Norman is a curmudgeon with an estranged relationship with his daughter Chelsea. At Golden Pond, he and his wife nevertheless agree to care for Billy, the son of Chelsea's new boyfriend, and a most unexpected relationship blooms.
While doing a series of reports on alternative energy sources, an opportunistic reporter Kimberly Wells witnesses an accident at a nuclear power plant. Wells is determined to publicise the incident but soon finds herself entangled in a sinister conspiracy to keep the full impact of the incident a secret.Written by
Dave Jenkins <firstname.lastname@example.org>
Star Jack Lemmon said of this film: "I signed on for 'The China Syndrome' and then waited over a year for filming to begin. Not only did I get a marvelous role but I had the satisfaction of being part of a film project that deals with a very dramatic subject, and it makes for a very dramatic movie." See more »
When Hector (the sound guy) is being pursued at high speed in his red car, (as he tries to hurriedly get the falsified X-rays to Jane Fonda), after the second bump from the car behind; there is a shot-change to the side of his car. In the reflection in the window of his car we can see a Panavision camera with a roll of movie film on top, filming the scene from a truck. See more »
"The China Syndrome" is perhaps the first horror film that is not necessarily following the rules of the genre. It takes place in the contemporary '70's, and features people in the normal profession of broadcast television news. But, when a news story about the leakage of nuclear energy breaks; let's just say - there is your monster.
Jane Fonda is absolutely superb as Kimberley Wells, an ambitious Los Angeles reporter relegated only to fluff pieces by her sexist boss (Peter Donat). She wants something juicier, and gets it, in the form of an accident at a nuclear power plant facilitated by Jack Godell (Jack Lemmon with expressions too numerous to count). Her hippie radical cameraman (Michael Douglas, who also produced) photographs the incident without the plant's knowledge and they both agree that public safety is a valid story. The network brass doesn't think so, and soon both Fonda and Douglas are entangled in a web of legalities concerning the tape.
The crux of the film is Lemmon's character. A man torn between loyalty to his company and telling the truth - even in the face of grave consequences. What makes this horror scenario so compelling is that these are true flesh-and-blood people stuck in the most extraordinary of circumstances faced with both a threat of cosmic proportions as well as a human one.
This is a remarkably chilling thriller, and I'm disappointed that it's not taken more seriously (as both art and tract).
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