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It’s often said that “Sully” certainly nails the depiction of the water landing known as the Miracle on Hudson and made by US Airways flight 1549 in 2009. The movie enjoys a high rating for this reason alone.
We hear splendid dialogue from the pilot in real life, who goes by the name Sully; someone who commanding officer Tom Hanks played in the movie. In fact, one of the greatest commanders of all times Sully Sullenberger under enormous pressure achieved the impossible. Tom Hanks does so perfectly, reminding us why he continues to remain the best ever since James Stewart in Mr. Smith Goes to Washington. Who else could so articulately express quintessential core and red white and blue values such as never surrendering, taking pride in what he does, self-sacrificing courage during times of catastrophe and disaster without being perceived as a bore?
In “Sully,” the film gives Eastwood, who at 86 years old, the chance to use his Western-watching experience to direct a film in which cowboys trade guns for a modern, bureaucratic twist: a head-to-head nuisance with the National Transportation Safety Board. These methods marvelously blend reality into a somewhat fantastical tale Sullenberger’s ability to make split-second decisions in mid-flight is put on the trial by guys with flight simulators, computers, and insurance papers, threatening to outsmart him with the clutch of their sneers. It’s almost like they wanted him to have cruised to a nearby airport when a herd Canadian geese pushed his engines into a standstill, which was absolutely ludicrous. But from his decades of experience, he knew it was impossible.
The character himself has a great leap on experience but at the same time he is bordering on Eastwood’s persona, and so he pulls it off without effort. It’s not easy being able to tell this to comic book readers filled with hors d’ oeuvres to set up a franchise and Steven Spielberg lovers who spend outrageous sums to erect CGI theme parks for heroic saviors of the humanity.
Eastwood showed his prowess in providing jaw dropping “wow” moments in blurring drama with a tsunami mastadon. Hereafter opened up with the terrifying whale of a tsunami and drowned in a sea of after life drama. And as before, the book or the movie spectacle dutifully amazes but this time step to step analysis is rewarding.
Is “Sully” a great drama? Not really since second guessing is the main source of tension, alongside other elements like Sully getting haunted by his own vision of a plane crashing into skyscrapers on 9/11. But it will keep you engaged, which is not an easy task given that the real event only lasted 208 seconds and everyone already knows what happened. The ending of the story is always a happy one, isn’t it?
It’s clear Eastwood’s casting abilities remain flawless as seen with his choice of Aaron Eckhart, where his contribution to the movie was greatly underestimated. As co-pilot Jeffrey Skiles, he adds invaluable wise-guy banter. Sully has very little social flair to him, yet doesn’t mind showing parts of his personality when he and Skiles are not in the cockpit. Since they are flying to Charlotte, Skiles tells Sully he is going to take him to Del Frisco’s, a famous local steakhouse. “The ribeye will break your heart,” Skiles promises. To which the senior aviator replies saying he would prefer a porterhouse steak instead. Skiles quips saying, “The porterhouse will stop your heart.”
The phone calls Sully has with Lorraine, his wife, were not that successful.
In 2003’s “Mystic River,” Laura Linney’s performance as Penn’s wife was immensely captivating and memorable, one that was gifted to her by Eastwood. However, here, she is given no favors as her character mainly consists of a supportive wife, whose only noteworthy emotional moment is a few tears.
What lies beyond the daring 24-minute rescue is quite dull, almost soothing. Long before the tragic takeoff, passengers onboard Flight 1549 seem to be the most cheerful group of flyers ever. A middle seat woman gives a warning that the baby on her lap has a tendency to “throw things” and Mr. Window Seat agrees, saying, “I like catching things.” In addition, three last-minute men who score seats on the plane for the ill-fated flight act as if they won the lottery. A very large portion of clunky irony.
Sully, the kind man who is overwhelmed with the sudden hugs, kisses, and other odd acts strangers give him as he and Skiles are forced to loaf around New York, seems to be in stark contrast from the media grilling he is undergoing. He also beats the burden of instant celebrity by appearing on TV interviews with Katie Couric and David Letterman.
“And while a bartender does have a drink named after him, a shot of grey goose with water, he has yet to let it inflate his ego.”
This is primarily Eastwood’s film and his rather bizarre selection of piano-bar jazz can easily find its place in the soundtrack if he wants. On the other hand, I suppose a fanfare from John Williams wouldn’t have fitted a character like Sully, who effortlessly quells any attention thrown his way. He reduces his accomplishments to the simple and dismissive, “We did our job.” She and Eastwood’s team do edged work too, serving a porterhouse style flush to the heart kind of movie.
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