Sea Hunt (1958) Subtitles
The season's first misfire unfortunately occurs under director Lloyd Bridges' watch with Ellis Marcus' silly, disjointed The Sea Sled, that somehow mixes gangsters and illegal aliens scuba-ing into the U.S. (now they're helpfully flown in at taxpayer expense) with Hungarian freedom fighters of all things. Better are the bad girl antics of Susan Morrow in the appropriately titled Female of the Species, where Mike gets roped into a scam for sunken diamonds. Associate Producer John Florea debuts as series regular director with the fun Mr. Guinea Pig, another noirish outing where Mike's old flame Jan Brooks gets him into one scrape after another (this has one of the season's unintentionally funniest lines--from Stuart Jerome--and line-readings--from Bridges--when we see Mike, in his cool bachelor pad, nonchalantly flipping through a book as we hear him flatly intone, "I was at home reading up on some scientific data when the doorbell rang." Classic). In a good Sea Hunt episode I want some glamour and some danger as I watch Mike muscle his way through the surf, trying to execute some foolhardy plan before his air runs out...so when I see the tiresome peasants of Sonar Queen acting like spooked children at a newfangled fish-finder gizmo, I tune out. Gold Below, from Levitt, is an okay outing where Mike tries to mentor a pupil who gets fooled into diving for incognito treasure hunters (Mike's "The funny thing about trouble...you can always feel it coming," could have come out of any 40s B crime meller).
Sea Hunt (1958) subtitles
Norfolk was Scorpion's port for the remainder of her career, and she specialized in developing nuclear submarine warfare tactics. Varying roles from hunter to hunted, she participated in exercises along the Atlantic Coast, and in Bermuda and Puerto Rico operating areas. From June 1963 to May 1964, she underwent an overhaul at Charleston. She resumed duty in late spring, but regular duties were again interrupted from 4 August to 8 October for a transatlantic patrol. In the spring of 1965, she conducted a similar patrol in European waters.[citation needed]
After departing the Mediterranean on 16 May, Scorpion dropped two men at Naval Station Rota in Spain, one for a family emergency and one for health reasons. Some U.S. ballistic missile submarines (SSBNs) operated from the U.S. Naval base Rota; USS Scorpion is thought to have provided noise cover for USS John C. Calhoun when they both departed to the Atlantic. Along with Soviet intelligence trawlers, Soviet fast nuclear attack submarines[7] were attempting to detect and follow the U.S. submarines going out of Rota, in this case, two fast 32-knot Soviet November-class hunter-killer subs.[6]
However, the USN case for SSN 688 after the hijacking of USS Pueblo in January 1968 and the Tet offensive in February 1968, which showed new communist aggression, was resubmitted. The plan and requirement for new fast SSNs was accepted by USN Chief of Staff Admiral Thomas Moorer after further inquiry in March 1968, but was not accepted by the US government. Events in May 1968 led to Admiral Rickover and Chief of USN Scientific Research and Engineering, John S Foster, appearing before the US Senate and House armed forces committees in the first week of June 1968, and it was decided to order an immediate test to illustrate to Foster that the tactical advantage of speed in a SSN could outweigh stealth and quietness. The radical test was conducted with a top USN Permit-class SSN crew aboard USS Dace captained by Cdr K. McKee and a crew with experience running in Russian waters engaging in a hunt and attempt to simulate a torpedo attack on a fast Skipjack-class, the USS Shark, with a declared speed of 29 knots.[42] While the trial was successful, it showed just how difficult a faster, noisier submarine like Shark was to engage,[43] and by implication that an even faster November-class Soviet sub, while noisy, might well have been able to engage a 29-knot Skipjack.
The submarine film is a subgenre of war film in which the majority of the plot revolves around a submarine below the ocean's surface. Films of this subgenre typically focus on a small but determined crew of submariners battling against enemy submarines or submarine-hunter ships, or against other problems ranging from disputes amongst the crew, threats of mutiny, life-threatening mechanical breakdowns, or the daily difficulties of living on a submarine.
Koldau identifies the basic syntactic structure of the submarine genre as "outside is bad, inside is good."[1] The unseen outside means the enemy: this may be from nature, with elements such as water pressure threatening to crush the hull, sea monsters, or underwater rocks; or human opponents. Meanwhile, the inside of the submarine represents the human warmth and trust of the crew for each other and for their captain, their lives bound together by the situation.[1] To this scenario can be added elements from within such as mutiny, fire, discord, or accidents including radiation leakage; and from outside such as water, terrorism, disease, and weapons, while the plot may feature sudden switches from being the hunter to being the hunted.[1]
The plot deals with an insensible, submersible vessel that can hamper the fragile peace between the two nations and the hunt to capture and destroy it. The movie is regarded to be one of the best Hollywood movies to have ever been made.
The Mk 46 torpedo had a cylindrical-shaped no-escape zone several thousand yards in diameter and 1,500 feet deep. With a top speed of 45 knots, it would have been deadly against a diesel-electric sub anywhere inside that zone. The sub would probably not hear the small splash as the torpedo descended to the water, detached from its parachute, and then sank silently to its pre-programmed top search depth. Their first indication of trouble might have been when the torpedo went active and began hunting them. Of course, if we opted for the nuclear depth charge it would not matter if the sub heard the splash or not.
Nuclear submarines get the "nuclear" moniker from their nuclear reactor power source, not from the weaponry they carry. During the Cold War, nuclear submarines were the third part of a strategic deterrence triad that included land-based missile silos and airplanes with nuclear payloads. The U.S. alone maintained 41 ballistic-missile nuclear subs -- the "41 for Freedom" -- during the Cold War, and each had the nuclear payload to strike a crushing blow to any nation on Earth. In addition to the boomers, which were the missile-armed nuclear U.S. subs, there were fast attacks, nuclear-powered submarines designed to hunt down and (if need be) destroy enemy submarines or surface vessels. 041b061a72