The Hunt for Red October

Has it really been 20 years since The Hunt For Red October (1990) was released in theaters? It has aged surprisingly well. Fresh off his back-to-back successes of Predator (1987) and Die Hard (1988), director John McTiernan was at the top of his game. He had become the go-to guy for big budget, blockbuster action films. So, it made sense that he would be entrusted with kickstarting a potential franchise with Red October, an adaptation of Tom Clancy’s best-selling novel of the same name, in the hopes of launching a series of films featuring recurring Clancy protagonist Jack Ryan. Paramount Pictures wasn’t taking any chances, casting screen legend Sean Connery and pairing him up with up-and-coming movie star Alec Baldwin. The result, not surprisingly, was box office gold and arguably the strongest entry in the Jack Ryan franchise.

It's the mid-1980s and the Cold War is at its peak. American Naval Intelligence discovers that the Russians have created the perfect nuclear submarine — one that can run completely silent. CIA analyst Jack Ryan (Alec Baldwin) is called in to confirm that this is true, but at the meeting with the Joint Chiefs of Staff, he puts forth a radical theory: the sub-commander of this new submarine, Captain Marko Ramius (Sean Connery), may actually be trying to defect and not trying to start World War III as they all fear. This is further complicated when the Russians report that they've lost all contact with Ramius. The powers that be send Ryan into the field in the hopes that he can contact the Russian sub-commander before his countrymen blow him out of the water. The film becomes a race against time as Ryan boards the USS Dallas, the American sub closest to the Red October, and convinces its commander (Scott Glenn) that Ramius plans to defect.

McTiernan does a nice job of showing the camaraderie aboard the USS Dallas in a brief scene where the captain of the sub tells a story about how fellow crew member Seaman Jones (Courtney B. Vance) had Pavarotti blasting over the sound system during an exercise with other subs in their fleet. It’s a nice moment of levity amidst this generally serious film. McTiernan also doesn't bog the film down with an overabundance of technical jargon. And what techno-speak there is in the film is spoken expertly by the cast in a way that is understandable. You may not understand it but you know what they mean.

Along with Das Boot (1981), Red October remains one of the few decent submarine films. And this is because McTiernan builds the tension with the right amount of white-knuckled intensity. The film attempts to maintain the suspense of whether Ramius has gone rogue or is defecting for as long as it can but since Sean Connery is playing the character this removes all doubt as to his true intentions. Connery playing a villain at this stage in his career? Ridiculous! The first hour of Red October is all set-up as the film establishes the major players and their intentions. Then, it shifts into an elaborate game of cat and mouse as both the Russians and the Americans pursue Ramius. If that wasn’t enough, McTiernan ratchets up the tension with the discovery of a saboteur aboard the Red October.

After reading the galley proofs of Tom Clancy’s novel The Hunt for Red October in February 1985, producer Mace Neufeld optioned it. The book went on to become a best-seller and still no Hollywood studio was interested because of its complicated technical jargon. Neufeld said, “I read some of the reports from the other studios, and the story was too complicated to understand.” After 18 months, he finally got a high-level executive at Paramount Pictures to read Clancy’s novel and agree to develop it into a film.

Screenwriters Larry Ferguson and Donald Stewart worked on the screenplay while Neufeld approached the United States Navy in order to get their approval. Initially, they were uncertain because of the fear that top secret information or technology might be exposed. Fortunately, several admirals were fans of Clancy’s book and argued that the film could do for submariners what Top Gun (1986) did for the Navy’s jet fighter pilots. To that end, the director of the Navy’s western regional information office in Los Angeles offered possible changes to the script that would make the Navy look good.

Alec Baldwin was approached to appear in the Red October in December 1988 but was not told for what role. Austrian actor Klaus Maria Brandauer was cast as Marko Ramius but unfortunately two weeks into film he had to quit due to a prior commitment. The producers quickly faxed a copy of the script to Sean Connery. Initially, he declined the offer because the script didn’t make any sense. It turned out that he was missing the first page which stated that the film was set in the past during the Cold War. He agreed to do it and arrived in Los Angeles on a Friday and was supposed to start filming on Monday but he asked for a day to rehearse in order to get into the role.

