Under the watchful eye of his mentor Captain Mike Kennedy, probationary firefighter Jack Morrison matures into a seasoned veteran at a Baltimore fire station. Jack has reached a crossroads,... See full summary »
Construction Engineer Stuart Graff is estranged from his jealously possessive wife, Remy, and has an affair with Denise Marshall, the widow of a co-worker. Meanwhile, Remy tries to persuade her father, Sam Royce, who is Stuart's employer, to use his influence to stop Stuart from seeing Denise. Rogue policeman Lew Slade is suspended from the L.A.P.D. for having punched an obtuse officer from another jurisdiction. Embittered, Slade contemplates quitting the police force. Jody, a perverted grocery store manager, lusts after Rosa Amici, sister of Sal, the assistant to Miles Quade, an aspiring daredevil motor cyclist. The lives of all these people are devastated when a major earthquake rips through Los Angeles and reduces the city to ruins. Written by
Kevin McCorry <firstname.lastname@example.org>
The producer, Jennings Lang, offered a cameo role to his friend Walter Matthau, which Matthau accepted without compensation, on the condition that he be billed under his "real name" (which its not), "Walter Matuschanskyasky". Matthau's role was originally scripted as "a drunk sits at the end of the bar", which was expanded by writer George Fox, giving the character lines of dialogue (involving toasts to celebrities). When the film was completed, as agreed by Lang and Matthau, "The Drunk" was credited as "Walter Matuschanskayasky". This lead to a long-standing, but false, rumor that "Matuschanskayasky" was Matthau's real name. See more »
In the television version, the aircraft on which the newlywedsare flying changes repeatedly from a Boeing 707 to a Convair 880 and back again, each time with airline different markings. Nighttime shots of the plane are borrowed from the film Airport (1970) See more »
I saw this movie on the big-screen when it was released and I actually found the Sensurround (R) to be annoying, but the film isn't as bad as critics made it out to be. I agree, the casting could have been better (the Ava Gardner/Loorne Green argument is a good one), but this is a special effects movie, and the special effects were pretty good by 1974 standards. Besides, how can a movie about the destruction of LA be so bad?
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