In the 1980s, director Robert Altman found himself even more outside of the Hollywood system than usual.  A series of films that confused critics and repelled audiences had led to Altman becoming something of a pariah.  As no studio was willing to give Altman a chance to make the type of quirky feature films that he made his name with in the 70s, Altman instead directed a series of low-budget theatrical adaptations.  These films may not have gotten the attention of his earlier films but they allowed Altman to show off his talents, especially when it came to working with actors.

1988’s The Caine Mutiny Court-Martial was one of those films.  Made for television and based on the play by Herman Wouk, The Caine Mutiny Court-Martial was a courtroom drama that Altman brought to life with his usual flair.  Anyone who has read either the play or Herman Wouk’s original novel (or who has seen the 1953 film version, The Caine Mutiny) will know the story.  In the final days of World War II, Lt. Steven Maryk (Jeff Daniels) has been court-martialed for mutiny.  During a particularly violent storm, Maryk took command of the USS Caine away from Lt. Commander Queeg (Brad Davis).  Maryk and his fellow officers, including aspiring novelist Lt. Thomas Keefer (Kevin J. O’Connor), claim that, after several incidents that indicated he was mentally unstable, Queeg froze up on the bridge and had to be relieved of command.  Queeg claims that everything he did was to enforce discipline on the ship and that he never froze.  Prosecuting Maryk is Lt. Commander John Challee (Peter Gallagher).  Defending him is Lt. Barney Greenwald (Eric Bogosian), who is determined to win the case even though he doesn’t necessarily agree with Maryk’s actions.

The Caine Mutiny Court-Martial is very much a filmed play.  Almost all of the action takes place in one location, a gymnasium that has been converted into a court of military law.  We don’t actually see what happened on the Caine when Maryk took control.  Instead, we just hear the testimony of those involved.  Queeg defends himself, ably at first but soon he starts to show signs of the pressure of being in command.  Maryk explains his actions and we want to believe him because he’s played by fresh-faced Jeff Daniels but, at the same time, there’s something a little bit too smug about his declaration that Queeg was not fit for command.  The other officers on the Caine testify.  Under Greenwald’s skillful cross-examination, Queeg is continually portrayed as being a flawed officer.  But only Greenwald understand that Queeg was isolated not only by the loneliness of being in charge but also by members so his own crew, like Keefer, who hated the Navy and didn’t want to take their part in the war effort seriously.  As a Jew who is very much aware of what’s at stake in the war, Greenwald has mixed feelings about the way that Queeg was treated.  It ends with a party, where a drunk Greenwald calls out the true architect of The Caine Mutiny.  As opposed to the way the scene was portrayed in the 1953 film or in Willam Friedkin’s recent adaptation), Altman focuses not so much on Greenwald but on the party occurring around him.  If the other versions of this story ended on a note of triumph for Greenwald, this one ends on a note of sadness with Greenwald’s words being almost unheard by the officers of the Caine.

Altman gets excellent performances from the entire cast and, even more importantly, he avoids the downfall of so many other theatrical adaptations.  The Caine Mutiny Court-Martial may be a talky film and it may largely take place in only one location but it’s never boring.  Altman’s camera is continually prowling around the makeshift courtroom, reflecting the tension of the case in every movement.  The end result is one of Altman’s best theatrical adaptations.