A baby alligator is flushed down a Chicago toilet and survives by eating discarded laboratory rats injected with growth hormones. The small reptile grows gigantic, escapes the city sewers, and goes on a rampage.
Michael V. Gazzo
A geneticist takes his assistants to his old family home to locate the deadly product of his late mother's revolutionary research into rapid human evolution - his monstrous tentacled baby brother - before a mad scientist gets to him first.
David Allen Brooks
In the poor, desolate northern provinces of the mountainous feudal Sunni kingdom of Afghanistan (before the Soviet-engineered republican revolutions), the status of the proud men and their ... See full summary »
Ralph and Annabell Willart are a feuding couple who are constantly bickering over their worthless, good-for nothing son Berry-Berry. When Berry-Berry begins yet another meaningless love ... See full summary »
Eva Marie Saint,
According to director John Frankenheimer, during post-production, the studio demanded that the film be cut from an R rating down to a PG. Frankenheimer felt this damaged the film, destroying the scariness it had created. See more »
When Maggie Verne is seen leaving the helicopter during the rain storm there is a wire visible holding her handkerchief in place so it doesn't get lost in in the winds when she purposely lets it fall out of her pocket See more »
The film starts with a gorgeous shot of lights bouncing off a river as a rescue team search for two lost men, only to be murdered by some unseen force. Cut to the stark light of day and we have a horrifyingly beautiful composition of their decimated corpses in the sun.
Cut to Dr. Robert Verne, working as a doctor in the tenements of the city, giving kids medical care. This scene is rife with that feeling 1979 gave you, that we were living in the end of the world. Verne feels like he isn't making any difference, especially after hearing how the rats keep biting the kids. That's why he decides to take a job with the Environmental Protection Agency (again, very 70s as is Foxworth's reddish white dude fro and full beard. Sex symbols were different at the time), which means heading up to a logging town in Maine and solving a dispute between the loggers and Native Americans (Wow, again, this movie is just rife with issues that today's now generation is ready to tackle!).
Maggie, Verne's wife, comes along. She's pregnant but since he has no interest in kids, she is planning on just having an abortion (Do I need another parenthesis to shout out the 70s issues? Yes, I do.) and not telling him. We meet Travis, his kids Paul and Kathleen and paper mill director Bethel Isely.
Isely blames the missing rescue team and loggers on the Opies, or Original People (Native Americans). The accused have their own suspect: Katahdin, the spirit of the forest. We barely have time to process that before the Opies block our main characters path, leading to a battle between lumberjack Kelso and Opie leader John Hawks that ends with Hawks facing a chainsaw vasectomy. Cooler heads prevail, but Verne and Maggie are aghast at the violence in the woods.
What follows is a slow burn toward our big monster reveal, which was a huge secret at the time, as the film had tight security, barring even studio personnel from the set. Crew and actors had to sign NDAs that they would not reveal any elements of the story under any circumstances. A retired CIA agency supervised the whole shoot, only allow one camera for the official still photographer.
There's a giant salmon snacking on a duck. An insane raccoon that attacks Verne. A gigantic tadpole. And of course, a litany of stillbirths, birth defects and people going crazy. Verne thinks mercury is the culprit, but it's too late to save that lovely Nelson family we met earlier, who are attacked by Katahdin, who is revealed to be a female mutant bear that swats Paul into the rocks, killing him.
Read more at bandsaboutmovies.com/2017/06/30/prophecy-1979/
0 of 0 people found this review helpful.
Was this review helpful to you?
| Report this