Clint Eastwood<\/a> with the same kind of unpretentious professionalism, the film makes a point of celebrating in its protagonist. \u201cSully\u201d retells the so-called \u201cMiracle on the Hudson\u201d through the eyes of Capt. Chesley Sullenberger, who pulled off the incredible landing \u2014 if \u201clanding\u201d is indeed the right word when a plane touches down on open water \u2014 based on his book, \u201cHighest Duty.\u201d For audiences, getting to witness the feat in question is far and away the film\u2019s biggest selling point (and no doubt the reason why it will be opening simultaneously on Imax screens Sept. 9), but Eastwood and screenwriter Todd Komarnicki have opted for a counterintuitive approach, withholding the flight itself for as long as possible and focusing primarily on the aftermath of the accident, as Sully tortures himself with questions of what he might have done differently, and as a team of National Transportation Safety Board investigators attempt to ask him the same thing.<\/p>\nWhile that means more of the film is set in the hot seat of inquest chambers and courtrooms than in the cockpit itself, starting after the plane has safely landed is a shrewd storytelling strategy for multiple reasons. Not least of these is that it allows Eastwood to parcel out multiple impressions of the incident \u2014 from extended flashbacks to crude simulations \u2014 over the course of movie, effectively offering audiences six plane crashes for the price of one.<\/p>\n
In fact, the film, which runs an efficient 96 minutes, in Eastwood\u2019s typical no-fat style, holds back on what really happened until more than an hour in, and instead opens with a vivid nightmare in which Sully imagines a far different outcome had he followed through on his initial strategy of returning to LaGuardia Airport with practically no thrust in either engine, culminating in a fiery demise for all aboard as Flight 1549 crashes into a skyscraper. And then he wakes up.<\/p>\n
The unsettling dream sequence is strangely less exciting than such airline-disaster openings as those in \u201cFlight\u201d and \u201cAlive.\u201d And yet, distasteful as it may be to watch a plane smash into the New York skyline, conjuring images of 9\/11, it\u2019s a reminder that Sullenberger\u2019s actions potentially saved more than the lives of his 155 airline passengers.<\/p>\n
This isn\u2019t the first time Eastwood has opened a film with a major CG cataclysm: In the relatively heavy-handed \u201cHereafter,\u201d he kicked off proceedings by demolishing the coast of Thailand with a dramatic recreation of the 2004 Indian Ocean tsunami. While only a dream sequence, \u201cSully\u2019s\u201d opening feels less like a stunt from a director who alternates between sober, seemingly timeless portraits of exceptional personalities (\u201cAmerican Sniper,\u201d \u201cMillion Dollar Baby\u201d), and corny, cardboard melodramas too old-fashioned in their approach (\u201cJersey Boys,\u201d \u201cChangeling\u201d), occasionally landing somewhere in the middle (\u00e0 la \u201cFlags of Our Fathers\u201d). \u201cSully\u201d is an example of the last done right: a straightforward tribute to the extraordinary actions taken by an irreproachable character who refuses to see himself as a hero. It\u2019s not a particularly great Clint Eastwood movie \u2014 it ranks perhaps ninth or 10th on a r\u00e9sum\u00e9 of 35 features, two of them best picture winners \u2014 but it\u2019s one that promises to resonate in a big way with Americans at this moment in time.<\/p>\n
Ripped from the headlines, \u201cSully\u201d offers a rare example of a movie inspired by good news \u2014 the best news, as one character points out, that New York has heard in a long time, \u201cespecially with an airplane in it.\u201d And because most Americans already know the outcome, it makes sense to focus on the less-known \u201cwhat happened next\u201d of it all, after Flight 1549 had faded from the TV news cycle. (In the film, whenever there\u2019s a television in a scene \u2014 whether in a bar or a hotel or back home at the Sullenberger residence \u2014 it\u2019s covering the story.) What most people don\u2019t know is the cruel irony that despite saving everyone\u2019s lives, Sully still had to answer to the NTSB, which felt that his decision to effect a forced water landing had actually endangered everyone aboard. According to protocol, Sully should have returned to LaGuardia, or else tried to land at nearby Teterboro Airport, and both the airline\u2019s insurance company and Sully himself are faced with the consequences of his decision \u2014 one that\u2019s informed by the pilot having delivered nearly a million passengers over some 40 years.<\/p>\n
Sullenberger may be haunted (visions of crashing planes become a recurring motif), but he\u2019s not alone. His co-pilot, Jeff Skiles (Aaron Eckhart), sticks to Sully\u2019s side like a faithful collie, while his wife, Lorrie (Laura Linney), offers encouragement from home via phone. But Sully\u2019s network of support extends far beyond that, relying on all the other professionals who played a role that day, from the air-traffic controllers to the flight attendants to the emergency-response crew, and though viewers will shake their heads at the injustice of the fact that the authorities held Sully\u2019s feet to the fire for what happened, Eastwood\u2019s message is one of appreciation for those who responded to a crisis in which everyone survived, where the pilot did his job, and where people acted admirably across the board. As Skiles tells the NTSB investigating committee, \u201cYou\u2019re not used to having answers to your guesses.\u201d (He also gets the movie\u2019s last laugh, an odd, \u201cOK, I guess we can all go home now\u201d chuckle.)<\/p>\n
In terms of acting, there\u2019s not a whole lot for the supporting cast to do other than support, and some of the extras (most notably the passengers) can be distractingly amateurish at times. This is Hanks\u2019 show, and he delivers a typically strong performance, quickly allowing us to forget that we\u2019re watching an actor. With his snowy white hair and mustache to match, Hanks conveys a man confident in his abilities, yet humble in his actions, which could also be said of Eastwood as a director. As unfussy as ever, Eastwood juggles the script\u2019s odd chronology-bending structure, steering by his central character\u2019s conscience throughout, while supplying another of his simple piano scores, which doubles as the melody for end-credits song \u201cWe\u2019re All Flying Home\u201d \u2014 though if ever there was a film that called for \u201cThe Wind Beneath My Wings,\u201d this is it.<\/p>\n
<\/p>\n<\/div>\n
Source:\u00a0variety.com<\/p>\n","protected":false},"excerpt":{"rendered":"
Tom Hanks stars in the story of a hero pilot who refused to view himself as such after landing US Airways Flight 1549 on New York’s Hudson River. If there\u2019s one Hollywood star you would trust to crash-land a commercial airliner without injuring a soul on board, it would surely ...<\/p>\n","protected":false},"author":6,"featured_media":49800,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4545],"tags":[6191,1196],"class_list":["post-49799","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment","tag-movie-en","tag-tom-hanks"],"acf":false,"yoast_head":"\n
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