How about that, here’s another movie for grown-ups in theatres near the very start of the big Summer season of blockbusters. Yes, they’re usually saved for the end of the year for the big awards. Speaking of those accolades, this new film stars an Oscar-winning actor (he grabbed the gold only a few years ago). Did I mention that it’s based on a true story? Near the end of WWII, so this celebrates that “greatest generation”. This film is all about the planning and prep for one of the greatest battles, which has been memorably recreated on screen several times. But this is from a vastly different perspective, as we don’t witness montages of the “GI Joes’ rigorously training (drills, target practice, marching, etc.). It turns out that this mission’s success or failure hinged on predicting the weather, hence the multiple meanings of the title PRESSURE.
The story begins with a simulation of D-Day. a disastrous “rehearsal” which alarms the strategist, General Dwight D. Eisenhower (Brendan Fraser). Luckily, there’s an “ace” he has yet to play. Cut to the home of meteorologist Captain James Stagg (Andrew Scott) as he prepares breakfast for his very pregnant missus before leaving for his new assignment. He is ushered into the posh estate, Southwick House, which has been converted into a massive war room plotting the Allied invasion of Normandy. “Ike” wants his troops on the Omaha and Utah beaches on June 5, but he wants to be certain that the weather will be accommodating: no squalls, gale-force winds, or torrential downpours. Kay Summersby (Kerry Condon), Ike’s driver and personal assistant, escorts Stagg to the big “weather center” to meet with his fellow tacticians and his American “counterpart”, Captain Irving Krick (Chris Messina). The two men clash immediately, leading to countless scenarios and predictions for their concerned commander and his team of high-ranking officers, particularly Britain’s General Bernard “Monty” Montgomery (Damian Lewis). Maps are drawn, observation balloons are launched, and everyone gets “antsy” as Krick seemingly tells Ike what he wants to hear, while the pessimistic Stagg tries to be confident in his data while also worrying about the fate of his wife and unborn child.
Once again, Scott turns in a terrific performance as the prickly, somber Stagg, though we do see a few cracks in his armor when the war truly starts to “hit home”. But he resists the urge to compromise with Scott, showing that focused, steely dedication to Stagg’s craft. The most controversial casting may be that of the gifted Fraser as Ike. Even with his prominent shaved forehead, he seems literally larger than life, towering over nearly every scene partner. Physicality aside, Fraser is mainly there to pace, chain-smoke, and bellow at those who just won’t commit to his needs. Perhaps it’s a script deficiency, as Ike was an important part of our victory, he’s not that engaging here (and I kept thinking of the more colorful PATTON). The fiery antithesis to the dogmatic Stagg is the volatile Krink, played with great grit and energy by the dependable Messina. Ditto for Condon, though she’s given scant chance to shine as Somersby, maybe it’s due to the erasure of the scandalous whispers of her dalliance with her superior. Lewis is also watchable as the “stiff upper lip, passive-aggressive and impatient “gentleman soldier, Monty.
Eight years after the visceral tension of HOTEL MUMBAI, director Anthony Maras somehow succeeds in keeping the pace steady, even with our knowledge of the outcome (history and other flicks). Despite his efforts, the film’s “stage roots” are showing. Maras worked with actor David Haig in adapting his play for the film. Sure, they leave Southwick often, but the story seems to lurch from one dialogue-heavy confrontation to another (Ike and Stagg, Stagg and Krick). I expect school speech teams will use many of them for the duet pieces. But for movie audiences, it never really vibrates. It doesn’t help that the scenes are bathed in that brown 1940’s “glow” (I thought that Captain Steve Rogers would pop in for a “spot of tea”). And really, can arguments about weather predictions be compelling when the event is so entrenched in our brains? There are a few glimpses into the battle on the beach, but the carnage here pales when compared to the still agonizingly powerful opening of Spielberg’s SAVING PRIVATE RYAN. It may be an unfair comparison since this film’s budget forced the inclusion of several snippets of re-colored archival footage. Plus, the period details feel just “off” (sure, the soldiers sang along with “Boogie Woogie Bugle Boy,” but did they really dance to decades-old Cab Calloway tunes?). Finally, we’re left with a story focusing on an historical “side note” that’s just not that cinematic. Without an Oscar-winner “fronting” it, this would be forgotten fodder for the many basic cable channels (something Tony Soprano would watch on a weekend).I suppose exploring these heroes of WWII had the creative team feeling loads of PRESSURE.
2 Out of 4
PRESSURE is now playing in select theatres
