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REVIEWED BY CHARITY BISHOP
Our rating: 3 out of 5 Because of: a rape scene, sexual content, thematic elements Rated:
It has been over ninety years since the mighty White Star Liner sank to the bottom of the sea in a freak collision with an iceberg on its maiden voyage. One of the most fascinating of history's mysteries, the RMS Titanic has fascinated readers ever since. With so many self-proclaimed "experts" on the sinking, it is therefore unfortunate that most filmmakers choose to do little or no research, making their productions laughable in their melodramatic presentation of events.
Just days before Titanic is due to set sail amidst great fanfare, emotionally conflicted Alice Cleaver (Felicity Waterman) seeks a new position with a wealthy family. Extremely close-mouthed about her past but with good references, she is given charge of their two children, a little girl and a baby boy still in nappies. Plagued with nightmares and guilt over the death of her own child, Alice is disconcerted about their sailing. The night before the ship is due to depart, pickpocket and general thief Jamie Perse (Mike Doyle) steals a third-class ticket. His shenanigans are taken note of by Simon Doonan (Tim Curry), an officer on board. Also a thief, Simon convinces Jamie that together they can rob the first class blind and escape into New York undetected. But Jamie is sidetracked by the presence of the beautiful and demure Christian girl, Bess (Harley Jane Kozak).
Even forgiving these faults, the miniseries is interesting and does at times have a reasonable plot. Much of it is contrived and forced, but the performances are generally good and one does become attached to the characters. Their morals leave a great deal to be desired. Isabella and Wynn give in to temptation and conduct an affair, with corresponding kissing, caressing, and a sexual scene in her stateroom, with the typical "morning after" shot. The most horrific scene, however, comes with a fairly graphic rape, when a girl is cornered in the ship showers and assaulted. She is held by her hair and shoved against the wall, while the audience is forced to squirm over mild movement and coarse dialogue. There's a brief overhead shot as well that avoids explicit nudity. The violence is nearly nonexistent and the montage of the sinking is done tastefully, but it reveals the low budget. Language is frequent but mild, and most of it comes from Molly Brown.
Both an entertaining and interesting take on the events that have transfixed audiences for generations, Hallmark's miniseries must not be taken as historical fact, but is nevertheless thought-provoking, for it shows us once more, profoundly, that pride cometh before a fall.
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