'The Caine Mutiny Court Martial' is still life

What is it about Herman Wouk's novel-turned-stage play that appeals to directors over decades? How can a movie about a tragedy at sea entertain if it's stuck in a court room? How well did William Friedkin end his directing career with this story? Can Kiefer Sutherland top Humphrey Bogart? Do the steel balls still clank?

These questions are a few that inquiring minds might want to know about this version of "The Caine Mutiny."

 Friedkin, who died at 87 in August, rewrote his screenplay from Wouk's stage play, not from the 1954 film version. Friedkin does not "open up" the play: he does not show the USS Caine in the cyclone that allegedly panicked her captain, who failed to command. Friedkin seals action in the amber of a courtroom except for a peek into the hall and, in the end, in a hotel room for a post-trial party.

Friedkin's rewrite berths the ship in the 21st century: the Caine becomes a mine sweeper in the Straits of Hormuz in the Persian Gulf. He retains the question of whether the incident occurring on Dec. 18, 2022, was mutiny on the part of the crew or insanity on the part of the captain. Lt. Maryk (Jake Lacy), relieved Commander Queeg, whom he determined had gone loco. 

Queeg, twiddling his thumbs, sits before the judges at his court martial.The new prosecutor in this new Navy is played by Monica Raymund, who commands the role as tightly as she shellacks her coiffure. Except for her and a doctor, "The Caine Mutiny Court Martial" remains holy ground for hungry male actors. Jason Clarke plays the determined interrogator -- this is Clark's second time in that role this year counting "Oppenheimer." Kiefer Sutherland speaks out of the side of his mouth in a nasal Dick Cheney-esque tone. He subtly slides along the range of phallomachy from peacock to chicken, but he seduces you to care in the end.

As the presiding officer, Lance Reddick towers over his castmates. He, too, died this year, and the film is dedicated to his memory. He delivers his lines more naturally than the other players. They stick with the cadences of a stage play throughout the forensic film, as tailored as a brass-buttoned uniform. Friedkin's cameras swirl around the courtroom, lighting on a face here and, there, on hands clanking steel balls. His direction does not echo the Friedkin of "The Exorcist" of "The French Connection." Friedkin's "The Caine Mutiny Court Martial" swansongs into the sunset as a still life.