FLIGHT (2012) – The Review

The portrayal of alcohol use in film as been a complex one through the years. At the birth of cinema it conveyed sophistication (cocktails and champaigne at the high society to-dos) and also begat the comic drunk (Charlie Chaplain departed from his tramp character to play a rich hung over fop in one short). This was only slightly curtailed during prohibition which saw the popularity of funny, a tad tipsy W.C. Fields throughout the 30’s and early 40’s and the buzzed crime-solving of Nick Charles in THE THIN MAN film series. Things changed with the Billy Wilder’s landmark 1945 drama THE LOST WEEKEND. This tough look at alcohol abuse swept the Oscars. But several types hung on with James Bond’s shaken martinis and comic entertainers like Jackie Gleason, Foster Brooks, and Dean Martin all the way through to Dudley Moore in the 1981 original ARTHUR. But things have changed in the last couple decades with the many people (including lots of show biz folk) admitting to an alcohol dependency (the recent ARTHUR remake ends with Russell Brand in a support group). This holiday film season presents two dramatic looks at folks with drinking problems: the indie SMASHED (soon to be reviewed) and the major studio big budget FLIGHT. The latter shows how one man’s addiction can affect more than his family and friends, and that it can truly impact everyone.

The film fades in on a “value” hotel room in the wee hours of the morning after what looks to be a raucous party. Countless empty bottles of several varieties are strewn among the beer cans and brimming ashtrays. But only two people are in the room: Katerina Marquez (Nadine Velazquez) and Whip Whitaker (Denzel Washington). The two scurry about, rushing to head off to work. Shortly Whip emerges in the hallway, wearing his airline pilot’s uniform! He boards the plane after being greeted by flight attendant Ms.Marquez (“Good morning, Captain Whitaker”). Sliding into the cockpit, he prepares for what should be a routine 50 minute jump from Orlando, FL to Atlanta, GA. After a bumpy takeoff through a nasty storm, the plane gets past the clouds for a smooth flight. Or so it seems. Thirty minutes later the airline suffers a catastrophic mechanical malfunction. The plane is going into a dive.Whip bolts to attention, and co-ordinates a roll-the plane flies upside down in order to stabilize. He guides the airliner into an emergency landing in a field outside Atlanta. The impacts knock him out. When Whip awakes he’s at a local hospital. Then he gets the news that his quick thinking prevented a major disaster, but four passengers and two crewmen were killed. The officials begin their investigation. Although the media’s hailing Whip as a hero, how long will it be before the investigators learn the truth about his condition? Can he get clean before his turn at the inquiries begin?

The commercials highlight the harrowing flight, but the film is really an intense character study of a man teetering on the edge. Luckily this role is played by one of the screen’s most gifted actors. Washington continues on the tradition begun by Ray Milland in WEEKEND and Jack Lemmon in THE DAYS OF WINE AND ROSES by giving audiences a searing, “warts and all” look at a man in the throes of alcohol dependence. We see how the disease takes over his psyche. He’s cocky and arrogant as he screams at his ex-wife on the phone. He tries to hide his boozing on the job. Of course, when found out he denies there is a problem (“I choose to drink!”). Finally, when the walls are closing in, he becomes meek and tries to elicit support from co-workers that know the truth. He’s aggravating, frustrating, and pathetic all at the same time. In a career of exceptional screen work, Washington is in the acting stratosphere with another Oscar-worthy performance. And he’s got a great cast supporting him. Kelly Reilly is very impressive as a longtime substance abuser who meets Whip at the hospital. She brings out the tenderness and vulnerability in him and we’re rooting for them to help and guide each other. After playing Mrs.Watson in the Guy Ritchie Sherlock films, she holds her own in the tense scenes with Washington. His DEVIL IN A BLUE DRESS co-star Don Cheadle is terrific as the Chicago lawyer brought in to help Whip. We can see his frustration bubble up as Whip’s lies become more and more transparent. Bruce Greenwood continues to be one of our best character actors with his work as Whip’s old flying pal who thinks he can pull his buddy through this mess. He knows of his friend’s problems, but has no idea of its severity. On the other end there’s welcome comic relief in John Goodman’s performance as Whip’s very own “Dr.Feelgood”, Harling Mays (“Ahm on the list”). This film and ARGO are showing what a really fantastic screen presence this actor has become. This is one of the best acting ensembles on screen this year.

After over a decade of motion-capture animated features, Robert Zemeckis gives us a very powerful, grounded human drama. He first made a name with several wonderful audience-pleasing fantasies (WHO FRAMED ROGER RABBIT, the BACK TO THE FUTURE trilogy) before delving into character studies with Tom Hanks (FORREST GUMP. CAST AWAY). Now he’s made an intimate portrait of a man struggling as so many real people do. Zemeckis has dazzled us with special effects, now he’s impressing us with real emotions and compelling acting performances. That’s not to say that the film’s effects are shabby. This is the scariest, white-knuckle plane ride since ALIVE. I just hope it doesn’t fuel the considerable fears of the folks that have a flying phobia. Remember what Superman said on screen in 1978! In the end, Whip’s twisted, long road toward sobriety may be more harrowing than this very bumpy trip. But there’s no bumps in this masterful film. FLIGHT is truly a first class ticket.

4.5 Out of 5