On the Beach
by Russell Mulcahy
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DVD details
Actor: Armand Assante, Bryan Brown, Mark Pennell, Rachel WardDirector: Russell Mulcahy
Brand: PLATINUM DISC LLC
DVD: Region Code 2
Audio: English (Unknown); English (Original Language)
Format: Closed-captioned, Color, DVD, NTSC
Picture Format: 1.33:1
Running Time: 209 minutes
DVD Release Date: 2005-03-01
Audience Rating: NR (Not Rated)
Studio: Echo Bridge Home Entertainment
DVD Reviews of On the Beach
DVD Review: "Powerful" isn't the word for it
Summary: 5 Stars
Nevil Shute's On the Beach is the most haunting, terrifying, and depressing Cold War-era post-apocalyptic tale ever told, and with the 2000 production it has now been successfully translated to the screen not once, but twice. Both of the film versions retain the wrenching impact of the novel, and in many ways the new 2000 version does this better than either of the earlier efforts. **SPOILERS FOLLOW** For one thing, the longer, miniseries-style treatment lets the production develop the characters more fully than did the first film, especially their attachments to one another, so that when these attachments are inexorably ripped apart by the radioactivity, the viewer feels it all the more keenly. The final scene involving the Holmes family, superbly acted (to the point that, frankly, made me concerned for the mental welfare of the child actress), is nothing short of devastating. Even though I knew the story well from reading (and rereading) the novel and seeing the earlier film, this scene caught me unprepared for its sheer force and gave me a couple of sleepless nights. Another key to the newer film's effectiveness is the relative lack of squeamishness of the modern viewer, which allowed the producers to incorporate more of the grisly details of radiation sickness into the film's imagery. One of the new movie's most poignant scenes takes place when we see, through Julian Osborne's eyes, a queue of people waiting to receive their cyanide pills, and we catch a fleeting glimpse of a forlorn and pretty young woman as she vomits. The expression of shame and hopelessness on her face is priceless and (I'll use the word once again) wrenching. Still another element is the change to San Francisco; while the earlier versions have the city essentially undamaged (except by radiation), this version presents it as having taken a direct nuclear hit. The submarine crew's exclamations of horror-mingled despair as it sees a real-time through-the-periscope video of the collapsed Golden Gate Bridge and the ruins of the city is one of the most important moments in a carefully-choreographed downward spiral. The production is good at giving hope and then slowly stealing it away, and the San Francisco viewing, along with the sudden reading of 150 rads off Anchorage (again, linked with the crew's explosive response) are the film's major turning points in this regard. The "prayer scene" near the end of the film shows sailors who are no longer U.S. naval personnel but walking ghosts; it is if they (and by extension we) have transformed from viewers to participants in the terrible drama that they once saw only through the periscope. Eschewing "Waltzing Matilda" (the running theme fore the first film), the producers opted for a more contemplative score (punctuated with some sinister themes during the submarine voyage) that moves near the film's ending to a heavily religious/choral style that resembles a dirge for mankind (which was no doubt the intension).
The film does, of course, have its weaknesses. The biggest, for me, was Armand Assante's portrayal of Dwight Towers. Assante's Towers seems to be more of a cross between Rocky Balboa and a (stereo)typical Marine officer or senior noncom than a (stereo)typical naval officer. Perhaps the casting department was Australian and this was its idea of a (stereotypical) American nuclear warrior, but Assante's characterization just didn't ring right, especially compared to Gregory Peck's more equable portrayal (a word Shute uses to describe Towers more than once). Bryan Brown's Julian Osborne, too, is more harshly portrayed in this version than the earlier movie, and (I believe) the novel as well. On the other hand, Rachel Ward's portrayal of Moira Davidson is excellent, if perhaps a bit bitchier than the previous versions. Peter and Mary Holmes are likewise perfectly acted by Grant Bowler and Jacqueline McKenzie. McKenzie's almost waiflike Mary is exquisite; while watching her I found myself thinking that with her looks she would have made a perfect Elf in The Lord of the Rings.
The other weaknesses were relatively minor and even nitpicking. Towers is a four-striper, a captain in navy rank, but several people (including naval officers) refer to him repeatedly as Commander even while looking at his shoulder boards. The long-dead corpse in Anchorage blinks a few times. Finally, the ending (which does for Shute's novel what My Fair Lady did for Shaw's Pygmalion, if not a weakness, is a definite change. It seems to offer a faint hope that love is stronger than death, which softens the sheer brutality of the film's ending sequences. I myself welcomed that softening, but others might not.
All in all, this is probably the most profoundly disturbing film I've ever seen, including the previous version. It's also more disturbing even than the original novel. If you like an emotional tour de force this is it, but be prepared for what awaits you; this is not a film for the faint of heart.
Description of On the Beach
Studio: Platinum Disc Llc Release Date: 01/31/2006 Run time: 209 minutesBestsellers in DVD
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