In Das Boot, it matters not which uniform the men wear. Traditional historic and cinematic antagonists become the heroic protagonists
because they're painted as real
human beings, caught up in a situation where, it seems, they fight more to survive than they do for an ideal they may or may not hold true. Das
Boot is superficially a World War II Submarine picture, but it is at its center a far greater picture that deals in the human condition under the
greatest of stresses, at times when all those symbols they wear and the allegiances they pledge become only tertiary background elements in a much
larger picture and puzzle. As such, it is perhaps the ultimate War film, for it portrays war as devastating not just to materials and the physical bodies of
men, but damaging to their very essences, too, at a level where, indeed, basic humanity and the struggle to survive reigns supreme over any and all
external elements that might shape, but rarely ever completely destroy, the deepest and most human of all traits that are shared across boarders,
uniforms, and time.
Cold, cramped, wet, dirty, hungry, and terrified.
As World War II rages on through bloody land battles across Europe and North Africa, the battle for control of the seas is shifting to the Allied
powers. The Germans fear that their losses in the Atlantic will more easily allow for enemy troop reinforcements and resupplies, and she's turning to
younger, less experienced submarine, or U-Boat, crews to take on the battle-hardened, technologically advanced, and deadly British navy. Nazi War
Correspondent Lt. Werner (Herbert Grönemeyer) is assigned to the German U-Boat U-96 to cover the crew's efforts in the Atlantic. As the
men drill and settle into the cramped, wet, uncomfortable life aboard the boat and gel into a cohesive unit, they come to feel prepared for and
excited to enter
combat against the Brits. When the ship's Captain (Jürgen Prochnow) receives word that a British Destroyer has been spotted, he attacks but is
driven away by the deadly barrage of depth charges that threaten to tear the ship apart. With the crew on edge and growing ever uncertain in their
ability to survive another attack, they must nevertheless press onward towards either victory or certain death at the bottom of the cold Atlantic.
They say history is written by the victors, and in most cases film portrays the victors as personable, identifiable, or at the very least
succinctly-developed heroes, while painting their former enemies as faceless and mindless
barbarians who fight as if robots with no real emotional attachment to either their causes, the lives they live in war, and the existences they left
behind. Das Boot, however,
humanizes the conflict from the side of the defeated, introducing characters who speak, bleed, and feel as does every human being, for ultimately
their
differences with their antagonists -- here the British Navy -- are but matters of personal circumstance and happenstance, their fight mandated by
the
state but their personal grudges against their adversaries hardly those of vicious barbarians with no moral compass and a compassionless soul.
Indeed, it's
refreshing
to be reminded that human emotions are not lost to half the combatants. German-born Director Wolfgang Petersen
writes and directs Das Boot with an even hand, focusing solely on the men who man a Nazi submarine, but politics rarely enter into the
picture and are more or less brushed off when they do. The film is instead a riveting examination of people existing in extraordinary
circumstances, people who fear and weep and pray for themselves and their enemies, people who are as real and of many of the
same beliefs and values
as
any other. That's certainly not to champion the cause for which they fight, but it is to champion the greatness of humankind as it exists beyond
politics, symbols, and other divisive entities. Das Boot is an
extraordinary depiction of war, but more importantly it's a far more extraordinary depiction of man.
Das Boot proves to be a superior War picture in its broader, more superficial context, though that's certainly not the film's primary focus
from an existential
perspective. It very effectively creates the sensation of living, fighting, fearing, and perhaps even dying on a World War II submarine. Not only
must the men carry out their daily functions in incredibly cramped quarters, they must wade through a maze of men, materials, bulkheads, and
even foods to repair the ship, report to battle stations, and carry out other assorted duties. Wolfgang Petersen's camera is an entryway into the
oftentimes emotionally horrific and physically challenging world where the enemy often goes unseen, instead only faintly heard but harshly felt
when
depth charges rock the submarine to its core. The picture squeezes out an immeasurable amount of tension from the absolute fear created by the
men's silence as they can only stand with eyes upwards towards an unseen surface where they believe men and literally tons upon tons of steel
await to
destroy them. Few movies may claim so much tension from so little action, but that's part of what makes Das Boot -- and other superior
Submarine pictures -- so effective: the anticipation of action, the blindness of the situation, and the understanding that only a timely maneuver, a
gut instinct, or a stroke of luck can save them.
