Every film that has ever been nominated for an Academy Award in any category. Enjoy!
On the Beach
The Biggest Story of Our Time!
In 1964, atomic war wipes out humanity in the northern hemisphere; one American submarine finds temporary safe haven in Australia, where life-as-usual covers growing despair. In denial about the loss of his wife and children in the holocaust, American Captain Towers meets careworn but gorgeous Moira Davidson, who begins to fall for him. The sub returns after reconnaissance a month (or less) before the end; will Towers and Moira find comfort with each other?
A depressing yet powerful slow story about life after the nuclear war destroyed the Northern hemisphere. On the beach focuses for the most part about people and how they react to the knowledge that their world and their lives will soon come to an end. The lead characters go through what you would expect: denial, anger, clinging to the thinnest hope, and finally, resignation.
Superb performances from Gregory Peck, Ava Gardner, Fred Astaire and the pre-Norman Bates Anthony Perkins makes this an interesting watch although some will view the pacing as too slow.
Short Review: Kinda boring in the first half - nothing much happens. But the second half is pretty interesting. The film is at its best when the submarine is cruising around and we get to see the lonely, forlorn cityscapes left behind after the atomic war. The film gets heavy and has some relevant things to say. And, it is a good-looking film with splendid photography and good acting.
Yes, it's over dramatic, but never laughable. This serious film is the second best end of the world film I have seen. The best is of course, Melancholia.
In addition to being an unexpectedly chilling (and visually outstanding) vision of the apocalypse from Stanley Kramer, I see this as a master class in film acting. Gregory Peck, Anthony Perkins, Fred Astaire, and Ava Gardner are all fantastic, with some of them doing some of the best work I've seen from any of them (specifically Peck who is almost as good here as he is in To Kill A Mockingbird).
Anyway, this is a pretty terrific movie. Dark stuff too, but if you're in the mood for it I think you'll agree. Or not - it's not the end of the world or anything.
Based on the Nevil Shute novel of the same name, On the Beach is the story of a US submarine commander who docks in Australia after a nuclear war between the US and Russia which has wiped out life everywhere else in the world. Soon the radiation will reach Australia and all human life on Earth will be eradicated.
The film is a sombre look at the effects of nuclear war and what it does to the last people on the planet. Considering the year of its release (1959) you would expect a lot of melodrama and histrionics but that is not the case. At times it does slip into the story but it is always handled deftly and for…
After a nuclear war wipes out all of humanity, save for the people on Australia, a group of people cope with the impending nuclear fallout that promises to wipe out the rest of them.
On the Beach is a very early and unique look at a post-apocalypse story. It doesn't spend much time on the horrors of war like the eventual TV release of "The Day After" would, but more about individual characters hanging on to what they can before the world ends, whether it be hope, family, or even just hobbies.
Cmdr. Dwight Lionel Towers (Gregory Peck) has the most active storyline, where he leads a submarine on a quest to San Francisco where a mysterious Morse code signal…
This isn't the typical end-of-the-world film of action, adventure and heroism. It isn't the type to leave you with any sense of hope, or even a twang of satisfaction at the thought of your doomsday prep kit lying in wait on the top shelf of the linen cupboard. Rather, this is slow, stumbling and depressing. This is doomsday film at it's nittiest and grittiest. It's also a little bit dull, at least for the first half. Nonetheless, conceptually interesting and very much visually gratifying.
Melbourne mon amour
I was prepared for the Hollywood Mickey Mouse (e.g. car racing) but I wasn't prepared for how relentlessly grim this is. And when it was periscope up off the U.S. coast, I expected matte paintings of ruin, not totally deserted streets, which were just as effective, if not more so. I mean, I suppose there's no happy ending you can plausibly spin out of the premise, but anyway, wow.
This review reportedly contains spoilers. I can handle the truth.
I'm now thrown on what to make of this. It's certainly intriguing with its premise and storyline, that alone makes it worth watching. But the adaptation is very heavy-handed, preaching it's obvious message and it's overly melodramatic. The direction isn't that great, the score is intrusively beating you over the head so you know what each scene is about. And the acting is pretty poor considering there are a lot of big name stars. And these issues plague the majority of the film. However, the reason I am thrown is that towards the end everything picks up. There's more of an energy and life (ironically) and truth to what we are seeing. And I was thinking this was great if…
Feels like a miniseries, oh god muh apocalypse!
Interesting, worthy drama looking at how creeping, but certain annihilation will affect people, from the point of view of a few characters.
The film was slow in places, but it had its moments, and watching Ava Gardner and Peck interact was fine, but the most human scenes were typically Anthony Perkins' character and his wife and baby.
There was never going to be a happy ending though.
As mentioned on 'In Treatment'
Australia is the last place on Earth unspoiled by nuclear fallout, but even that will be sullied via air currents in a few short months. Eventually everyone realizes that they'll be dying soon anyway, so why not hurry things up a bit? The most frustratingly hopeless and depressing film I've seen since Melancholia, but at least this had Gregory Peck in it.
Also, what the hell film format was this movie shot in? It's some weird 1.5:1-ish looking thing, and I can't place it.
Permeated by an air of dignified resignation, Stanley Kramer's anti-nuclear polemnic manages to steer clear of melodrama and outright depression without watering down its' message. Thoughtful lead performances enhance the wistful tone and fifty-five years on it's still a provocative film.
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