By this time the bulk of the army had reached Antioch, today just inside the southern Turkish border with Syria. This huge city had been a Roman settlement; to Christians it was significant as the place where saints Peter and Paul had lived and it was one of the five patriarchal seats of the Christian Church. It was also important to the Byzantines, having been a major city in their empire as recently as 1084. The site was too big to surround properly but the crusaders did their best to squeeze the place into submission. Over the winter of 1097 conditions became extremely harsh, although the arrival of a Genoese fleet in the spring of 1098 provided some useful support. The stalemate was only ended when Bohemond persuaded a local Christian to betray one of the towers and on June 3rd, 1098 the crusaders broke into the city and captured it. Their victory was not complete, however, because the citadel, towering over the site, remained in Muslim hands, a problem compounded by the news that a large Muslim relief army was approaching from Mosul. Lack of food and the loss of most of their horses (essential for the knights, of course) meant that morale was at rock bottom. Count Stephen of Blois, one of the most senior figures on the crusade, along with a few other men, had recently deserted, believing the expedition doomed. They met Emperor Alexios, who was bringing long-awaited reinforcements, and told him that the crusade was a hopeless cause. Thus, in good faith, the Greek ruler turned back. In Antioch, meanwhile, the crusaders had been inspired by the 'discovery' of a relic of the Holy Lance, the spear that had pierced Christ's side as he was on the cross. A vision told a cleric in Raymond of St Gilles' army where to dig and, sure enough, there the object was found. Some regarded this as a touch convenient and too easy a boost to the standing of the Provençal contingent, but to the masses it acted as a vital inspiration. A couple of weeks later, on June 28th, 1098, the crusaders gathered their last few hundred horses together, drew themselves into their now familiar battle lines and charged the Muslim forces. With writers reporting the aid of warrior saints in the sky, the crusaders triumphed and the citadel duly surrendered leaving them in full control of Antioch before the Muslim relief army arrived.
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As screenwriter, Hanks strips down the story to its essence, largely dispensing with both preamble and post-ordeal exhalation, focusing almost entirely on the nail-biting experience of the hellish voyage. The movie fully immerses the audience in battle, owing something to the intensity of both the D-Day landing in Saving Private Ryan and the combat sequences in Dunkirk. I confess I approached it with a certain weariness, expecting Sully on a boat, but found myself swiftly reeled in.
Director Schneider and nimble cinematographer Shelly Johnson shot the film on a decommissioned, fully restored WWII-era destroyer that serves as a museum in the Mississippi River at Baton Rouge. But the bulk of the action unfolds in the close quarters of the boat's pilothouse and bridge, recreated on a soundstage set, which fits the claustrophobic nature of the drama. The seascapes and battle scenes rely on solidly convincing CGI, with frequent panoramic and overhead drone shots expanding the visual scope. Aside from the warm tones of the Evelyn scene, the color palette is heavy on grays, muted blues and greens, appropriate to a voyage in which the menace is deadliest at night.
To Hanks' credit, his screenplay mostly downplays the heroics while fully acknowledging the bravery and sacrifice of the men who fought in the Battle of the Atlantic, a WWII campaign relatively underrepresented in movies. (The Oscar-nominated 1981 feature that put director Wolfgang Petersen on the map, Das Boot, viewed the conflict from the German side.) With thorough verisimilitude, Greyhound depicts just one crossing among countless over a six-year period in which 3,500 ships carrying millions of tons of cargo were sunk and 72,200 souls were lost. 2ff7e9595c
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