Digby's Hullabaloo
2801 Ocean Park Blvd.
Box 157
Santa Monica, Ca 90405

Facebook: Digby Parton

@BloggersRUs (Tom Sullivan)

thedigbyblog at gmail
satniteflix at gmail
publius.gaius at gmail
tpostsully at gmail
Spockosbrain at gmail
Richardein at me.com


Mother Jones
Raw Story
Huffington Post
Crooks and Liars
American Prospect
New Republic

Denofcinema.com: Saturday Night at the Movies by Dennis Hartley review archive

January 2003 February 2003 March 2003 April 2003 May 2003 June 2003 July 2003 August 2003 September 2003 October 2003 November 2003 December 2003 January 2004 February 2004 March 2004 April 2004 May 2004 June 2004 July 2004 August 2004 September 2004 October 2004 November 2004 December 2004 January 2005 February 2005 March 2005 April 2005 May 2005 June 2005 July 2005 August 2005 September 2005 October 2005 November 2005 December 2005 January 2006 February 2006 March 2006 April 2006 May 2006 June 2006 July 2006 August 2006 September 2006 October 2006 November 2006 December 2006 January 2007 February 2007 March 2007 April 2007 May 2007 June 2007 July 2007 August 2007 September 2007 October 2007 November 2007 December 2007 January 2008 February 2008 March 2008 April 2008 May 2008 June 2008 July 2008 August 2008 September 2008 October 2008 November 2008 December 2008 January 2009 February 2009 March 2009 April 2009 May 2009 June 2009 July 2009 August 2009 September 2009 October 2009 November 2009 December 2009 January 2010 February 2010 March 2010 April 2010 May 2010 June 2010 July 2010 August 2010 September 2010 October 2010 November 2010 December 2010 January 2011 February 2011 March 2011 April 2011 May 2011 June 2011 July 2011 August 2011 September 2011 October 2011 November 2011 December 2011 January 2012 February 2012 March 2012 April 2012 May 2012 June 2012 July 2012 August 2012 September 2012 October 2012 November 2012 December 2012 January 2013 February 2013 March 2013 April 2013 May 2013 June 2013 July 2013 August 2013 September 2013 October 2013 November 2013 December 2013 January 2014 February 2014 March 2014 April 2014 May 2014 June 2014 July 2014 August 2014 September 2014 October 2014 November 2014 December 2014 January 2015 February 2015 March 2015 April 2015 May 2015 June 2015 July 2015 August 2015 September 2015 October 2015 November 2015 December 2015 January 2016 February 2016 March 2016 April 2016 May 2016 June 2016 July 2016 August 2016 September 2016 October 2016 November 2016 December 2016 January 2017 February 2017 March 2017 April 2017 May 2017 June 2017 July 2017 August 2017 September 2017 October 2017 November 2017 December 2017 January 2018 February 2018 March 2018


This page is powered by Blogger. Isn't yours?


Saturday, January 07, 2017

Saturday Night at the Movies

Happy end of the world: Top 10 Nuke Films

By Dennis Hartley

Every January, the Bulletin of the Atomic Scientists gives the human race its annual physical, to determine the official time on the Doomsday Clock (with midnight representing Armageddon). Last January, they moved the hands to 3 minutes to midnight.

Those geeks in the white lab coats didn’t mince any words, either:
Today, unchecked climate change and a nuclear arms race resulting from modernization of huge arsenals pose extraordinary and undeniable threats to the continued existence of humanity. And world leaders have failed to act with the speed or on the scale required to protect citizens from potential catastrophe. These failures of leadership endanger every person on Earth.
So how do things look for 2017? The latest word from their website is not encouraging:
“It is still Three Minutes to Midnight […] That probability has not been reduced. The Clock ticks. Global danger looms. Wise leaders should act—immediately."

In a 2011 Hullabaloo post about the ever-sobering Hiroshima anniversary, I wrote:

So what have we learned since 8:15am, August 6, 1945-if anything? […] there are enough stockpiled weapons of mass destruction to knock Planet Earth off its axis, and we have no guarantees that some nut job, whether enabled by the powers vested in him by the state, or the voices in his head (doesn’t really matter-end result’s the same) won’t be in a position at some point in the future to let one or two or a hundred of ‘em rip. Hopefully, cool heads and diplomacy will continue to keep us all rad-free.

