What sets the film "Das Boot" apart from the plethora of war films? Why was this film, subtitled and about German soldiers in World War II, popular enough in America to get six Oscar nominations? One possible answer is the characters. Like so many other epic poems, the sensation of viewing pleasure goes beyond the intense plot and delves into the complexity and intimacy of the constituent elements of each story: the characters. The mastery of director Wolfgang Petersen lies in bringing the viewer into that unfortunate submarine, making everyone participate in the horror like one of the characters, creating the feeling of no escape route. So, once Petersen has the viewer "inside" the submarine, he presents us with a duality in character type; there are men determined to save the mission and avert the disaster, as well as others powerless to help their companions, condemned to be insufficient and annoying. Once Petersen portrays this conflict, it's easy to see why the tension level is so high in the submarine. The film begins with the submarine's crew drunk and jovial, attempting to enjoy the last moments before departure. Knowing that the chances of returning alive are minimal, the men seem to cast their intuition to the stars while having stupid and even tasteless fun. Petersen presents the viewer with a group of loud boys, full of life and indifferent to their future, in stark contrast to the men who arrive at the Mediterranean port later in the film. At this moment, all men are equal, ready to face the sea and serve their country. While in the submarine, the nature of these men changes. They are no longer a homogeneous group; rather a number of... mid-paper... things he does such as his attention to Hitler's speeches, his meticulous eating habits, and walking around in his Nazi garb, all annoy the crew. His very presence is a distraction for a crew that needs total concentration. Although he appears as diligent as the others, his style is different, his attitude is too useless, and his behavior is too inappropriate for the submarine. This duality is an important component of the tension that resides in the boat. Peterson seems to be making a contrast to encourage the already growing tension. Combining this with the life-death aspect of the mission, incredible stress is inevitable. It is a ship filled mostly with hardy men, but the few who do not adapt are harpoons on the side of the ship. Pederson's film is quite intense and it must be said that this duality in the representation of the characters enhances this aspect of the film.