The passing of an artist often adds a layer of significance to their final works. Whether intentional or not, these creations take on a sense of foreshadowing or reflection on the artist’s impending departure. One such example is the last feature film directed by the late William Friedkin, titled “The Caine Mutiny Court-Martial.” Friedkin completed this film just weeks before his death on August 7, 2022, at the age of 87. While it remains uncertain if Friedkin was aware that this would be his final work, “The Caine Mutiny Court-Martial” feels like a fitting final artistic statement.
Friedkin was known for his pithy and punchy style, and this film is no exception. It exudes his trademark brio and swagger, showcasing his mastery over the medium. From the early days of his filmmaking career, Friedkin had a penchant for theatrical material. His second feature was an adaptation of Harold Pinter’s “The Birthday Party” in 1968, followed by successful transitions of Broadway hits like “The Boys in the Band.” In recent years, he tackled two compelling plays by writer Tracy Letts, namely “Bug” in 2006 and “Killer Joe” in 2011.
“The Caine Mutiny Court-Martial” is an adaptation of a play by Herman Wouk, who originally adapted his own novel for the stage in the early 1950s. The most well-known version of the story is the 1954 film directed by Edward Dmytryk and starring Humphrey Bogart. While Dmytryk’s film drew from the more expansive plot of the original book, Friedkin’s adaptation reframes the action in 2022 instead of the WWII setting. The screenplay is also credited to Friedkin himself, further emphasizing his creative control over the project.
The centerpiece of the narrative is a court martial for a naval officer named Maryk, played by Jake Lacy. Maryk’s decision to relieve his superior officer, Commander Queeg, portrayed by Kiefer Sutherland, is viewed as an act of mutiny by the prosecution. In true liberal humanist style, the case is ultimately resolved in favor of one set of characters, but the moral reckoning isn’t easily reduced to a binary, guilty-or-not-guilty verdict. Defense lawyer Greenwald, played by Jason Clarke, delivers a grandstanding final speech that reflects the nuanced nature of the story.
Friedkin, known for his outspokenness against bigotry and prejudice, may have been drawn to this complex drama because of its uneasy conclusion. The final moments of the film leave audiences with a sense of ambiguity, much like a drink thrown in a face, followed by a hard cut to the credits accompanied by Boz Skaggs’ funky disco 1976 hit ‘Lowdown.’
While the updated setting of the film may not resonate as strongly as the WWII backdrop of Wouk’s original work, it does allow for diverse casting that would seem less realistic in a 1945 setting, considering the discrimination and racism prevalent in the U.S. military at the time. Lance Reddick, who tragically passed away, portrays Captain Blakely, the chief judge at the court martial. Reddick’s performance adds gravitas and intelligence to the film. Casting Monica Raymund as the prosecutor Commander Challee also brings fresh dynamics to the verbal sparring with Greenwald, as she challenges traditional protocol and rules—a thought-provoking position for a woman in the military. The committed cast delivers uniformly excellent performances, particularly Jake Lacy and Kiefer Sutherland, who bring depth and nuance to their characters.
However, the translation of the story to 2022 doesn’t always work seamlessly in the dialogue. Certain phrases that may have been common at the time, such as “doesn’t know shit from Shinola,” feel out of place and may elicit confusion, especially among younger audiences. This raises the question of whether “The Caine Mutiny Court-Martial,” while superbly performed and executed, may be seen as a relic that only tangentially speaks to contemporary viewers.
In conclusion, “The Caine Mutiny Court-Martial” serves as a fitting final testament to William Friedkin’s directorial career. Through his characteristic style and carefully chosen material, Friedkin explores complex moral questions surrounding loyalty, mutiny, and justice. While the film’s update to 2022 may not always hit the mark, the strong performances and thought-provoking themes make it a compelling work in the director’s oeuvre. As the last work of a legendary filmmaker, it gains a patina of significance and serves as a testament to Friedkin’s enduring talent and artistic legacy.