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.
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One hairy moment involves a near collision with a merchant ship from the convoy. Another intense sequence results when the sonar picks up a German decoy designed to eat up the U.S. boat's limited supply of depth charges and monopolize the Americans' attention while the German fleet targets another ship. Terrific underwater footage follows the accelerated path of torpedoes and bomb drops. A heavy exchange of deck gunfire results in casualties (the terror of bullets slicing through the air is rendered with vivid force in the expert sound design), and Krause insists on a full-company funeral service at sea in dress uniforms.
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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