I jokingly referred to this film as "Dead Poet's Society" on a boat before I saw it. After seeing it, I don't want to joke about it; It's too good. But, if I did, I'd probably call it "Dead Poet's Society" meets "The Poseidon Adventure" with the end of "A Few Good Men" tacked on. Of course, the film is much more than that.

It might be easy to dislike the beginning of the film, with the voice-over narration by Scott Wolf (of TV's "Party of Five") sounding like so many other "coming-of-age" films. But Wolf's likable character and the film's languid yet somehow active pace soon overtake us. Wolf is our tour-guide and before much time has elapsed, he has taken us aboard "The Albatross," a school with sails helmed by Jeff Bridges. Wolf also meets his new shipmates, a bunch of lads his own age, many of whom are returning for a second year on board the boat. Although Balthazar Getty is probably the most well- known of these actors, he starts to look like a young Charlie Sheen during the course of the film. Unfortunately, he has very little to do so we have time to notice this. Jason Marsden, who grew up in first-run syndication as young Eddie in "The Munsters Today" is another familiar face. It's the first time I've ever seen him without with black nail-polish on. Marsden also spends much of the film in the background but he gets the film's one killer line in the climactic courtroom ending. Then there David Lasher, who is probably best known as "Blossom's" boyfirend. He also played a gay teen on "90210" for an episode or two and appeared on Nickeloden's hijinx bonanza, "Hey Dude." Lasher, like most of his peers, remains in the backgrounds as well. Meanwhile, the rest of the cast are virtually unknown (and they seem to remain that way). The only boy who makes a real impression, after Wolf, is Ryan Phillipe, as an acrophobic youth. Phillipe, who spent a couple years playing the young gay Billy Douglas on TV's soaper "One Life to Live," is fantastic here. Even when his role forces him to struggle through a fairly hackneyed background, Phillipe pulls our heartstrings. Able to show us his fear head-on and yet delicately explain it's origin, the young actors is given ample opportunity to shine and he never fails to touch us. Phillipe also shares a fantastic moment with Wolf close to the film's end. Their climactic moment is both harrowing and poignant.

Director Ridley Scott is no slouch. This may very-well be his second-best film out of the sci-fi realm; "Thelma and Louise," of course, being his best. Scott has to bring us three mini-movies here. The first is a coming-of-age story (set in the late 60's no-less) and he accomplishes this by assembling an admirable young cast with Wolf and Phillipe at the nucleus. Scott also has the natural beauty of the ocean as a backdrop and he never misses an opportunity to use this to his advantage. His shots of the sailing ship "Albatross" plowing through the gigantic waves of the vast ocean are majestic and awe-inspiring. Scott succeeds in showing us the magnificence of the ship as well as it's vulnerability, making it a character, much like Bridges' skipper, in the film as well. Then, towards the end of the film, Scott has to switch gears and bring us numerous underwater shots that rival the aforementioned oceanic disaster film of the 70's. But Scott never fails here either. The water pouring through the boat's cabin, the large sails dipping into the water as the boat almost capsizes, the frantic action of the characters, Scott captures all of these images vividly and dramatically. In fact, at times, the director could rightly be accused of going to far with the dramatics. I don't like to discuss plot points in too much detail so suffice it to say that two characters here watch loved ones sink to the watery depths of the ocean as they go down with the ship. Both instances are moving and sorrowful. Scott lets his camera linger over both of these moments and the effect is breath-taking. Scott's unflinching eye forces us to experience this sadness and feel the helplessness with these characters. He takes us inside a water-filled cabin with a character who is about to drown and then seems to refuse to leave. Scott pushes our emotional endurance to the limit and only ends the moment when it absolutely becomes too much to endure. Scott never forces us to watch someone's demise but he comes so close that we want to turn away, we want to stop watching. It's too much like being there. He precedes these climactic moments with an equally disquieting sequence mid- film where an animal must be killed. Considering these portions of the film along with the Scott's insistence on showing us a piss scene, a shit scene and a vomit sequence early on in the film, one must acknowledge's Scott's decree that we experience all aspects of this story. Finally, Scott must end the film in a courtroom. This may be the weakest part of the film, as the director has to, somehow, pull an ending together. The script by Todd Robinson teeters a bit here but, once again, the great acting by Wolf and Bridges and Scott's consummate direction help pull it off. And, since we have been told this is a true story, Scott also has the luxury of finishing the film with title cards that update us on what eventually happens to the characters. Considering his many duties in bringing this film to the screen, Scott does an excellent job.

The adults in the film also serve well here. Bridges, as always, is perfect. His tight-lipped, forceful characterization of the captain acts as an anchor in the film, as well. Bridges has to guide the boys and his character offers a nice counterbalance to Wolf's teen on the verge of manhood. The young men in the piece seem to literally revolve around him. The character, no doubt, is a great one to portray and Bridges really brings him to life. And, on top of this, Bridges doesn't remind me of "Starman" once here. It is his best role since "Fearless." Meanwhile, Caroline Goodall plays Bridges' fellow teacher and shipmate. Almost by accident we learn that she is also his wife. Goodall could have been forced to play the bright-eyed female who must come to odds with her husband but the piece is much better than that. Following Bridges strong yet subdued lead, Goodall turns in a believable and likable performance. But the real scene stealer here is John Savage. the rarely seen actor plays an English teaches that looks like Robert Shaw's younger brother (ala "Jaws") yet talks like Kenneth Branagh doing Shakespeare. Savage, unfortunately, isn't really given enough to do and we miss his character's resolution on screen.

"White Squall" is a great film. I can't imagine anyone disliking it. Scott continues to prove he is a consummate director who makes Hollywood films (i.e. accessible money-makers) that are a notch above Hollywood films. He has vision, he knows how to bring us special effects, and he knows how to edit. He knows the language of films and he speaks it fluently. More importantly, Scott knows how to use characters, how to make drama and how to score it with exceptional music. Scott utilizes all these skills in "White Squall." Yet, like his characters here, he does this with a quiet reserve that has only to hint at reverence and poignancy.

Note: Director of Photography is Hugh Johnson. The score is by Jeff Rona with "Additional Music" credited to Hans Zimmer. Sting sings the song over the film's end credits.

Most of the dolphins used in the film, particularly the one which is brought on board, are animatronic.

Bridges and Savage also appeared together 24 years before this film in 1972's "Bad Company."

A segment mid-film which has the boys joyously running around an unspoiled tropical island might remind one of "Lord of the Flies." We half-expect Wolf to mention this in his voice-over. Interestingly, Getty starred in a remake of this classic story in the early 90's.

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