d. Ray Milland (1962)
A sombre, tense film about life in America in the immediate
aftermath of a nuclear strike, Panic in Year Zero! starts happily enough, with
Harry Baldwin (Ray Milland) and his family setting out on a fishing expedition.
A couple of hours into the journey, Harry sees a series of flashes in his rear
view mirror, and stops the car just in time to see a mushroom cloud billowing
over what used to be Los Angeles.
What happens next unfolds slowly and meticulously, as Harry
tries to get his family to a safe place in the hills before the world goes
crazy. In order to do so, he must become a more ruthless and resourceful man
than his wife ever expected him to be, a man of decisive action and no little
force: within an hour, for instance, he is holding a shop keeper at gun point
for refusing to take a cheque then, a little later, he knocks out a filling
station attendant who is trying to charge him $300 for $10 of petrol.
Harry has immediately grasped that the war will not just be
between America and its enemies but between ordinary people fighting to live,
not to mention an element that will use the bomb as an excuse to let their more
anarchic tendencies loose. Harry’s wife very much disapproves of her husband’s
methods, even after their teenage daughter is raped by two hoodlums. While she
cries and wrings her hands Harry tracks down the rapists and kills them, ably
assisted by his son (Frankie Avalon), who is not only seeing his stuffy old man
in a totally different light, but also getting quite an apprenticeship in the
ancient art of survival.
The army picks up the reins after a few days and things start
to return to - well, not normal as
most of the cities of the world have been wiped out. It’s been a nightmare, of
course, but, secretly, you know that Harry and his son are just a little
disappointed that it’s all over. A final caption states 'There must be no end - only a new beginning'. Good luck with that.
It would be interesting to know what the US government thought of the film, as it’s not a particularly edifying or comforting message.
But it is realistic, thought provoking and rather good.
As a final note, there are a lot of automobiles in this film, and most of them have wood stuck on the side of them. It's a rather sweet, forgotten detail: human beings used to make their moor vehicles partially out of wood, as if we weren't quite ready to make the leap from cart to car.
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