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It Was Like a Dance of Light: The Abyss (1989)
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It Was Like a Dance of Light: The Abyss (1989)
James Cameron’s ambitious film finds something weird and wonderful in the ocean depths…
By Judith Tarr
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Published on September 15, 2025
Credit: 20th Century Fox
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Credit: 20th Century Fox
Prolific filmmaker James Cameron wrote and directed the 1989 release, Abyss, in among all the Terminators and the Rambos. It’s beautifully filmed, with real submersibles and actual underwater sequences filmed “in a water-filled cooling tower of an abandoned nuclear reactor construction site”. That must have been quite the experience for the cast and crew.
The plot revolves around a set of tropes. A U.S. nuclear submarine “chasing Reds” in the waters near Cuba (presumably around the Cayman Trench) is attacked by a mysterious force. An oil company’s drilling operation nearby is tapped for the rescue: a company ship, the Explorer, on the surface and a deep-water rig below. The people up top are various forms of company hacks; the crew in Deep Core 2 is a gang of rough-and-ready types, all hair and dirty t-shirts, led by ruggedly handsome Bud Brigman (Ed Harris). They’re assisted and/or obstructed by a handful of SEALs and “the queen bitch of the universe,” Lindsey (Mary Elizabeth Mastrantonio), who just so happens to have designed the rig, and who also happens to be married (but on the brink of divorce) to Bud.
Much drama ensues. A hurricane separates Deep Core from the Explorer, and nearly flattens the rig when the crane breaks off and plunges below. The SEALs have a hidden agenda which involves one of the sub’s nuclear warheads. Their commander turns out to be one of a percentage of humans who can’t handle the pressure of the water even in the pressurized rig (which rests on a shelf at 1700 feet/500 meters). We’re reminded early and often of the symptoms of pressure-induced psychosis: tremors and paranoia.
Lieutenant Coffey is a Stiff Government Robot type. He’s convinced that the sub was destroyed by Russians. Once it becomes clear that Russians had nothing to do with it, he’s all about arming the warhead and nuking whatever is down below in the trench. Don’t know what it is? Don’t understand it? Nuke it.
Bud and Lindsey, meanwhile, spar over everything from the state of their marriage to the predicament they’re in, between the hurricane, the damage to the rig (with only twelve hours of oxygen left before they’re all dead), the downed sub, and the thing that took the sub down. Their situation becomes ever more dire, and the humans in the rig split into two hostile camps, SEALs and rig crew (with Lindsey in the latter).
Just when it seems as if we’re never going to find out what really happened to the sub, Lindsey suits up and heads outside to try to extend the oxygen limit by accessing the auxiliary tanks. Lindsey may be a proud corporate bitch, but she’s a hands-on engineer and she knows every inch of Deep Core 2. While she’s out there, the power glitches (because of course it does) and she loses contact with the rig.
And there, at last, we see something weird and wonderful. It’s a translucent, wormlike, vaguely squidlike creature that shines with its own light. Lindsey is so enthralled she almost forgets to film it.
And then the main event surges up from below. It’s huge, gorgeous, and made of light. She’s completely captivated and utterly unafraid. She even touches it.
When she makes it back into the rig, she’s all aglow with what she’s seen. Engineer she might be, but with this she’s all about her feelings. She just knows it’s nonhuman, but intelligent: an NTI, a Non-Terrestrial Intelligence. It’s beautiful. It’s not a “clunky steel can” like what humans build; it’s a machine, but alive, “like a dance of light.”
Of course nobody believes her. Her film doesn’t show anything definitive, just blurry bits of light. She’s the Hysterical Female trope, the Woman Burbling About Impossible Things.
In between fits of bickering, collapsing systems, and hostile SEALs, Lindsey and tech guy Hippy rig a camera to send below. Coffey hijacks it and hooks it up to the nuke.
Amid this part of the drama, a pseudopod of water emerges from one of the flooded bays. We get the alien POV, exploring the rig and eventually finding Lindsey holed up with the rest of the crew. The pseudopod proceeds to surround the nuke and carry it off—until Coffey slams a hatch shut and slices it in two, with the warhead still on the humans’ side.
That convinces everyone that something not-human is definitely out there. Something they’ve never met before, that can control water “at a molecular level.” Lindsey is sure it’s benevolent. The others aren’t so sure. Coffey is more determined than ever to blow it up.
Further drama follows. Coffey drops off the cliff into the abyss, taking the warhead, and the camera, with him. Somebody has to retrieve it before it blows.
We know it has to be Bud, because Steely-Jawed Hero. The couple of SEALs who have kept their heads and decided to cooperate with the Deep Core crew suit him up in their special high-tech suit, which is basically a spacesuit, and their even more special breathable liquid oxygen, which lets him breathe for a limited period at extreme depth. The danger of pressure psychosis is very much there, but we just have to hope it doesn’t incapacitate him before he can disarm the warhead.
He expects to die down there. It takes him too long to go down, and there’s too little oxygen left after he complete his mission. But we have a pretty good idea what has to happen next, because we know how the tropes work.
And so they do. There’s a whole huge city/installation/mother ship down there. And there are beings. Aliens? Beings who evolved in the deepest part of the sea?
They look like a cross between a butterfly, a fairy, a classic big-eyed UFO alien, and a stingray. They’re beautiful and eerie and gently inquisitive, eyeing the human quizzically and, of course, saving him.
The end is soaring and beautiful and inspiring. There is much smiling and laughing and wonder and all those good things. We never find out if these are space aliens—true extraterrestrials—or natives of this planet. Are they non-terrestrial in the sense that they’re from another planet, or non-terrestrial as in not land animals?
All we know is that they’re benevolent. They don’t want to destroy the humans. They want to help them. They want to communicate; to understand.
They’re lovely and they bear some resemblance to actual deep-sea creatures, but they show up the big hole in the film’s worldbuilding. There is no actual marine life. No fish, no cephalopods, no cetaceans. Nothing. Not even a sea bird. The ocean is empty. All that’s there is the alien and the humans.
I’m sure that’s a budget decision as much a creative one—to narrow the focus and avoid cluttering the already very busy plot. But it turns the ocean into a huge, empty tank. The real ocean is full of life, all the way down. Even, in places, to the bottom.
That’s next week’s expedition. We won’t find any aliens, but what we will see are creatures who are as strange as anything in science fiction. There’s a whole world down there, full of wonderful things. We’re just beginning to explore it.[end-mark]
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