Peter Yates's Murphy's War is an unusual film. Many of its critics are right in my opinion about its essentially slight storyline, which borrows heavily from Melville's classic tale of the unhinged Captain Ahab, addicted to the chasing of his white whale seeking revenge for all manner of perceived misfortune rained upon him. The variation here is Murphy, the sole survivor (bar one) of the crew of a merchant ship, sunk by a German U-boat with its crew machine-gunned mercilessly in the water. Needless to say, he is hell - bent on revenge against the U - boat, which he knows lies in hiding upriver.
I agree that with tighter editing, the film would arguably have worked better with a shorter running time. Sequences for instance involving the sea - plane are rather obviously padded out. But there is a pretty clear pay - off here. Many of the visual sequences are extraordinarily photographed by the great Douglas Slocombe,on location along the Orinoco River. This is a 50+ year old film which is a feast for the eyes and serves to highlight the importance of the exotic location to the story. Added to this is the realism involved in the third act battle sequences between submarine and river barge. Spectacular to say the least.
In a narrative sense it is interesting comparing how the main protagonists are drawn. The Germans, particularly their captain could be well - described as cold - blooded, though in a somewhat enigmatic fashion. But Murphy himself, is much more anti - hero than traditional good guy seeking to right wrongs. Many of his reckless actions we know will end up thoughtlessly wreaking havoc on those river inhabitants who have helped him survive and heal, post sinking of his vessel. Like the mythical Ahab, he only knows one direction to travel.
Blending elements of classic films including The African Queen and The Bridge on the River Kwai, with a strong dash of Moby Dick thrown in for good measure, this offbeat World War II drama illustrates the madness that takes root once individuals personalize international conflicts. One could argue that Murphy's War is too drawn out, and that the emotiveness propelling Murphy's mission onwards, never generates much of a rooting interest, but the film is so technically expertly made, that it doesn't fail to attract attention.
I agree that with tighter editing, the film would arguably have worked better with a shorter running time. Sequences for instance involving the sea - plane are rather obviously padded out. But there is a pretty clear pay - off here. Many of the visual sequences are extraordinarily photographed by the great Douglas Slocombe,on location along the Orinoco River. This is a 50+ year old film which is a feast for the eyes and serves to highlight the importance of the exotic location to the story. Added to this is the realism involved in the third act battle sequences between submarine and river barge. Spectacular to say the least.
In a narrative sense it is interesting comparing how the main protagonists are drawn. The Germans, particularly their captain could be well - described as cold - blooded, though in a somewhat enigmatic fashion. But Murphy himself, is much more anti - hero than traditional good guy seeking to right wrongs. Many of his reckless actions we know will end up thoughtlessly wreaking havoc on those river inhabitants who have helped him survive and heal, post sinking of his vessel. Like the mythical Ahab, he only knows one direction to travel.
Blending elements of classic films including The African Queen and The Bridge on the River Kwai, with a strong dash of Moby Dick thrown in for good measure, this offbeat World War II drama illustrates the madness that takes root once individuals personalize international conflicts. One could argue that Murphy's War is too drawn out, and that the emotiveness propelling Murphy's mission onwards, never generates much of a rooting interest, but the film is so technically expertly made, that it doesn't fail to attract attention.