It’s not often that we so definitively know an artist’s last project will, in fact, be their last. The world isn’t as clean and tidy as that, and oftentimes, it’s tragic to find that a piece of art is the last bastion of a truly great mind. So examining William Friedkin’s final film, The Caine Mutiny Court-Martial, feels like no easy task after his passing in August of this year — one as gargantuan as determining whether or not someone committed a mutiny, it seems.
The Conundrum of the Locked-Room Story I love a locked-room story — it’s why I adored Ted Geoghegan’s Brooklyn 45 so much — and Caine Mutiny might be the pinnacle of them. Though it leaves the room where Lt Maryk is being tried a handful of times, the audience is stuck there for the majority of the hour and forty-five-minute film, enduring every moment of a trial they never find out the outcome of.
Maryk and Queeg, naturally, are the faces that break up the proceedings, their lengthy monologues showcasing two men deeply at odds, one just as emotional and high-strung as the other. Sutherland does, undoubtedly, give an impressive performance as a clearly tense and potentially unwell captain being put through the wringer by Greenwald.
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