Das Boot is an incredible success of pure filmmaking, too, and that it's almost as technically prolific as it is visually satisfying and emotionally
gripping is a testament to the completeness of the project and Director Wolfgang Petersen's raw talent as a writer and director. That he manages to
keep the movie fresh -- even at well over three hours in length -- is a great strength, for the movie can be fairly repetitive in look, feel, and action,
though it never plays as such. The camera effortlessly maneuvers through the tight and confined spaces, furthering the feelings of pure
adrenaline and frayed nerves whether the action is in kinetic overdrive or culled from the tension that floats through the boat with startling realism.
The picture even surpasses the language barrier, for it speaks in thematic and emotional absolutes; the specifics of the dialogue don't seem
nearly as important as the context in which they are spoken. The performances are revealing and absorbing, too; whether when the men drunkenly
parade about before sailing into battle or when they're huddled quietly together with fear in their guts and certain pending death plastered on their
filthy, sweaty, unshaved faces, one cannot help but awe at the frightening wartime authenticity every last actor emotes. Finally, Das Boot
features a stellar score that in many ways makes the movie. It's energetic at times and somber at others, effortlessly playing through the film's
every ebb and flow and reinforcing each emotion, as varied as they are from one moment to the next.
Das Boot's 1080p Blu-ray transfer won't be mistaken for a fresh-from-theaters, brand-new-2011 release, but fans should be satisfied with
Sony's efforts nonetheless, even if the image lacks the absolute polish and perfection viewers have become accustomed to enjoying from a Sony release.
The 208-minute cut of the film is contained completely on a single BD-50 disc; the shorter 149-minute version receives its own dual-layered platter.
The extended cut fares well, all things considered. Though details are wishy-washy -- facial and clothing textures sometimes fall flat but bulkheads and
instruments often appear sharp and finely rendered -- the image as a whole holds up nicely, with the 1080p resolution allowing for greater stability and
crispness on larger displays. Colors are stable but not exactly vibrant, but then again the film is deliberately dull and damp and dour by default in the
cold, inhospitable belly of the steel underwater beast. Still, poor color gradations and banding are sometimes apparent, while a slight haziness sometimes
covers the
screen, obscuring both detail and color, but things do manage to appear a little more pleasing in the scenes away from the sub, notably the shore leave
in France and at film's end. The image is never particularly sharp as a rule, but it doesn't go overtly soft, either. Grain levels fluctuate from excessive
and
even noisy to almost nonexistent. Blacks, too, waver between appearing washed out and crushing out fine detail, and flesh tones sometimes
gravitate towards a decidedly red shading. All this isn't to say that Das Boot looks bad on Blu-ray. It has its share of issues, sure, but it
appears that Sony has managed to produce what is probably close to the best possible release given the film's length, age, stock, and other factors that
contribute to a satisfactory but less-than-perfect presentation.
Das Boot is a film that always commanded one's sonic attention even back on DVD, and Sony's Blu-ray release improves upon what has always
been a top-notch, breathlessly exciting soundtrack. Unfortunately, the shorter cut is saddled with a DTS-HD MA 2.0 lossless soundtrack, despite the
advertised 5.1 presentation even on the menu screen, but the longer 208-minute version of the film gloriously comes alive with a full 5.1 channels of
DTS-HD MA lossless goodness. Though there are certainly times where the track exhibits some sloppiness -- playing a bit unkempt and lacking in clarity
-- it comes alive when need be during the intense action sequences. The opening presentation of both the primary music and dialogue elements and the
general background din at the drunken party that opens the movie fail to inspire much confidence, but once U-96 sets sail, the music swells and the
sounds of machinery and displaced splashing water all merge to create a cacophony of satisfying, even invigorating, sonic delights that will make listeners
forget about a questionable open. The track excels in its ability to sonically recreate the sensation of living within the metallic tube and the constant --
sometimes increasing, sometimes decreasing -- sense of heavy pressure that crunches the hull. The heavy sensation of unforgiving water pressure is
often a sonic companion in the film, and it's those times where it feels as if the boat -- and the soundstage -- is about to collapse under the pressure that
the track is at its best. Action effects are nicely handled, too; screaming men, cranking machinery, fired torpedos, distant explosions, and even a strafing
run by a British fighter all contribute to the atmosphere and place the listener in the middle of the mayhem. Less pronounced but nonetheless critically
important ambience -- particularly the sounds of dripping water inside the damaged sub -- add the crucial finishing touches to a potent, exciting track
that's the perfect and necessary compliment to one of the definitive War and Submarine movies of them all.
