Ralph Burton is a miner who is trapped for several days as a result of a cave-in. When he finally manages to dig himself out, he realizes that all of mankind seems to have been destroyed in... See full summary »
Thomas Jerome Newton is a humanoid alien who comes to Earth to get water for his dying planet. He starts a high technology company to get the billions of dollars he needs to build a return ... See full summary »
Hysterical panic has engulfed the world after the United States and the Soviet Union simultaneously detonate nuclear devices and have caused the orbit of the Earth to alter, sending it hurtling towards the sun. Written by
The realistic newspaper footage was shot in the Fleet Street offices of Express Newspapers and gives a vivid picture of the "old" London Fleet Street industry (most British newspapers have now moved out of this area, which was famous as a press centre). "Express" editor Arthur Christiansen plays himself in the film. See more »
When Bill and his son are exiting the car on the Ghost Train dark ride, they stand there and talk to Bill's ex wife. The next car exiting the ride has two women who get up and leave the car. A few moments later, another car exits the ride, and the same two women stand up and leave the car. 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 »
After more than forty years, this film is still a milestone in the science fiction genre. In its day, it was years ahead of its time. It had characters that acted like real people, instead of like John Agar and Lori Nelson. It contained a clearly implied sexual relationship between the two main characters, in an era when filmmakers were still routinely depicting even married couples as sleeping in separate beds. It was filled with shocking insinuations that the government is not all-wise and benevolent, that science doesn't really have all the answers, that the military is capable of blunders that put new meaning into the phrase "friendly fire," and that all may not be well, after all.
The film's greatest strength is in its understated, matter-of-fact presentation of the characters' various reactions to the relentlessly deteriorating situation. The performances are consistently honest and compelling, from the principal players down to the smallest walk-on parts. The award-winning script by Wolf Mankowitz is at times almost too clever for its own good. If there is one criticism that may be leveled against it, it is that most real people are not that consistently witty. Occasionally they are at a loss for words. Occasionally they say things that are lame, stupid, and altogether inappropriate. And this is the one element that was pretty much absent from the dialogue.
In an age when movies are being strangled to death by their own special effects, and character development often does not extend beyond the crudest bodily functions and four-letter expletives, it is genuinely refreshing to return to a film such as this one. Not only does it not rely on visual effects to tell its story, it is really so little dependent on the visual that it could have been equally successful as a radio drama (a forgotten art form nowadays), and might very well have caused an even greater panic than Orson Welles' "War of the Worlds."
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