Cast: Joaquin Phoenix, John Travolta, Jacinda Barrett, Morris Chestnut, Kevin Daniels, Robert Patrick, Balthazar Getty, Billy Burke
Director: Jay Russell
Producer: Casey Silver
Screenplay: Lewis Colick
Cinematography: James L. Carter
Music: William Ross
U.S. Distributor: Touchstone Pictures
Ask any group of five-year old boys what they want to be when they grow up, and I guarantee that more than one will exclaim, "A fireman!" Models of heroism since long before September 11, 2001, firemen have held an elite place in the civic mindset, perhaps a half-step above policemen and soldiers. This isn't the first movie about fireman, but, at least in its faithfulness to the rigors and dangers of the job, it may be the most accurate. However, as good as the fire-fighting material is, the dramatic backstory is awash in clichés and insipid melodrama. One could argue that such an approach isn't all bad - after all, it allows us to know and like the characters - but there are times when Ladder 49 gets a little too cute.
Overall, I would consider the film to be a modest success, but not a great breakthrough. The story is straightforward enough that, if you've seen the previews, there aren't many surprises left - not that a movie of this sort offers much in the way of the unexpected. With a couple of notable exceptions, the cast is populated by walking, talking stereotypes: macho guys who go to confession, drink hard, love practical jokes, and will lay their lives on the line to save a person or his property. The exceptions are Chief Mike Kennedy (John Travolta), who shows flashes of humanity, and lead character Jack Morrison. Joaquin Phoenix's impressive turn as Jack transforms him from the simply-rendered figment of a screenwriter's imagination into a three-dimensional hero who deserves something deeper than what is offered by Ladder 49's uncomplicated storyline.
The film follows Jack, a member of the Baltimore City Fire Department's Engine 33, into a 20-story blaze that looks like something out of Dante's Inferno. Surrounded by flames and explosions, Jack saves the life of a frightened, hapless man before falling through a weakened floor and seriously injuring himself. Alone, broken, bleeding, and drifting into and out of consciousness, Jack re-examines his life. In lengthy flashbacks, we see his first day on the job; his meeting with his future wife, Linda (Jacinda Barrett); his wedding; how he copes with the loss of a friend; and how he deals with the question of family versus job.
Some of the flashbacks work better than others, but all of them face the challenge of pulling the viewer away from the more compelling story of what's happening in the present. One could argue that there are a few too many flashbacks. Some of them are necessary to the development of Jack's character, but others could probably have been trimmed without much being lost. On those occasions when Ladder 49 wanders into the overly-familiar, one wonders if director Jay Russell (Tuck Everlasting) couldn't have used some sort of dramatic short-hand to convey the point.
Ladder 49 has two stars: Phoenix and the flames. Travolta's role is strictly supporting, and he plays it as such, not chewing scenery or trying to steal scenes. Phoenix is marvelous, and a good portion of the film's success - to the degree that it succeeds - must be accorded to him. He makes Jack real: a man who lives, loves, laughs, cries, and fears the way we all do (or wish we could). Then there are the fire sequences, which are among the best ever committed to film. For the most part, it's clear that Russell relied upon genuine flames. If CGI enhancements were employed to beef up a few scenes, the artificial additives were not noticeable (which is the point).
I would classify Ladder 49 as a "safe" movie. There's nothing daring about it, but it offers a solid emotional core and there is a touching payoff. The movie's drama is a little on the soggy side, and that's what keeps me from giving a hearty recommendation. Few who see it will regret the experience, but this isn't the sort of movie that cries out to be seen. As diversions go, it's mostly pleasant, and I suppose there's nothing terribly wrong with that.
© 2004 James Berardinelli