The Navy gave the production unparalleled access to their submarines, allowing them to take pictures of unclassified sections of the USS Chicago and USS Portsmouth for set and prop design. Key cast and crew members took rides in subs including Alec Baldwin and Scott Glenn, both of whom took an overnight trip on the USS Salt Lake City. To research for his role, Glenn temporarily assumed the identity of a submarine captain on board the USS Houston. The crew took “orders” from Glenn, who was being prompted by the sub’s commanding officer.

Shooting in actual submarines was deemed impractical and in their place five soundstages on the Paramount backlot were used with two 50-foot square platforms housing mock-ups of the Red October and the USS Dallas were built. They stood on top of hydraulic gimbals that simulated the sub’s movements. Connery remembered, "It was very claustrophobic. There were 62 people in a very confined space, 45 feet above the stage floor. It got very hot on the sets, and I'm also prone to sea sickness. The set would tilt to 45 degrees. Very disturbing.”

With The Hunt for Red October, Alec Baldwin was being groomed for A-list leading man status. Prior to this film he had appeared in an impressively diverse collection of films, playing a bland, dead Yuppie in Beetlejuice (1988), an unfaithful greaseball boyfriend in Working Girl (1988), and an unscrupulous radio station manager in Talk Radio (1988). Throughout Red October, Ryan is constantly proving his credentials to veteran military officers that he encounters, including a memorable briefing with a group of generals where he puts one of them in their place after the man condescendingly scoffs at his theory about Ramius.

After all this time has passed and two other actors have assayed the role, Alec Baldwin is still the best Jack Ryan for my money. He brings a solid mix of serious action hero with a whimsical sense of humor to his version of Ryan that is sorely missing from the stuffy, no-nonsense approach of Harrison Ford and the wooden acting of Ben Affleck. Baldwin instills a certain warmth and humanity in Ryan that is a refreshing contrast to the technology that dominates the film. Baldwin does a good job of conveying Ryan’s intelligence – after all, he’s a thinking man’s action hero – but he has his doubts and this humanizes the character.

With his baggage of iconic movie roles, Sean Connery is well-cast as the confident Ramius. There is a scene where he tells his inner circle of defectors his true intentions. Calmly eating his dinner, Ramius tells them, “Anatoli, you’re afraid of our fleet, hmm? Well, you should be. Personally, I give us one chance in three.” Connery says this in casual fashion as only he can. I suppose I believe him as a Russian sub commander as much as I believe him as an Irish cop in The Untouchables (1987). Which is to say not so much but it’s Sean freakin’ Connery, dammit! He’s the most virile Scottish actor alive today. He was James Bond and Indiana Jones’ father fer chrissakes! He pulls off the role through sheer charisma. Who else could play the enigmatic veteran commander of the entire Russian Navy? Connery has the gravitas and the iconic cinematic presence to make him seem like the ideal choice to play Ramius.

The Hunt for Red October features a stellar cast of fantastic character actors supporting Connery and Baldwin. Two of Ramius’ senior crew members are played by Sam Neill and Tim Curry. Neill is excellent as Connery’s no-nonsense second-in-command who defends him against the other defectors who doubt Ramius’ motivations but in private he voices his own concerns. You’ve got Scott Glenn as the commander of the USS Dallas, James Earl Jones as Ryan’s superior and friend, and Stellan Skarsgard as the Russian sub commander hunting down Ramius. Richard Jordan even pops up in a small but memorable part as the President’s National Security Adviser and talks like how I imagine most politicians do when they are among their own. At one point, he tells Ryan, “Listen, I’m a politician which means I’m a cheat and a liar, and when I’m not kissing babies, I’m stealing their lollipops, but it also means that I keep my options open.” It takes a special kind of actor to come in and knock it out of the park with very little screen time but Jordan does it so well and makes it look easy.