This Blu-ray release of Das Boot contains two cuts of the film, a 208-minute Director's Cut as well as the original 149-minute theatrical
version. A
director's commentary is the only extra to be found alongside the 208-minute cut; all other extras are housed on the disc containing the shorter, less
gigabyte-hungry version.
Audio Commentary: Director's Cut Producer Ortwin Freyermuth hosts Director Wolfgang Petersen and Actor Jürgen Prochnow. The
three guide
viewers through the director's cut of the film, the track recorded 16 years after the film's release. The track never loses steam despite its massive
length; the
discussion begins surrounding a shot that has never pleased Petersen, setting a nice, honest tone for the comments surrounding this powerful and
historically important film. Discussions also include added footage, shooting procedures, filming locations and the history behind them, shooting the
film in sequence to allow for the men's wear and tear and fatigue and beard growth to appear as natural as possible, the performances of the cast and
what they've done
since the film, and much more. The bulk of the commentary, it seems, revolves around the technical aspects of the making of the film and the edits
and added and subtracted scenes. Much like the movie, the track never drags despite its length; fans will enjoy this comprehensive insight into all
things
Das Boot.
Historic Material: Divided into two parts: Behind the Scenes (1981, 480p, 1:00:20) and The Battle of the Atlantic
(1983,
1080p, 40:16, English/German with English subtitles). The former is an excellently comprehensive classic piece that looks at the process of creating
the movie, told with a strong, well-constructed narrative that plays almost as a movie itself, a detailed retelling of how the movie was made and the
dedication to authenticity that's evident right down to the finest little details on the ship. After a narrator sets the scene for various segments from
the film, the piece takes its time to take a closer look at all of the elements that are necessary to create the movie and the challenges of shooting
such a labor- and authenticity-intensive picture. The second supplement, The Battle of the Atlantic, is a primarily German-language
documentary that
looks back at the German's Atlantic war effort. Historians look back at the war in the Atlantic between the Germans and Britons, and the piece also
interviews combatant veterans.
The Perfect Boat -- The Director's Cut (1080p, 13:02): A piece that looks back at the assemblage of the director's cut of the film, a
"happy medium" between the longer six-hour television cut of the film and the shorter theatrical cut. Also discussed is the importance of the
development of DVD technology in helping along the creation of this cut of the film, the challenges of restoring the picture, rescuing the sound,
recreating sound effects, creating
an English language dub, and the success of the director's cut's premiere.
Maria's Take (1080p, 9:16): Assistant Director Maria Petersen recalls her experiences in the making of Das Boot.
Captain's Tour -- Inside the Boat (1080p, 8:12): Viewers are given a brief history of the U-Boat and presented with the option
to tour the Entry Conning Tower, the Torpedo Room & Crew Quarters, the Captain's & Officers' Rooms, the Control Room, the Petty Officers' Room &
Galley, and the Diesel & Electric Motor Rooms.
Wolfgang Petersen -- Back to the Boat (1080p, 44:46): A detailed retrospective piece that looks back at the making of the movie. It
features a discussion of
Director Wolfgang Petersen's personal and professional history as he travels to the sets and shooting locations as seen in the film to reminisce on both
the challenges and satisfactions of the shoot, and the need for authenticity in the film.
Das Boot is perhaps the greatest tale of War ever told from the other side with the possible exception of Erich Maria Remarque's All
Quiet on the Western Front. They succeed not because of their depictions of combat, but their depictions of humanity. They serve as reminders
that in war there are real people fighting on both sides, people who share many of the same values and beliefs, people who feel and think and pray and
fear as do the men they fight. This is Das Boot's real strength, and it's only accentuated by the amazing technical achievements and Director
Wolfgang
Petersen's uncanny storytelling ability. Das Boot is certainly one of the great War pictures of them all, an important film that's far, far more
than its admittedly enthralling superficialities. Sony's Blu-ray release of Das Boot isn't perfect, and it's sure to scare off audiences in search of a
copy of the film that's looks shiny and new. The 1080p transfer is rough around the edges but holds up well enough, and the lossless soundtrack is loud
and invigorating but not always perfectly clear. A lengthy and detailed assortment of extras add plenty of additional value to the package. Viewers with
reasonable and realistic
expectations should be quite pleased, though many probably won't be wholly satisfied with this release. Still, all things considered -- particularly the
quality of
the
movie -- Das Boot comes highly recommended.
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Sony Pictures has announced Das Boot for Blu-ray release on June 7, 2011. Director
Wolfgang Petersen's epic World War II Submarine Drama -- told from the German perspective --
was nominated for six Academy Awards in 1982, including Best Director, Best Cinematography, ...