In just under two weeks, Donald J. Trump will be sworn in as the President of the United States. As they said: The clock ticks. Global danger looms…and the Master of 3am Tweets will have the nuclear codes. That in mind, here are my picks for the top 10 cautionary films to watch before…we all go together (when we go). In alphabetical order:

The Atomic Café- Whoopee, we’re all gonna die! But along the way, we might as well have a few laughs. That seems to be the impetus behind this 1982 collection of cleverly reassembled footage culled from U.S. government propaganda shorts from the Cold War era (Mk 1), originally designed to educate the public about how to “survive” a nuclear attack (all you need to do is get under a desk…everyone knows that!). In addition to the Civil Defense campaigns (which include the classic “duck and cover” tutorials) the filmmakers have also drawn from a rich vein of military training films, which reduce the possible effects of a nuclear strike to something akin to a barrage from, oh I don’t know- a really big field howitzer. Harrowing, yet perversely entertaining. Written and directed by Jayne Loader, Pierce Rafferty and Kevin Rafferty (Kevin went on to co-direct the similarly constructed 1999 doc, The Last Cigarette, a takedown of the tobacco industry).

Black Rain- For obvious reasons, there have been a fair amount of postwar Japanese films dealing with the subject of nuclear destruction and its aftermath. Some take an oblique approach, like Gojira or Kurosawa’s I Live in Fear. Others deal directly with survivors (known in Japan as hibakusha films). One of the top hibakusha films is this overlooked 1989 drama from Shomei Imamura, a relatively simple tale of three Hiroshima survivors: an elderly couple and their niece, whose scars run much deeper than physical. The narrative is sparse, yet contains more layers than an onion (especially when one takes the deep complexities of Japanese society under consideration). Interestingly, Imamura injects a polemic which points an accusatory finger in an unexpected direction.

The Day after Trinity- This absorbing film about the Manhattan Project and its subsequent fallout (historical, political and existential) is one of the best documentaries I have ever seen. At its center, it is a profile of project leader J. Robert Oppenheimer, whose moment of professional triumph (the successful test of the world’s first atomic bomb, three weeks before Hiroshima) also brought him an unnerving precognition about the horror that he and his fellow physicists had enabled the military machine to unleash.

Oppenheimer’s journey from “father of the atomic bomb” to anti-nuke activist (and having his life destroyed by the post-war Red hysteria) is a tragic tale of Shakespearean proportion. Two recommended companion pieces: Roland Joffe’s 1989 drama Fat Man and Little Boy, about the working relationship between Oppenheimer (Dwight Schultz) and military director of the Manhattan Project, General Leslie Groves (Paul Newman); and an outstanding 1980 BBC miniseries called Oppenheimer (starring Sam Waterston).

Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb- “Mein fuehrer! I can walk!” Although we have yet to experience the global thermonuclear annihilation that ensues following the wheelchair-bound Dr. Strangelove’s joyous (if short-lived) epiphany, so many other depictions in Stanley Kubrick’s seriocomic masterpiece about the tendency for those in power to eventually rise to their own level of incompetence have since come to pass, that you wonder why the filmmakers even bothered to make it all up. It’s the one about an American military base commander who goes a little funny in the head (you know…”funny”) and sort of launches a nuclear attack on the Soviet Union. Hilarity and oblivion ensues. And what a cast: Peter Sellers (as three characters), George C. Scott, Sterling Hayden, Slim Pickens, Keenan Wynn, James Earl Jones and Peter Bull. There are so many great quotes, that you might as well bracket the entire screenplay (by Kubrick, Terry Southern and Peter George) with quotation marks.

Fail-Safe– Dr. Strangelove…without the laughs. This no-nonsense 1964 thriller from the late great director Sidney Lumet takes a more clinical look at how a wild card scenario (in this case, a simple hardware malfunction) could ultimately trigger a nuclear showdown between the Americans and the Russians. Talky and a bit stagey; but riveting nonetheless thanks to Lumet’s skillful pacing (and trademark knack for bringing out the best in his actors), Walter Bernstein’s intelligent screenplay (with uncredited assistance from Peter George, who also co-scripted Dr. Strangelove) and a superb cast that includes Henry Fonda (a commanding performance, literally and figuratively), Walter Matthau, Fritz Weaver, and Larry Hagman. There’s no fighting in this war room (aside from one minor scuffle), but lots of suspense. The film’s final scene is chilling and unforgettable.

Miracle Mile- Depending on your worldview, this is either an “end of the world” film for romantics, or the perfect date movie for fatalists. Anthony Edwards and Mare Winningham give winning performances as a musician and a waitress who Meet Cute at L.A.’s La Brea Tar Pits museum. But before they can hook up for their first date, Edwards stumbles onto a fairly reliable tip that L.A. is about to get hosed…in a major way. The resulting “countdown” scenario is a genuine, edge-of-your seat nail-biter. In fact, this modestly budgeted, 90-minute sleeper offers more heart-pounding excitement (and much more believable characters) than any bloated Hollywood disaster epic from the likes of a Michael Bay or a Roland Emmerich. Writer-director Steve De Jarnatt stopped doing feature films after this 1988 gem (his only other feature was Cherry 2000).

