On the Beach

One can't help but compare this to the 1959 version and it stands up pretty well. At least there are Aussies portraying Aussies. Heck, there's even Aussies portraying Americans, some sort of indication of how advanced the Australian film industry has come since those far off days of the original.

I found this tv-movie more watchable than I first suspected it would be. Being Australian and made for tv I knew that there would be a very high romance factor to secure the female half of the viewing audience. And I was not disappointed in this presumption. Love interest was there in spades. True love in the form of the Holmes family, new love between Moira and Captain Towers the US sub commander, lost love between Moira and Professor Osborn (real-life married couple Rachel Ward and Brian Brown), and a more masculine love between Towers and his crew.

The expedition to Alaska to investigate the mysterious message was handled well, as was each aspect in general. From the breakdown of society, to the pathos of seeing the portrayal of the end of humanity. All assisted by clear camera-work, excellent sets, competent acting (in the case of Armand Assante as Towers bordering on the very good) and a competent presentation of the "message" of nuclear doom.

I note in some of the other comments here a technical question about nuclear warheads on the submarine. The most obvious goof I noticed in the movie was that there should have been no need for people to have resorted to horse and pedal power so soon. Australia being self-sufficient in crude oil and possessing refineries. This was probably not the case when Neville Shute wrote the novel in the '50's. That is just one of my own little observations.

All in all a very watchable made for tv movie, even tho it be one that put a downer on the rest of my evening.

Even writing the most basic mention of On the Beach's plot involves spoilers, so I've checked the spoiler radio button and will proceed to discuss the film with minimal reservation. I won't give away the ending, however.

On the Beach is based on the mid-20th century novel of the same name by Neville Shute, and offers a more elaborate and engrossing treatment of its subject than the original classic film (1959) starring Gregory Peck, Ava Gardner and Fred Astaire. This Showtime original is an hour longer than its predecessor, and will likely bore some of the more impatient members of its audience. Unlike most contemporary sci-fi, this is no action film, but a sombre, depressing, examination of the self-destruction of the human race through nuclear war.

Never over-the-top, alarmist, or politically biased, On the Beach simply presents the stark reality of its premise, and uses finely developed characters to give context, shape and meaning, to the experience. the cast is easily equal to its predecessor, with Armand Assante and Rachel Ward particularly illuminating their roles.

Assante plays an American nuclear submarine commander who has outrun the nuclear fall out and managed to surface near Australia, as that continent prepares to experience the first effects of the radiation now permeating earth's atmosphere. All around, people are preparing to die. The most sought after commodity is a do-it-yourself family suicide kit. Immediately enlisted by the Australian government to carry out a top-secret mission to investigate an IP signal coming from Anchorage Alaska, Assante is assigned an Australian military liaison (Grant Bowler) and a scientist (Bryan Brown)and asked to turn his boat around in search of humanity's last hope. In his few days on land before this fateful journey, Assante befriends his liaison's family, developing a special affinity for his sister-in-law, the playful Rachel Ward.

My plot summary takes us about 1/3rd of the way through the story, but sets up all the major elements of On the Beach.

Why does this film work so well? The cinematography is good, but not excellent. The direction is excellent and the cast is exceptionally good. But more than anything else, On the Beach makes its point because the script and story are deeply humanized by the complex and bold characterizations. The characters have interesting back-stories and deal with their harrowing predicament in very different ways. You not only feel as if you know these people, but you like them and sympathize with them - even the more despicable characters.

This is a great piece of classic science fiction, recommended to all, but those with a limited attention span should opt for the 1959 version instead.

I saw this movie across two nights on television.

I found that the first half dragged quite a bit with too much time spent on setting up the love triangle.

However, I found the ending really affecting and quite emotional. To put not too fine a point on it I was a little sleepless last night thinking about it. The acting in the ending is really quite good.

I also think that for its interesting premise - what would happen to society in its possible final dies - this film doesn't go into much detail. I would have thought that there would be lots of interesting things to would happen.

I think the stand out actors here are Jacqueline McKenzie (Mary Holmes) and Bryan Brown (Julian Osborne). They conveyed the emotion of their characters very well. I was quite disappointed with Armand Assante (Dwight Towers) as he didn't seem to have much of an emotional range.

I saw 'On the Beach' on tv about 2 years ago now and I still have nightmares inspired by it. Bryan Brown, Rachel Ward, Armand Assante and Jacqueline Mckenzie are all credible actors in their own right and they all give fine performances. The film focuses around these people who come together in Australia after a world nuclear war through various predictable plot devices (see plot summary). The acting, direction and even the script don't really make an impact but it is the topic that hits home. I think the purpose of this remake is to remind the world of the horrible results of any nuclear war that could so easily take place. As an Australian, watching this is even more horrific perhaps because this is a rare movie where the world's end is focused outside the U.S.A for a change. Watch this horrific movie (really it is mini series) if you aren't scared by the "what might happen" scenario then frankly your head is in the sand.

10/10 for being a very welcome piece of anti nuclear propaganda.

It didn't take me long after 'Highlander' to see that director Russell Mulcahy had struck lucky in creating one of my favourite movies of all time. I've really not been a fan of his, so watching 'On The Beach' was a bit of a strange experience. Thankfully, it was filled with just enough originality and reasons to be liked for me to go the distance with it! Firstly, and most importantly to those looking for a thrill, this is not your movie. It's entirely character driven with a smattering of symbolism and it might be a bit too emotional for the action movie crowd. It's a show with an anti-nuclear message.

That being said, Mulcahy did infinitely more with $10 million than 'Blair Witch Project' did with $15 million in the same year and much of that comes down to the efforts and chemistry of the cast. That is a testament to the effort put into this production, though, as you really have to wonder; random camcorders and camping in the woods cost $5 million more than a submarine, a cast of international actors and a soundtrack? How? Moving on, I've never seen Armand Assante take the lead and now I'm looking to see what of his I can watch next. He was captivating from start to finish, taking up his character's mantle as though he'd been in the navy all his life. As for more tender and emotional scenes, it's quite endearing to watch such a gruff and edgy man portray all that he did. He carries much of the movie, but sometimes it's rushed outcome overshadows him.

Bryan Brown suffers an impatient or rushed cinematographer, not to mention a script that needed reigning in, whereas Rachel Ward and Grant Bowler came across as very natural and understated until it really counts.

As for any action, unfortunately it's the edgier scenes that Mulcahy was better known for that he consistently failed at. It really made me wonder what happened to him as a director because how could he mature as a dramatic director and then becomes so bad at what made him famous? All faults aside (including some horrendous editing), it's still a good effort and after all is said and done, if this TV movie and its culminating scenes don't blow your mind and leave you chilled to the bone, then I fear for the future. I think you have to want the message in order to want the film in this case!