Run Silent Run Deep runs a little short. Just when the film has the most potential does it sort of shrug and finish up real quick. There’s a third act reveal and it’s a good one, but it’s not good enough the movie can end on it. Especially not after it’s just had such a strong second act.
Burt Lancaster has just had a big character development moment, there’s just been an awesome special effects sequence, it’s right when Run Silent Run Deep has its most potential. The film’s never bad, though it occasionally feels a little claustrophobic, narratively speaking, but it’s been on this “can’t believe no one calls him Ahab” arc with Clark Gable for about an hour. The second act shake-up comes at just the right moment and sets up a great third arc. And the third arc is not great. It’s perfunctory, inventively so, but perfunctory. The finale lacks any impact. The big action finale doesn’t have much action, certainly not of the level in the second act set piece; Lancaster’s arc ends up going nowhere. He really had just been support for Gable the whole time.
So, Run Deep takes place during World War II. It opens with sub commander Gable’s sub getting sunk; he survives, along with some other guys but not everyone. A year later, he’s pushing pencils and playing “Battleship” with new sidekick Jack Warden. All of a sudden Warden lets it slip three other ships have gone down just where Gable’s did. A man possessed he storms over to the brass, demands a ship, gets one, which pauses executive officer Lancaster’s promotion to captain. His captain… died on their previous mission? It doesn’t come up.
Once onboard it soon becomes clear Gable’s going to hunt down Japanese ship sinking all the U.S. submarines. Run Deep teaches the sound moral, “you’ve got to be willing to die to kill.” For a brief few minutes, the film’s about the inherent righteousness of Ahab-ing. Gable’s got Lancaster convinced—though Lancaster doesn’t want to admit it. The crew doesn’t get that perk of command, however, so they’re ready to mutiny.
Lancaster and Gable are great together because they don’t like one another but Gable’s exploiting Lancaster’s ability. It’s kind of awesome, even when it’s just to kill time with montage sequences. Run Deep impresses with its special effects. The other stuff? It doesn’t worry too much. The submarine set is fine; not great. The editing—supervised by George Boemler—is awesome. The editing makes Run Deep until that end of the second act uptick.
Gable’s good. Warden’s good. Lancaster’s almost great. He’s great for a while, then his character arc falls out from under him. Worse, the third act is set to be where Gable finally gets some great material and never does. It’s a bummer. It needs to go longer. And there are places where it could’ve, but it really could have used a better action set piece in the third act than the second. If the dramatics were stronger, it’d be fine. But the dramatics aren’t stronger.
Nice supporting cast, particularly Brad Dexter, Don Rickles (in a totally straight part), and Joe Maross.
Decent Franz Waxman score. Solid Russell Harlan photography. The composite shots don’t really impress but Harlan does fine with the submarine suspense stuff and it’s more important.
Wise’s direction is fine. He does really well with the action. He does better with the supporting cast than his stars, which is a problem. But there’s already that too short script. So fine.
But Run Silent Run Deep ought to be better than fine. It wastes Lancaster and Gable separately and it wastes them together.
★★½
CREDITS
Directed by Robert Wise; screenplay by John Gay, based on the novel by Edward L. Beach; director of photography, Russell Harlan; editorial supervisor, George Boemler; music by Franz Waxman; produced by Harold Hecht; released by United Artists.
Starring Clark Gable (Cmdr. Richardson), Burt Lancaster (Lt. Bledsoe), Jack Warden (Yeoman 1st Class Mueller), Brad Dexter (Ens. Cartwright), Don Rickles (Quartermaster 1st Class Ruby), Nick Cravat (Russo), Mary LaRoche (Laura Richardson), and Joe Maross (Chief Kohler).
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