My Favorite Movie: Titanic
Watching movies is my favorite pastime. The most recent technological advancements, epic stories that we only heard of, key documentaries and other literature are best portrayed in movies. To me, “Titanic” will remain my favorite movie, not only due to the historical relevance of the movie’s storyline but the scenery featured in the movie and the assertiveness and aptness of the actors makes the movie to stand head and shoulder above all others.
“Titanic” is a 1997 film that tells the romantic and tragic story of two teenagers who meet on a ship and fall in love. It tells the story of Jack Dawson and Rose Bukater, who while on the RMS Titanic ship on its maiden voyage from the coast of England to the United States fall in love at first sight, despite their different social classes. Dawson, a young talented artist from a poor background, and Rose, a young woman married to a wealthy but cruel older man who she does not love, go through a short but dramatic love life. “Titanic” reveals the nature of relationships that exist in the society, and whose relevance applied not only in the early twentieth century but which still makes sense to this day. A teenage girl from a wealthy family can, today, get married to a poor boy from a humble background as long as the two are in love.
Apart from the power of love to thrive in every situation as a dominant theme, “Titanic” reveals the fact that man can find love anywhere regardless of the prevailing situation. Rose is about to jump off the back of the ship into the cold ocean water and Jack tells him, “I’ll be right after you” ready to jump into the water to save her. When the ship’s crew’s attention is drawn to Jack and Rose as they make love on the ship’s deck, the ship hits an iceberg. The death of 1500 out of 2200 people on board and the frantic effort to save some of the passengers only adds to the beauty of the story. It is a sad attempt for Jack to salvage his lover as ocean water sweeps into the deck, drowning many passengers. The naivety of the two love birds and Rose’s defiance of her mother’s directives “not to see Jack again” reinforces the theme of timeless, bold love.
The film’s scene makes the story more compelling. The dolphins playing beside the ship as it departs from the coast of England, the sunny weather at the start of the journey, and Jack’s determination to ensure Rose lives a happy, fulfilled life adds flavor to an already beautiful tale. The allegation that the ship was “unsinkable” and that even God Himself could not sink the ship stimulates the audience’s desire to watch the rest of the movie to verify that allegation.
Few movies inspire as much emotion as “Titanic.” While few others capture my emotion leading to greater attachment, including “Shawshank redemption,””Saving Private Ryan” (1998), “The Pianist” (2002), “Rain Man” (1988), and “Casablanca” (1942), “Titanic” definitely stands out for its combination of various elements and perfect acting. The main actors bring out the message of the movie clearly, and they embody the situation and life of the twentieth century as well as the modern times.
In conclusion, the 1997 film “Titanic” remains my all-time favorite movie. No expression of the youthful desires and experiences in human life comes close to the ones portrayed in the film. Every aspect of the movie, ranging from casting to scene selection is done flawlessly and the themes come out clearly and perfectly.
For your consideration: a couple of stories regarding directors, budgets and Hollywood executives. On the set of one of his productions, Alfred Hitchcock was confronted by a studio exec panicked by spiralling costs. "What are you going to do about this?" he demanded of the director. Hitch turned to the upstart and said, "I shall do whatever is necessary to make what, in the due course of time, you will come to refer to as our film."
A good three decades later, on the set of one of his larger productions, James Cameron was approached by a similarly anxious suit who asked pretty much the same thing. Cameron turned to the upstart — and shouting, "shut the fuck up" promptly attempted to asphyxiate him. Different reactions maybe, but to the same problem. Huge productions attract the attention of first the money men desperate to slash scenes, but shortly after that, the press. Knives are drawn, the dreaded words "troubled production" raise their ugly heads and, when it comes to release time the movie has to battle against a positive lynch-mob of hacks out baying for blood.
Had he had the decency to deliver the expected flop, to play to the critics' and industry-watchers lust for a truckload of hubris dumped over a director playing fast and loose with hundreds of millions of dollars, then the reviews might have read differently.
Titanic wears its flaws as boldly as it does its abundant strengths. Sure, the dialogue is often nearer to teen soap than Merchant Ivory (leading Beverly Hills 90210er Jason Priestley to remark that the verbiage was so dire that, "I half expected myself to walk through the door.") James Horner's score often lists towards faux Celtic parpings and all Billy Zane needs to complete his personification of silent-movie villainy is a top hat and a waxed moustache to twirl. But then, ironically, Titanic was never meant to be a "deep" film. It is, however, like the ship itself, a bloody big one.
At heart Cameron is a kind of celluloid engineer; his films habitually act as showrooms for the latest technology (and thus his keen interest in the cutting-edge maritime engineering — witness the loving shots of the ship's engine room: no character ever goes there and the hugely expensive sequence was an obvious candidate for cutting, but Cameron just couldn't sacrifice the pounding pistons) and his screenplays are masterpieces of structure rather than style. Titanic is no exception, masterfully employing match-dissolves backwards and forward from the salvage operation to the sumptuously designed sets of the ship herself and thus engrossing an audience whose previous dramatic stamina had probably been 50 odd minutes of Dawson's Creek. Equally Cameron turns what could have been a major flaw (notwithstanding current educational standards, even the thickest teen is dimly aware that the ship sinks) into a strength, teasing the audience for over an hour and a half, and losing some in the romance, before the iceberg actually hits, and sacrificing no opportunity to ratchet up the sense of grim inevitability.
The casting of DiCaprio was visionary. At the time the studio had demanded Matthew McConaughey but Cameron, who had seen early cuts of Romeo + Juliet, shrewdly saw a matinee idol in the making, and resisted his star's attempts to deepen the character — Leo apparently at one point demanding a lisp or a limp or something to engage his acting gears. Cameron though realised that it wasn't Leo being anyone else that was going to have women swooning, it was Leo being Leo. And then there is the sinking...
There simply is not, and never has been, any filmmaker who can direct prolonged dramatic action with such exuberant flair. Unlike his imitators, Cameron never loses sight of character in the midst of spectacle; thus a sustained action sequence of well over an hour doesn't even approach longeur. The traditional directors' nemesis, water, is literally putty in his hands. As in The Abyss (1989), he turns it into a living, almost breathing monster. It crashes through corridors, seeps through doorways, gushes up stairwells, and in one of the movie's best shots, trickles along the floor like the mildly inconvenient product of an overflowing bathtub. And the money shot, of Jack and Rose perched on the upended stern as passengers plunge into the boiling brine is as spectacular as anything in action cinema.
Titanic may have left many of the jaded critics unimpressed, but there's a fair chance that if, in a decade or so's time you ask the generation then producing, directing or hacking out reviews what turned them on to movies in the first place, more than a few will answer "Titanic." And only a very few directors who leave a legacy like that.
It should be no surprise then that it became fashionable to bash James Cameron's Titanic at approximately the same time it became clear that this was the planet's favourite film. Ever. Them's the facts.