
instance, there’s the moment early in The Poseidon Adventure when the hall is flooded, and those
without faith in Scott's leadership panic and drown. There is nothing Scott can do to help
them once the sea rushes in.
Downcast, he closes the doors to the hall -- which the doomed will never reach -- his visage disappearing into shadow and darkness. The others have been locked out of Heaven, in a sense,
because of their inability to believe in Scott’s philosophy of muscular faith. Visually, this shot makes us understand how Scott must “close the doors” on those who
can’t help themselves, and continue his trek for freedom (and the salvation it
brings).
Another
moment that lingers in the memory involves Mrs. Rogo’s death. She’s a former
prostitute and a crass sort of gal. She dies
just moments before salvation, by falling into the lake of fire.
This occurs, I
believe, because she never came to believe in Scott’s dogma of looking out for
herself and others. She only got to the
first part of that equation. In one especially ugly moment, she comments on
Mrs. Rosen’s “fat ass,” and getting stuck behind it.
Her punishment for abandoning her fellow
survivors is death by fire. It’s true
Mrs. Rosen dies too, but she dies at a moment of courage and nobility, saving
others instead of deriding them. I suppose the important question involves how one meets his or her fate, right?
On the surface, The
Poseidon Adventure
is about a disaster at sea, of course, and those who do and don’t survive that disaster. That’s to be expected.
The rewarding quality about this film is that it
talks about survival not merely as an end, but, finally, a statement of philosophy
and faith.
There are a lot of good disaster movies out there, but I don't know of many that are as coherent and consistent as The Poseidon Adventure is in terms of messaging and symbolism.
“Hell, Upside Down,” is the challenge you face, and if you desire to escape it, you have to do it standing on your own two feet.
This was one of my favorite movies as a kid. In an era before home video, I remember going to see it in the theatre several times before it finally finished its run. Although I was too young to articulate the spiritual themes of the film, they definitely resonated with me and Gene Hackman became my favorite actor. I can recall swinging from a high branch on the tree in my front yard, reenacting the climatic scene. I'm sure the neighbors thought I was crazy, screaming my head off as I plunged to my imaginary fiery death on the front lawn.
ReplyDeleteAwesome review and great reading of the movie!
ReplyDeleteOne of the first films I ever saw in a theater and it had quite an effect on me. I remember buying the song "The Morning After' on 45 and spinning it nonstop. I listen to the John William's soundtrack every now and then and have been meaning to revisit this film.