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From: SCE316@panam.BITNET (Steve Copold)
Newsgroups: rec.arts.movies.reviews
Subject: REVIEW: THE ABYSS
Summary: r.a.m.r. #00601
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Date: 18 Aug 89 01:56:25 GMT
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				    THE ABYSS
		       A film review by Steve Copold
			Copyright 1989 Steve Copold

     A review of THE ABYSS that reaches beyond technical descriptions is, at
best, very difficult to depersonalize.  This is a film that does not lend
itself to neutral feelings.  THE ABYSS literally assaults the viewer's senses
within moments of the opening credits.  The style of the film, now well
established by Gayle Ann Hurd and James Cameron in the earlier TERMINATOR and
ALIENS, is that of forcing the viewer into a participatory role.  Only in a
very few shots is one allowed to sit back as an observer and watch the ongoing
scene.  Rather, Cameron is relentless in making the camera maintain an active
role in the narrative.

     This motion picture attains new heights (or depths) of cinematic
claustrophobia.  The one film in memory that comes even close to THE ABYSS in
this area, is DAS BOOT with its hydraulically operated steadicam plunging
headlong through the narrow passage- way and water-tight doors of the German
U-Boat.  In THE ABYSS, this is far surpassed as the camera doesn't limit its
high speed charges to straight lines, but runs around corners, ducking
bulkheads, power cables, and walls of rushing water.  Most of the people
sitting near me in the theater were tightly gripping the armrests on their
seats and moving visibly in reaction to the events on screen.

     The cinematography is simply astonishing.  Underwater photography can
often be really distressing to watch.  Often the view is muddled, the
voice-overs and foley work are guesses, and the lack of continuity between the
two is very disconcerting.  There is none of this in THE ABYSS.  Working in the
controlled environment of an abandoned nuclear power facility, Cameron was able
to maintain a near perfect balance of sight and sound.  The specially made
diving gear always allows a full view of the actor's face, and built-in
microphones, provide a measure of realism that has never been seen before in an
underwater film.  It takes awhile to realize that most of the brilliantly
conceived miniatures and matte paintings you're seeing are not miniatures and
paintings at all, but full-size set constructions.  The few models and mattes
utilized in THE ABYSS are so clever in their construction and use, that it will
require some serious nit-picking to spot most of them.  The special effects are
the best that Industrial Light & Magic has to offer.

     The acting is top notch, with Ed Harris really coming into his own in the
lead.  An interesting choice was that of ALIENS and TERMINATOR veteran, Michael
Biehn, as the "pressure psychotic" heavy.  Aside from Harris, Biehn, and a few
others, the cast is pretty much made up of little known character actors.  They
form a terrific ensemble, and are thoroughly convincing in their respective
roles.  Chris Elliot, of the David Letterman Show (The Guy Under the Seats) has
a small role as a technician on the surface support vessel.

     As disorienting as the relentless pace of the film is, the viewer never
has problem staying with the film's tightly woven narrative.  This is due in
part to Cameron's direction, but equal credit must go to the intelligent
screenplay and "world-class" editing.  Any entertainment that can achieve this
frenetic pace and still hold you for well over two hours is remarkable indeed.

     One of the texts we use in a History & Significance of the Motion Picture
course states that, "To succeed in all respects, a film must tell a story, set
a mood, and entertain the audience."  On this score THE ABYSS is right on
target.  I cannot recall another film which more quickly, or effectively ,
suspends reality and draws you into the world on screen.  As a film, THE ABYSS
gets four stars....as a roller coaster it gets five!

Steve Copold
SCE316@PANAM.BITNET