When it was released in 1990, The Hunt for the Red October was not well-received by critics from several major publications but still managed to be one of the top grossing films of the year. Leading the charge was the Washington Post’s Hal Hinson who criticized the film in his review, commenting, "Nothing much happens, at least not onscreen ... There isn't much to look at. When the action sequences finally come, the underwater images are murky and impossible to follow." In his review for The New York Times, Vincent Canby wrote, "Mr. McTiernan is not a subtle director. Punches are pulled constantly. The audience is told by word and soundtrack music when it should fear the worst, though the action on the screen gives the lie to such warnings." Newsweek magazine’s David Ansen wrote, "But it's at the gut level that Red October disappoints. This smoother, impressively mounted machine is curiously ungripping. Like an overfilled kettle, it takes far too long to come to a boil." However, Roger Ebert called it "a skillful, efficient film that involves us in the clever and deceptive game being played.”

Techno-thrillers don't get any better than this film — you've got Baldwin as the reluctant hero who steps up when he has to, casting Connery with his iconic presence as the enigmatic Ramius, and a top notch supporting cast of character actors. Add to this, expert direction from McTiernan and you've got the best Jack Ryan film to date. Sadly, this would be his last really good film. With the exception of The Thomas Crown Affair (1999), he has struggled with the tiresome Medicine Man (1992), signed on for the redundant Die Hard with a Vengeance (1995) and finally taken up residence in Hacksville with the brainless Rollerball remake (2002). Watching The Hunt for Red October again is a sobering reminder of what a good director he used to be.

SOURCES

Donohoe, Cathryn. “Red October Surfaces As A Movie.” Washington Times. March 2, 1990.

Spillman, Susan. “Submarine Thriller Took 6 Years to Sail From Book to Film.” USA Today. March 2, 1990.

Thomas, Bob. “High-Tech Novel Took Five Years to Reach Screen.” Associated Press. March 2, 1990.

Van Gelder, Lawrence. “At the Movies.” The New York Times. April 27, 1990.

Predator

In the 1980s, Arnold Schwarzenegger was the undisputed king of the Hollywood action film, cranking out hits like Conan the Barbarian (1982), The Terminator (1984), and Commando (1985), but the best of this crop, and arguably of his entire career, is Predator (1987), a testosterone-fuelled hybrid of action, science fiction and horror genres. At the time, he was an international movie star known for playing indestructible good guys (with the notable exception of The Terminator) but along came Predator where, for maybe the first time, it looked like Schwarzenegger was finally going to meet his match. With its Alpha male macho swagger and excessive display of firepower, the film epitomizes the materialistic brand of actions films that dominated the ‘80s thanks to powerful movie producers like Jerry Bruckheimer, Don Simpson and Joel Silver.

In Predator, Schwarzenegger plays Dutch Schaeffer, the leader of an elite special forces team that go into dangerous hot spots all over the world and retrieve people in trouble (as he says early on, “We’re a rescue team, not assassins.”). This time around, his mission is to go into some godforsaken jungle in Central America to find a cabinet minister and his aide whose helicopter was shot down by a band of guerrillas. They have to find the chopper and then follow the guerrillas’ trail. Along for the ride is Dillon (Carl Weathers), an old buddy of Dutch’s, who is now a CIA agent.

The helicopter ride into the jungle quickly establishes a pissing contest between all of these tough guys as Blain (Jesse Ventura) spits a nasty wad of chewing tobacco onto Dillon’s boot. The message is quite clear: Dillon is the new guy, the unwanted interloper in this tight-knit group. This scene also introduces us to Dutch’s team. You’ve got Hawkins (Shane Black), the wisecracking guy who tells dirty jokes – badly; Poncho (Richard Chaves), the one with the least memorable character traits; Billy (Sonny Landham), the tracker with an uncanny sixth sense; Blain, the good ol’ boy redneck; and his friend Mac (Bill Duke), the intimidating man of few words. One of the things that makes Predator so enjoyable is the interplay between the members of Dutch’s squad, like how Hawkins tells bad jokes to Billy, or the camaraderie between Blain and Mac. Right from the get-go you can tell that this is a tight-knit group from the verbal short-hand and familiarity between them. These actors manage to convey all of this in very little time and also make it believable.

