When a spaceship lands on the moon, it is hailed as a new accomplishment, before it becomes clear that a Victorian party completed the journey in 1899, leading investigators to that mission's last survivor.
Hysterical panic has engulfed the world after the United States and the Soviet Union simultaneously detonate nuclear devices causing a change to the nutation (axis of rotation) of the Earth. Written by
At around 1:30, near the end of the movie, Bill Maguire quotes the first two lines of the 1826 poem "Casabianca" by British poet Felicia Dorothea Hemans: "The boy stood on the burning deck/Whence all but he had fled". See more »
Miss Evans picks up the phone in Jefferson's office and tells Jefferson "Professor Chakovski (sp?) is on the phone." Then a slightly different-sounding dubbed-in woman's voice says "just a minute, please," but Evans' mouth doesn't move. (Approximately 42:30.) See more »
I don't care a tinker's damn about this eclipse of the sun as such; the evening papers will cane it, it'll be dead by tomorrow morning. But what I do care about is why there was an eclipse of the sun ten days before it was due. Bill, this is your department.
I don't know why everybody regards me as Nostradamus. Your guess is as good as mine.
Yes, but I don't want guesses, I want facts. Try someone on top. Sir John Kelly...
Stenning got in to see Kelly.
He had twenty-eight armed guards around ...
[...] See more »
There are no end credits whatsoever (not even a "The End" caption); merely a fade to black. See more »
The Day The Earth Caught Fire (Val Guest, 1961) ***1/2
Surely one of the best - and most realistic - sci-fi dramas ever made: sober, unflinching and totally absorbing (at the time, I'm sure it must have also been quite scary) - yet the script, delivered at breakneck speed as befits its journalistic milieu, is extremely witty (in an obviously darkish tone). While the film has garnered a cult reputation along the years, it hasn't been given its due in my estimation and seems mainly to be appreciated by connoisseurs - though when released it was certainly well-received, copping as it did the BAFTA award for the year's Best Screenplay!
Director Guest had already dabbled in sci-fi and even then, despite the fanciful plots concerned, he gave it a ring of truth by approaching the genre more or less as semi-documentary; this time, however, with paranoia about nuclear obliteration at its highest during the early 60s, it seemed more feasible than ever before and that anything was possible! The opening and closing moments are orange-tinted (the rest of the story is told in monochromatic flashback) in order to convey the tremendous heatwave which has enveloped Planet Earth - caused to spin off its axis by a number of simultaneous nuclear blasts! - on its way towards the Sun.
The film also incorporates the human element in the form of a blossoming romance (but given the appropriate tension by making it a love/hate relationship!) between maverick reporter Edward Judd (undergoing divorce proceedings from wife Renee' Asherson, who turns up for a 30-second bit!) and spirited meteorological employee Janet Munro; while both actors proved charismatic leads here, playing very well off each other, their careers faltered pretty quickly - Judd seemed to be typecast in sci-fi roles and was also something of a hellraiser, while Munro unfortunately fell prey to alcoholism and died quite young!
Leo Mc Kern is simply marvelous as the burly yet dynamic Science Correspondent of the "Daily Express" who sees his pragmatic theories about Armageddon (which he still admits to being largely guesswork on his part) realized to their most horrific extent and Arthur Christiansen (Editior-in-Chief for many years of the real newspaper featured here), actually brought in as technical adviser, was persuaded to appear in it more or less as himself - which further adds to the film's striving for complete authenticity (extending also to the meticulous recreation of Fleet Street - London's famous newspaper sector - on a studio set, though some of it was shot on actual locations). All of this, then, is superbly captured by Harry Waxman's stark cinematography; also, though no official score for the film was composed, sparse use is made of appropriately ominous library cues chosen by Stanley Black (with the beat-nik rhythms of one particular scene provided by Monty Norman, who immediately afterwards became world-famous for composing the James Bond theme!). The film, too, manages some very effective crowd scenes (one featuring a pre-stardom Michael Caine as a copper!) - as are the various manifestations of catastrophe the world over (despite relying heavily, in the latter case, on the use of stock footage).
Even if I was perfectly happy with Anchor Bay's R1 SE DVD - apart from the bland cover art, that is - I decided to purchase Network's R2 disc (though not before its price-tag had reasonably scaled down) due to an additional 8-minute interview with Leo McKern (recorded shortly before his death)...and a wonderful little extra it turned out to be too which, circumstances as they were, gave it added poignancy (and since then, even Val Guest himself has gone - who, of course, recorded an enthusiastic full-length Audio Commentary for the film moderated by Ted Newsom); that said, I miss the typically exhaustively-researched talent bios supplied by Anchor Bay - the biography section on the Network DVD is actually a misnomer, as it only provides filmographies for the director and the major cast members!
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