Russell Crowe commands the screen in his newest ship flick

Master and Commander is an almost-splendid film about character, leadership and the tension that overachievers face in choosing between friendship and the obsession with setting and meeting goals. Critics are enchanted both by Peter Weir's realist interpretation of life aboard a 17th century British war ship, and the authority and management knowhow radiated by Russell Crowe as a Capt. "Lucky" Jack Aubrey.

Director Peter Weir puts Jack and her ship, the H.M.S. Surprise, through every conceivable naval situation. They weather storms, survive sleet and stagnation in the doldrums, engage in naval warfare with a French baddie, deal with unrest and breach of discipline on board and sample exotic tropical islands when they anchor for rest and reloading. Master and Commander is an encyclopedia about naval life in general, and the stress and excitement of running a ship in the Napoleonic wars in particular.

There's obviously a very good story at hand, but the problem is that Weir gets seduced by the impressive nautical sequences and fails to set up background for the film.

The screenplay is blessed with both meaningful dialogue and substantial plot development, so in contrast the fault is pretty glaring. Everyone who's read at least one novel or has listened to fairytales knows that stories need a beginning -- not necessarily a good one but some kind of introduction. Weir forgets that in his drive to capture the visual glory of his ship tossing about on the high seas.

One reason is that Weir had to play hooky with the original story he adapts his film from, in the interests of political correctness. The film is based on Patrick O'Brien's 20-volume set on Capt. Jack Aubrey's adventures in service with Her Majesty, the Queen of England's navy.

The bad guy in the particular story Weir chooses is an American frigate in the War of 1812 but Weir felt, for obvious reasons, that Americans wouldn't shell out bucks to cheer for a guy whupping their behinds on screen. In Weir's telling, Capt. Jack has received orders to follow the French rogue ship, the Acheron, up to Brazil and attempt to sink her.

All we get in the start is a caption explaining this is the Napoleonic Wars and that oceans are battlefields. Before you can say "Starboard 30 degrees," we're on the sea with Capt. Jack, who's becoming obsessed over hunting down the Acheron.

Exactly who is Capt. Jack and what triggered the diplomatic order to capture the Acheron? Why has the personal score become more important than the war for these two ships? What the hell is going on? Russell Crowe's charisma goes a long way in covering the fuzziness that results in launching a story without its "once upon a time," but skimming over these issues is still a costly misstep.

Weir takes his time in setting up the most important relationship in the film: the deep, but still tension-ridden friendship between Capt. Jack and the ship's doctor, Stephen Maturin (Paul Bettany). Maturin is the wise counselor to Jack's strong, confident leader, but often, the only thing the two men can see eye to eye on is music.

They may play duets after dinner, but Maturin's cultivated reason and scientific bent has a hard time following the tune set by Jack's spirit for action. By the middle of the movie, however, the relationship has become a thing of beauty. Every Kirk needs a Spock, and the sheer intelligence in the way these two men are made complement each other chalks up major points for Weir's character development.

The costumes and general seabound atmosphere set off some homoerotic sparks. Crowe suffers from the lack of modern tailoring and comes off as rather meaty (you try wearing those tight breeches, cravats and funny hats), but still oozes sensuality as the brash, overconfident Capt. Jack. "He's a damn fine seaman," says one of his officers. Bettany as Maturin is sensitive, contemplative and intelligent in a quiet but incredibly sexy way.

This is a very man-centric world, and many of the bonds between characters are quite remarkable. One notable pair is Lord Blakeney (Max Pirkis), the 13-year-old midshipman (junior officer) who suffers such an incredible loss early in the film and his friend, the earnest young lieutenant, Peter Calamy (Max Benitz). The film is most memorable in uncovering the close relationships that develop aboard this "wooden world," while showing how fragile they become with the war and hungry sea constantly threatening them.

The film is the perfect for a leadership and management class, as a study in how a leader gains the respect and obedience of his team, and exerts authority with a firm hand. "Without discipline, the men will never respect you," he tells a cowardly officer who can never manage to win the esteem of his men.

Crowe gives orders, reprimands or praises where needed, develops military strategy, and gives patriotic speeches on the eve of battle. Whenever he begins confusing it with tyranny, Maturin steps in with his quiet wisdom. The commander and his aide together make Master and Commander a worthy endeavor, despite weaknesses in the story's structure.