Dutch and his team find the cabinet minister’s helicopter with two dead pilots and it appears to have been taken out by a heat-seeking missile – pretty advanced stuff for what Dillon said were a rag-tag group of guerrillas. Not long after, they find another crashed chopper but this time there are a group of dead Green Berets who were skinned alive and disemboweled. It is pretty obvious to all concerned that this is not the work of typical guerrillas. So who did it and why? We start to get glimpses of something shadowing Dutch and his team from its eerie-looking thermal image point-of-view.

Dutch and his team find the guerrillas’ camp and, in a masterfully orchestrated sequence, take it apart, killing anyone who gets in their way, save for a woman named Anna (Elpidia Carrillo), whom Dillon takes hostage. During this sequence we get to see “old painless” in action, a minigun that is normally used on helicopters, in the hands of Blain who uses it to shred the enemy in an impressive display of United States military power. Schwarzenegger even gets to let loose a couple of his trademark one-liners, like when he impales a hapless bad guy with a knife and says, “stick around.” But it is Jesse Ventura who gets the best line in this sequence when Poncho notices that he’s been shot and tells him so to which Blain replies, “I ain’t got time to bleed.”

What’s important about this sequence is that we find out Dillon lied to Dutch. The rescue mission was a cover story in order to get his team to wipe out a group of guerrillas that were about to stage an invasion across the border. This creates a nicely portrayed tension between the two men as Dutch realizes he can no longer trust his old friend. This sequence also gives the Predator a chance to study its prey for when it begins hunting them. We also see how tough and well-trained Dutch and his men are so that it makes them getting so easily dispatched by the Predator that much more impressive.

Predator starts off as a fairly standard action film as Dutch and his team track down and take out the guerrillas. However, director John McTiernan gradually introduces aspects of a horror film as the Predator begins hunting and picking off Dutch’s team. What makes this so creepy is the way the alien hunter is presented. It is able to blend into the jungle with a futuristic cloaking device that bends the light, making it nearly impossible to see. We also see things through its distinctive P.O.V., including how people’s voices sound distorted to it, only to be played back repeatedly as the Predator attempts to mimic them. This includes a few key phrases by Mac (“Anytime” and “Over here”) and Billy’s creepy laugh. The sudden nature of its attacks is also scary as we don’t know where or when it is going strike, putting us in the same boat as the characters. Because of its cloaking device, it appears as if the jungle comes alive and takes a victim, as Anna says at one point. There is one rather chilling moment when Mac confronts the Predator for only a moment and he sees its eyes flash for a second and then it’s gone.

Easily the best display of firepower in Predator comes when Blain is killed and the surviving team members unload all of their weapons at the direction of the fleeing Predator, firing round after round in what has to be one of the most awesomely vulgar displays of firepower ever put on film (at least until John Woo’s Hard-Boiled). There is also plenty of man candy on display, like when Dutch and his team set a series of traps for the Predator and we get a montage of muscled, sweaty men grunting and flexing their way through it.

The screenplay even manages to squeeze in a few nice little moments between characters, like when Vietnam War veterans Blain and Mac comment on the harsh environment. Blain says it “makes Cambodia look like Kansas” and that if “you lose it here, you’re in a world of hurt.” Mac, in turn, gets a nice scene when he takes first watch one night and eulogizes his dead comrade, recounting a story about how he and Blain were the only ones to survive their platoon getting massacred in ‘Nam. The script also does a nice job of giving us a few tantalizing tidbits of the Predator mythology like when Anna tells her captors about how it hunted the people in her village during the hottest years ever since she can remember in a brief yet haunting speech. Among the cast members, Bill Duke does a great job of conveying his character’s gradual mental breakdown as he becomes obsessed with avenging his friend. This culminates in a fantastic sequence where he chases the Predator through the jungle raving to himself nonsensically.

