Contributor: Andy Spencer
Written by James Cameron
Directed by James Cameron
So many romance movies come out these days, and so many of them have characters, stories, and relationships that are hopelessly difficult to care about. Who could have guessed that James Cameron, known for highly visual works like “Terminator” and “Aliens”, would create what is in my mind unquestionably one of the greatest love stories ever? If I had gone into “Titanic” blind, I certainly wouldn’t have.
I will get the few real flaws out of the way first. Leonardo DiCaprio, as great as he is in this film, is forced to yell commands to Rose a bit too much. And the 3D is a gimmick, nothing more. However, to my knowledge, this is the only way to experience this film in IMAX, so for me at least, wearing the glasses was well worth it. Though I’m sure I am overlooking some, that’s about it for the bad. On to the good.
Firstly, I hope that the rerelease of this acclaimed film will remind directors of romantically-minded movies everywhere of how to do it right. James Cameron starts the film in the present day (or at least, it was when it was released), with an expedition to the titular wreck overseen by an enthusiastic explorer (Bill Paxton). He finds a bunch of papers in a safe on the ship, and restores a drawing of a young woman naked, wearing only a necklace. This sets into motion a series of events leading to a three hour long flashback detailing Rose DeWitt Bukater (Kate Winslet, played in the “present” by Gloria Stuart), and her passionate relationship with Jack Dawson (Leonardo DiCaprio). I could type for hours about how well-acted, emotional, and real this pair seems. I won’t, but suffice it to say that all acting awards were well-deserved.
For the bare majority of the film, Jack and Rose are in the spotlight. The length of the film actually works to its advantage, because ample time is given to see how their relationship springs, wilts, and ultimately blossoms. Jack is a lower-class man, and even he makes no bones about it. Rose is from the opposite end of the spectrum, and hates it. Jack finds he about to commit suicide over her marriage forced on her by her mother. The moments the two share really sell their relationship, enough so that the audience becomes invested as well.
Class differences are an extremely prominent issue, brought up again and again. At one point, Rose reminds a frantic crewman that only half the ship’s population can fit on the lifeboats. Her husband-to-be overhears this, and replies “the better half.” The rich are not painted in a sympathetic light. They are arrogant, selfish, and terrible people that throw others off just to have themselves a little more space. Cameron goes this extra mile to ensure that we are sympathetic with Rose. She is forced to walk among these horrid humans, and finally, stumbles upon someone that treats her as an equal, and in an almost husband-like manner, as opposed to her stuck-up, borderline misogynistic fiancee.
After almost two hours of engaging, superb relationship-building, the inevitable iceberg looms. This, of course, is where James Cameron’s signature technical brilliance kicks in in full force. Metal is torn asunder, flooding commences everywhere, and there are many grand exterior shots showing the Titanic going down. All of which are done with excellent special effects that look as real as any of the characters in the midst of them. This is also where the movie becomes incredibly, brutally honest about what probably happened once the ship began to sink. Hundreds are shown drowning and falling, including children. The rich shun the poor, literally kicking them off lifeboats. SOS signals are sent, and fireworks are launched. And, in what could be the greatest scene in the film, four string instrument players lament the catastrophe the only way they know how. And through it all, Rose and Jack find each other through the worst of it, and stay alive until the last possible moment.
James Cameron’s work in this film is truly extraordinary. He is not known for crafting compelling characters or stories. However, in these respects, he succeeds brilliantly here. In modern romance films, characters and their tribulations are about as genuine as cardboard cutouts. Cameron has created a set, populated it with characters that fill it to the last inch, and bound it all together with great attention to artistic and technical detail.
Once the credits began rolling, I heard equal amounts of sniffling and clapping. I’m sure some were doing both. I know this because I was one of those people, blinking back tears while slamming my hands together until it hurt. I left trying to sort out what I liked most about it. I haven’t yet decided, but I knew then and know now that I have seen a beautiful masterpiece from the unlikeliest of sources.