One Night Stand - An early effort from eclectic filmmaker John Duigan (Winter of Our Dreams, The Year My Voice Broke, Flirting, Sirens, etc.). This 1984 sleeper is a worthwhile entry amidst the flurry of nuclear paranoia-themed movies that proliferated throughout the Reagan era. Through circumstance, four young people (three Australians and an American sailor who has jumped ship) get holed up in an otherwise empty Sydney Opera House on the eve of escalating nuclear tension between the superpowers in Eastern Europe. In a concerted effort to deflect their collective anxiety over increasingly ominous news bulletins droning on from the radio, they find creative ways to keep their spirits up.

The film is uneven at times, but for the most part Duigan capably juggles the busy mashup of romantic comedy, apocalyptic thriller and anti-war statement. There are several striking set pieces; particularly an eerily affecting scene where the quartet watch Fritz Langs’s Metropolis as the Easybeats hit “Friday on My Mind” is juxtaposed over its orchestral score. Midnight Oil performs in a scene where the two women attend a concert. The bittersweet denouement (in an underground tube station) is quite powerful.

Testament- Originally an American Playhouse presentation, this film was released to theatres and garnered a well-deserved Best Actress nomination for Jane Alexander. Director Lynne Littman takes a low key, deliberate approach, but pulls no punches. Alexander, her husband (William DeVane) and three kids live in sleepy Hamlin, California, where afternoon cartoons are interrupted by a news flash that nuclear explosions have occurred in New York. Then there is a flash of a different kind when nearby San Francisco (where DeVane has gone on a business trip) receives a direct strike.

There is no exposition on the political climate that precipitates the attacks; this is a wise decision, as it puts the focus on the humanistic message of the film. All of the post-nuke horrors ensue, but they are presented sans the histrionics and melodrama that informs many entries in the genre. The fact that the nightmarish scenario unfolds so deliberately, and amidst such everyday suburban banality, is what makes it very difficult to shake off.

As the children (and adults) of Hamlin succumb to the inevitable scourge of radiation sickness and steadily “disappear”, like the children of the ‘fairy tale’ Hamlin, you are left haunted by the final line of the school production of “The Pied Piper” glimpsed earlier in the film… “Your children are not dead. They will return when the world deserves them.”

Thirteen Days- I confess that I had a block against seeing this 2000 release about the 1962 Cuban missile crisis for years, for several reasons. For one, director Roger Donaldson’s uneven output (for every Smash Palace or No Way Out, he’s got a Species or a Cocktail). I also couldn’t get past “Kevin Costner? In another movie about JFK?” Also, I felt the outstanding 1974 made-for-TV film, The Missiles of October would be hard to top. But I was pleasantly surprised to find it to be one of Donaldson’s better films.

Bruce Greenwood and Steven Culp make a very credible JFK and RFK, respectively. The film works as a political thriller, yet it is also intimate and moving at times (especially in the Oval Office scenes between the brothers). Costner provides the “fly on the wall” perspective as Kennedy insider Kenny O’Donnell. Costner gives a compassionate performance; on the downside he demonstrates a tin ear for dialects (that Hahvad Yahd brogue comes and goes of its own free will). According to a tidbit posted on the Internet Movie Database, this was the first film screened at the White House by George and Laura Bush in 2001. Knowing this now…I don’t know whether to laugh or cry myself to sleep.

The War Game / Threads- Out of all of the selections on this list, these two British TV productions are the grimmest and most sobering “nuclear nightmare” films of them all.

Writer-director Peter Watkins’ 1965 docudrama, The War Game was initially produced for television, but was deemed too shocking and disconcerting for the small screen by the BBC. It was mothballed until picked up for theatrical distribution, which snagged it an Oscar for Best Documentary in 1967. Watkins envisions the aftermath of a nuke attack on London, and pulls no punches. Very ahead of its time, and it still packs quite a wallop.

The similar Threads debuted on the BBC in 1984, later airing in the U.S. on TBS. Mick Jackson directs with an uncompromising realism that makes The Day After (the U.S. TV film from the previous year that tackled the same scenario) look like a Teletubbies episode. The story takes a medium sized city (Sheffield) and depicts what would happen to its populace during and after a nuclear strike, in graphic detail. It’s stark and affecting.

Both of these productions make it very clear that, while they are dramatizations, the intent is not to “entertain” you in any sense of the word. The message is simple and direct-nothing good comes out of a nuclear conflict. It’s a living, breathing Hell for all concerned-and anyone “lucky” enough to survive will soon wish they were fucking dead.

Previous posts with related themes:

Don’t know where, don’t know when

Criterion reissues Dr. Strangelove

More reviews at Den of Cinema

--Dennis Hartley