It looks like the Berlin Wall came down yesterday, filled with pottery, and we were all wondering what to do with the “peace dividend.” Slim Pickens can now wear a ten gallon hat faster than that and shout “Yee Haw!” We’re back in the woods for Cold War 2.0.
So take a moment from the doom-scrolling of the news and think for a moment about how the filmmakers captured the zeitgeist of earlier times in which superpowers were pushing each other to test the limits of mutual-assured destruction. Tell me what you want about the imminent nuclear Armageddon, it does some decent entertainment.
Miracle Mile (1988 DVD reprinted on 2016)
An epic nuclear Armageddon rom-com with an amazing Tangerine Dream soundtrack. Commercially unsuccessful after its release, it is even a 1980s-neon, color, Cold War-now critics favorite and cult favorite. It represents one of the largest pairs of character actors to date.
Steve de Jarnat’s infamous screenplay for this bizarre bird of the film remained whispered, admirable, and irrelevant for almost a decade. Once Warner Bros. picked it up, it lingered for another three years in a development hell. Eventually, de Jarnat, a writer / director at the time, became a full-fledged writer, bought his baby and went looking for funds.
In the Miracle Mile, trombone players Anthony Edwards and waitress, Marie Winningham meet cute at La Bray Tarpits. Within 24 hours, the Plucky pair learns by answering a random call called the old “Pephone” nuclear attack on Los Angeles. And so begins a fun, frantic, colorful-character-filled, sometimes death-defying struggle to get out of La La Land.
Unfortunately, this is exactly where the love couple on the threshold of success perishes when their helicopter ride out of hell. The short-circuited helicopter landed at the same target where it met less than 24 hours before the crash.
A strange or even more poignant ending to the history of ROM-COM occurs when the black goo slowly gets wet in the cockpit, the couple, now satisfied with their love, hold hands while the atom glows and discuss how they got involved. The bones could one day be part of a Pompeii-style museum display.
Colossus, The Forbidden Project (1970)
“The horrible story of the day when man pulled himself out of existence.”
An early warning about AI involvement in the deployment of hair trigger nuclear weapons systems that may need to respond faster than human thought. The theme, which resonates after the Terminator series and the War Games, is interestingly presented in this 1970s film, which is not so much about artificial intelligence as the 2001 A Space Odyssey, or even the lesser-known The Andromeda Strain. Worth to see.
Come for the endless array of flashing buttons and come for the computer design of the seventies. Stay tuned for the evolution of the troubled relationship that develops when America’s top new sensitive supercomputer shocks its makers with the news that “there is another system.” And then seeks comfort with the only other being on the planet that can truly understand; The Guardian, the supreme, now sensitive, supercomputer of the Soviet Union. Try taking away the phone privileges of these two and you get annoyed.
World War III (1998 Germany)
The word “on time” is not much. An ingenious and fascinating alt-history fictional documentary produced by the German network ZDF explores what would have happened if Mikhail Gorbachev had been ousted by the hardline Soviet Hawks in the wake of the shocking events of the 1989 Berlin Wall and the collapse of the USSR.
The books are rich in well-researched revelations of contingency plans on both sides, and there is no doubt that, if things go south, the film will at best lead to an inevitable gradual escalation of conflicts at the almost granular level, leading to a catastrophic nuclear exchange. . The frantic but ultimately futile search for “off the ramp” on the way to Armageddon is a fascinating depiction of the primary and final conventional war between NATO and Soviet forces on the border of Eastern and Western Europe in the middle.
The film’s cinematic mood includes extensive use of real-time news clips and statements from leaders on both sides of the aisle who, without ending the reality of the planet in that historical period, you know.
Crimson Tide (1995)
The action in the Crimson Tide takes place almost entirely within the claustrophic boundaries of the nuclear submarine. This provocative Jerry Bruckheimer production is part of a more fun sub-genre of nuclear Armageddon movies in which nuclear provocations are interestingly endangered but the protagonist briefly avoids them.
Jean Hackman plays Sub’s Trigger-Happy Commander, while Denzel Washington plays a subordinate who refuses to go along with Hackman’s decision to move on to character molecules.
The actual events on the nuclear-armed Soviet submarine during the 1962 Cuban Missile Crisis inspired the film’s scenario: a submarine was cut off from external communications and receiving conflicting signals to determine whether to launch a nuclear attack that could trigger a thermonuclear war.