McTiernan does an excellent job ratcheting up the tension and immersing us in the dense, atmospheric jungle, complete with various animal sounds that immerse you in the sights and sounds of this place. He really conveys a sense of place and the blistering heat as the characters never stop sweating profusely. Predator would be the beginning of a fantastic run for the director that continued with Die Hard (1988) and The Hunt for Red October (1990) before stumbling with Medicine Man (1992), only to helm the commercial and critical failure Last Action Hero (1993).

Screenwriters Jim and John Thomas were influenced by ancient myths and the Brothers Grimm stories. They were also interested in films and stories about big game hunters in Africa and wanted to create a story where the hunters are the ones that become hunted. They wanted to write a screenplay about an alien big game hunter that comes to Earth to hunt Special Forces soldiers. They began work on the story during the summer of 1983 and called it Alien Hunter. The Thomas brothers started with the climax – a one-on-one fight – and worked backwards to create the story of the team of soldiers and their mission. They completed a draft of the script in September 1983 which involved a team of soldiers led by a Native American major. Over the course of the film, he would reconnect with his heritage and remember tribal legends. This would help him defeat the alien hunter.

The Thomas brothers had no agent and could not get anyone to read their script. While visiting 20th Century Fox, they shoved a copy of their script under the door of executive Michael Levy. Thinking that an assistant had put it there, he read and liked the script. Levy took it to recently promoted head of development Lawrence Gordon who bought it in early 1984. It was given to producer John Davis who had the Thomases polish their script for two years while he was busy with other projects.

In 1986, Gordon had backed Commando, an action film starring Arnold Schwarzenegger, and was looking for a new project for the movie star. Gordon gave the Thomases’ script to his protégé, producer Joel Silver, who had overseen the production of Commando, while Davis hired John McTiernan to direct, based on his work on Nomads (1986). Schwarzenegger liked how the script started off as a war movie before becoming more like science fiction. He was also interested in playing a character who was more of a team player.

The original design of the alien hunter was that of a thin-legged creature with a one-eyed cow skull head and pincers for hands. McTiernan was not crazy about this look and Schwarzenegger recommended that they approach Stan Winston, who had worked with the actor on The Terminator. Winston started with an image Silver had come up with of a dreadlocked warrior and was sketching ideas on a plane to Japan with James Cameron. during pre-publicity for Aliens (1986). Cameron suggested putting mandibles on the creature’s face and Winston incorporated this into the design. Winston and McTiernan decided to make the Predator a bulkier, more physically imposing creature so that it would be a more credible threat to Schwarzenegger.

In assembling their cast, McTiernan and Silver wanted some of the actors to have military experience so that Dutch’s commando team would look and act more authentic. Richard Chaves was found appearing in an off-Broadway play about Vietnam. Jess Ventura had been a Navy SEAL in Vietnam and completed two tours there. McTiernan knew Bill Duke from AFI’s film school and had been impressed by his project work. Carl Weathers was an ex-professional football player and McTiernan brought him on board to act against Schwarzenegger to aid in the star’s performance. Sonny Landham had dabbled in pornos in the 1970s, worked also a stuntman and had a dangerous reputation so the studio’s insurance company stipulated that he would only be hired if Silver had a bodyguard to keep the actor out of trouble. Silver hired Shane Black in the hopes that the screenwriter would do rewrites on the script. Black refused to mess with another writer’s work without their consent and became a member of the cast instead.

The three-month shoot was done on location in Mexico in and around the small town of Puerto Vallarta. McTiernan and the film’s cinematographer Donald McAlpine wanted to shoot in a deeper jungle located in Palenque but studio executives did not agree. McTiernan figured that he didn’t have the clout to change their minds but ended up re-shooting as much as he could at Palenque anyway. The director had the cast show up to Puerto Vallarta a week before the start of principal photography so that they could get used to the environment and to have military adviser Gary Goldman teach them how to move in the jungle and act like Special Forces soldiers. On non-shooting days, Goldman put the cast through routine marches so that they would bond as a team and appear on film like guys who had been together for years.

