James Cameron’s film “Titanic” is “grand and wrenching rather than clever or subtle, and it floods your eyes,” Anthony Lane wrote, in 1997; “if you are going to spend $200 million on a movie, this is the way to do it.” Revisit his review:
After all the hullabaloo, James Cameron’s “Titanic” will finally set sail on December 19th. Already, however, the film has moved away from the quayside, with a première in Tokyo and a public screening in London. The latter was attended by the Prince of Wales, and if any of us wondered whether His Royal Highness was well advised to lend his gracious presence to the tragedy of a sinking ship we were too polite to say.
You might ask how such a simple story can take almost three and a half hours to tell—and by what miracle, moreover, “Titanic” should feel like the least boring movie of the year. The answer to both questions lies in the assiduous grace with which Cameron has framed, decorated, and wrapped the love affair. The film has been hailed as a fresh departure for him—as a flight from the panting mayhem of his “Terminator” films—but both of those pictures were obsessed by the bending and shaping of time.
No wonder Leonardo DiCaprio looks so chipper. His performance is indeed that of a youth who has been given a new lease, or even the freehold, on life. Some of Jack’s lines are straight out of the Hobo’s Handbook—“I’ve got ten bucks in my pocket, I’ve got nothing to offer you”—but he manages to conjure an age when both he and the twentieth century were still in their teens and it was not entirely fanciful to be fancy-free.
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