Given the uncertainty of the situation, and the allegations of depth left by US ships aimed at forcibly bringing the ship to the surface, Vasily Harkipov, a senior official in the Soviet subcontinent, refused to give the ship the necessary consent to launch the ship’s nuclear weapons. . This is what Washington’s character does in this Hollywood adaptation, and everything goes well after the close struggles and the rise of the ‘top gun’ style.
On the Beach (1959 and 2000)
Another nuclear holocaust, another submarine. Based on the 1957 novel of the same name, On the Beach is perhaps the most thought-provoking film about the devastation that followed the nuclear war. In that fate, the image of a helpless submarine, a subfish traveling through the still waters of a nearby dead planet, is distinguished.
Most of the drama unfolds when the submarine, temporarily stopped, but not for long, in Australia, properly interacting with the nervous and frightened locals. As huge clouds of toxic radioactive dust slowly engulf the planet, approaching the “land of long weekends,” the power to control nerves and social forces. Crickety!
The 1959 film starring Gregory Peck shows his age in some places but is good overall. The 2000 remake produced by Showtime reconfigures the event to bring about the final conflict between China and the US but the end result is the same. Both versions work well, depicting a population dilemma trying to figure out what to do in the months leading up to the release. That relatively happy Mad Max post = a lot for nuclear war situations.
The Day After (1983)
A rare example of an entertainment product with real geopolitical influence. The best two-hour TV drama, aired during the height of the nuclear crisis between the USSR and the US, was watched and impressed by the leaders and the population of both countries. In the weird language of his time, it was really a must-see TV, and everyone watched it, turning it into one of the most watched programs in network TV history.
In almost scholarly detail, The Day After Cascading tells the dark story of the lock step progression of cascading action, miscalculations, and reactions that allow nuclear missiles to be exchanged, which the film coldly displays. These ICBMs, the effects of which are obvious to all those who observe their heads, are thunderous in the sky with their dense deteriorating thunder rather than exploding. Importantly, the film does not stop at the exchange of missiles but depicts that day and the days that followed. It’s not pleasant.
The film is ambiguous because it is never clear, because the connection is lacking, the survivors are destroyed along with the city-Kansas City, Missouri-the rest of the world that is unfortunate to be chosen as part of the “limited” title. for tat exchange. One suspects that various parties have already made such lists.
Jason Roberts stars as a busy physician immersed in the daily life of family and work, vaguely observing the droning coverage of the growing conflict in remote parts of Eastern Europe as he engages in the intricate exit of useless vehicles fleeing the burning city. After losing his family and his lovely suburban home, not knowing what else to do, he follows the path of the hero. Roberts’ character deals with problems and endless accidents. Then, as the relentless onslaught of the crisis unfolds and his own body, devastated by the radiation, begins to fail, he does something that we rarely see heroes in movies. He leaves.
Black Rain (1989)
White Light / Black Rain, an equally worthy 2007 award-winning Japanese documentary examining the current nuclear heritage of Hiroshima and Nagasaki, examines the underlined story of longtime survivors in this artistic and moving black and white Japanese film. Hiroshima blast. Unlike The Day After, it is based on real events and draws strength from it. The film traces the lives of a young girl and her uncle and aunt who survived an explosion and only to cope with a terrible disease and basically stay away from “Hibakusha”; Suffering from radiation sickness in the difficult years that followed. The girl’s uncle and aunt wanted to marry their young niece, but when the families of the potential claimants found out she was in Hiroshima on the day of the blast, they turned her down.
The film’s title, “Black Rain,” comes from the black rain filled with huge radioactive ash, which fell permanently after a few hours of eruption, poisoning everything it touched in an unforgettable way.
Dr. Strangelv (1964)
Who doesn’t know this peak Stanley Kubrick stupid artwork that tells the story of another failed secure system going wrong? Peter Sellers is smart in another multi-character Tour de Force, and George C. Scott gum chewing, dangerously gung-ho has never been as good as General “Buck” Turgidson. But the real star of this film is dialogue. From the classic, “Gentlemen! You can’t fight here. This is the war room. ” These gems tell you everything you need to know about nuclear war.
“General Turgidson: Mr. President, we are fast approaching the moment of truth, for us as human beings and for the life of our nation. Now, the truth is not always pleasant. But now the choice must be made, choosing one of the two is regrettable, but still RecognizablePost-war environment: one where you killed 20 million people, and another where you killed 150 million people!
President Muffley: You are talking about a massacre, General, not a war.
General Turgidson: Mr. President, I am not saying that we will not blow our hair. ” But I’m not saying more than 10 to 20 million were killed, top! Oh, it depends on the brakes. “