I am largely unfamiliar with The Toast, but it seems to have a Buzzfeedy kind of feel, except it has articles instead of gifs. But I haven’t hit upon any obnoxious political content, so it can’t be Huffington Post. I started with one kind of article, and then I found Movie Yelling with Nicole and Mallory: The Hunt for Red October.
And it’s definitely watching two girls be very silly and hyperbolic about a movie. But it’s a great movie, and they’re right on a few key points:
- Alec Baldwin is, in fact, the greatest Jack Ryan that has ever been. I’m not a tremendous Alec Baldwin fan, either. In fact, I can’t even think of another movie I’ve seen him in that I would watch a second time (wait, he was in Beetlejuice, wasn’t he? I always forget that). But he nailed this one. The Harrison Ford Jack Ryan movies are kind of plodding by comparison [In fact, If I’m being honest, I don’t much like Harrison Ford outside of his particularly narrow Han Solo/Indiana Jones oevre. He’s got too much anti-hero, too much fuck-this-shit-in-particular in him, to really be an earnest heroic type, yet for some reason he kept trying to be that, and it sucks. The only real exception to this is Witness, when he plays a cop charmed by the Amish, and even then he gets romantic with an Amish woman. Because of course he was. And before anyone mentions The Fugitive, that movie is entertaining because of Tommy Lee Jones and his gang of misfit cops, and for no other reason.]
- The cast in this movie is pretty damn good. All actors you’ve seen in other things, and none of them are embarrassing or off-putting. Tim Curry is completely believable as this great big true-believing Soviet dupe, but then Tim Curry is believable as pretty much everything he ever did. Dude had range. I rather enjoy Scott Glenn myself. The “Hey, I think someone fired a torpedo at us!”-“No shit, Buckwheat, get the fuck outta here!” exchange gets me every time. Also, he’s pretty badass with the whole “hardest part of playing chicken is knowing when to flinch” business. Which brings me to…
- Endlessly. Quotable.
“And the singing, Captain?”
“Let them Sing.”
“I would have liked to have seen Montana”
“When I was 12 years old, I helped my daddy build a bomb shelter in the backyard because some idiot parked a dozen warheads 90 miles off the coast of Florida. This thing could park a couple of hundred warheads off the coast of New York or Washington and no one would know anything about it until it was all over.”
“That kid spent six months in traction, and another year learning to walk again. Did his fourth year from a hospital bed. Now it’s up to you, Charlie, but I might consider cuttin’ the kid a little slack.”
“They’re pinging away with their active sonar, but they’re running at almost 30 knots. At that speed, they could run over my daughter’s stereo and not hear it.”
“Then tell it right. Pavarotti was a tenor, Paganini was a composer.”
“A Russian don’t take a dump without a plan.”
“Oh yes it was. The man was patronizing you, and you stomped on him. In my opinion, he deserved it.”
“Remember, chief. That torpedo did not self-destruct. You heard it hit the hull. And I…[shows identification]…was never here.”
“Yuri… You’ve lost another submarine?”
“Next time, Jack, write a goddamn memo.”
That’s just off the top of my head.
- It’s perhaps the last great Sean Connery performance. He did stuff in the 90’s, but it was mostly big-budget schlock like The Rock. This had a taciturn passion to it, a real dramatic arc and gravitas. And If I wanna get meta for a second, I feel like getting a Scot to play a Lithuanian has an odd kind of logic to it. He is both utterly ensconsed in and utterly removed from the empire he serves, making him deeply dangerous to friend and foe alike. Which brings me to…
- No film gets the Cold War better than this one. Yeah, all you Dr. Strangelove fanboys, I said it. Come at me. Strangelove is a satire, and rather a low one. It has nothing to say beyond “Nucular weapons are Teh Dumbz LOL”. The joke is that these generals and statesman are tap-dancing around the End the World button, and woops! they step on it. Red October does the military and political leaders of both the USA and the USSR the courtesy of treating them like grownups, like men keenly aware that a false move means the end of the world, and trying to prevent that by any means necessary except giving the enemy an advantage. The paranoia, the sorrow at the labyrinthine nature of the conflict juxtaposed with the pride in playing it so well, the mutual fear and fascination with which Russians and Americans regarded each other for almost the entire second half of the last century, it’s all deftly woven into this potboiler action movie with nuclear submarines.
But that’s my point of view. It’s nice to see the younger generation appreciating it, too.