The whole film has a clear, deliberate class architecture, and a new sheen of consummate structural precision that really gives the disaster sequences a big boost. (This is not a business card moment, relax, heh).

Remember when that guy fell and hit the propeller? Or when the elderly couple — Isidor and Ida Straus, who owned "Macy's," which I think is important — simply held each other in their stateroom as the water rose, because Ida refused a lifeboat on the grounds that she would not leave her husband, a scene so emotionally direct that most people probably don't notice the subtext.

But they should, because it's not just about the pleasures of the love story and the importance of Leo's "Chad-like" cheekbones and luscious hair.

It's also a precise structural argument about class itself - the third-class "passengers" were gated below decks as the ship went down, like animals, which is not a metaphor so much as what literally happened, and Cameron put it on screen in front of 200M people who were too busy crying about "the door" to notice they were watching social hierarchy operate exactly as intended under mortal pressure.

Incidentally, I even had the Celine Dion cassette tape, which I played on my Sony Walkman back in the '90s. It's just lying around somewhere, I'm sure, back at my parents' house.

(http://www.autoadmit.com/thread.php?thread_id=5845785&forum_id=2],#49744766)