The cast and crew faced all sorts of challenges during the shoot. The filmmakers did not realize that the forest in Puerto Vallarta sheds its leaves in the autumn. The leaves started to fall two weeks into principal photography and the crew had to glue them back onto branches. For many shots that were done from treetops, McTiernan would join the camera crew in the trees. One time, he fell out and hurt his wrist. The director was too embarrassed to say he was hurt and only discovered after he returned home that his wrist was broken. Several cast members experience stomach flu during the shoot. After picking the wrong restaurant to eat in, Schwarzenegger was put on a saline drip to rehydrate himself. A few weeks later, the hotel water supply was contaminated and almost everyone, except for Carl Weathers, wasn’t told until the next day.

Early in the shoot, the final Predator costume had not arrived and McTiernan shot the footage of the invisible Predator with Jean-Claude Van Damme in a red suit, which was removed in post-production. McTiernan wanted the cloaked Predator to leap through the threes in a way that a human could not replicate and tried a monkey in the red suit but all it wanted to do was hide or try to take the suit off. The director was not happy with Van Damme’s performance and the martial artist was less than thrilled about playing a special effect without credit in an uncomfortable suit. Van Damme claims he quit (but changed his story later on and said that Silver fired him) because he refused to do a stunt. In Jesse Ventura's autobiography, he alleges that Van Damme intentionally injured a stunt man. At any rate, Van Damme was removed from the film and replaced by the seven foot, two inch tall Kevin Peter Hall.

Predator was generally not well-received when it was first released. In his review for The New York Times, Elvis Mitchell described the film as "grisly and dull, with few surprises.” The San Francisco Chronicle’s Peter Stack wrote that “the film is a rather pointless thing when you get down to it, has little of the provocative intelligence that was found in Terminator, but at least it's self-propelling in terms of suspense and cheap thrills.” Cinefantastique magazine’s Dean Lamanna wrote, “the militarized monster movie tires under its own derivative weight.” However, Roger Ebert was one of the few critics to champion the film. He wrote that “it has good location photography and terrific special effects, and it supplies what it claims to supply: an effective action movie," but still noted that "the action moves so quickly that we overlook questions such as why would an alien species go to all the effort to send a creature to earth, just so that it could swing from the trees and skin American soldiers? Or, why would a creature so technologically advanced need to bother with hand-to-hand combat, when it could just zap Arnold with a ray gun.”

Despite the negative reaction, Predator was a hit with the general public both in its theatrical release and on home video. It went on to spawn an inferior sequel, starring Danny Glover, a fantastic comic book mini-series by Dark Horse Comics, and two Alien vs. Predator films. All of them pale in comparison to the original, which still holds up today because of the fantastic premise, the solid cast of actors, the ingeniously designed creature, and the surprisingly memorable dialogue. Ah yes, the insanely quotable dialogue. In high school, my best friend and I used to love to quote from this film all the time, especially Schwarzenegger’s dialogue (always with his trademark accent). There’s not many films of this kind where you remember dialogue from it years afterwards and what is missing from a lot of films of this type today. Will anybody quoting from Alien vs. Predator ten years from now? Doubtful. People will still be quoting and enjoying Predator and that is a pretty good legacy for any film.

SOURCES

Gire, Dan. "Schwarzenegger on Predator." Cinefantastique. December 1987.

Gire, Dan. "Predator: The Man in the Suit." Cinefantastique. December 1987

McIntree, David. Beautiful Monsters: The Unofficial and Unauthorized Guide to the Alien and Predator Movies. Telos Publishing. 2005.

Robley, Les Paul. "Predator: Special Visual Effects". Cinefantastique. December 1987.