Captain Phillips (2013) Review

Director Paul Greengrass is clearly on familiar ground here. Carefully treading water between the terrorist-fuelled tension of United 93, and the relentless action of his Bourne instalments, Captain Phillips stands as the British director’s finest achievement to date.

An honest dramatisation of real life events, Captain Phillips documents the hijacking of large cargo ship the Maersk Alabama by Somali pirates in April 2009. The ship’s captain, Richard Phillips, was taken hostage by the pirates and held prisoner until his rescue at the hands of Navy Seals five days later.

It is immediately clear that Captain Phillips is a classically “Greengrass” film. All of his trademarks are present; the handheld cameras, relentless close-ups, obsession with detail and the frenetic camera movement. Initially distancing, and occasionally frustrating, the shaky camera work and tight framing inject Captain Phillips with a claustrophobic sense of realism. One can see what Greengrass – a former documentarian himself – is attempting; this is a true story, and it should be told as realistically as possible.

Utterly absorbed in the smallest of details, Greengrass is determined to show both sides of the coin in this desperate tale of globalisation. Early in the film, Phillips confides in his wife that he fears for their children in a world that is rapidly changing. “You gotta be strong to survive out there” he frets. After immediately cutting to the Eastern coast of Africa, Greengrass strives to convey the hardships endured by the Somali pirates, led by the desperate Muse. The brutal circumstances endured by the Somalis leave the pirates with little choice. Muse later confesses to a disbelieving Phillips that he has only two options in life; fish, or hijack ships.

Greengrass stresses to establish that there are no heroes or villains in his film, only powerless victims of circumstance. Indeed, the even handed approach of Captain Phillips paints the pirates as the true victims; it is they who are ultimately doomed.

Ultimately, Richard Phillips is just a typical man, thrust into a perilous situation over which he, along with his captors, have little control. And when it comes to portraying the “everyman”, nobody does it better than Tom Hanks, who perfectly embodies the former cab driver Richard Phillips. It is in the film’s final stretch however, where Hanks moves into uncharted territory. Traumatised, terrified and exhausted, Phillips cool exterior finally capsizes in a touching display of raw emotion – masterfully portrayed by an almost unrecognisable Hanks.

Only a powerhouse performance from first-time Somali actor Barkhad Abdi prevents Hanks from stealing the show. Abdi’s portrayal of the desperado pirate Muse is undoubtedly a contender for debut of the year. Not at all intimidated by the screen presence of Hanks, Abdi dominates proceedings, his character at once a source of relentless danger and wistful empathy.

Captain Phillips only falters slightly when the action leaves the cargo ship. Once Phillips becomes entombed in the suffocating life raft with his captors, things slow down considerably. It’s a shame, because Greengrass has garnered thunderous momentum up until this point, only to let the narrative drift as the inevitable big finale looms ominously on the horizon.

Despite some minor flaws, Greengrass should be applauded for constructing a film that refuses to pull any punches. Captain Phillips is proof that movies can still be hugely intelligent without compromising on entertainment – now will someone please tell Michael Bay!?