Le syndrome chinois

I normally don't comment on movies on IMDB, but in this case I feel like I should. I love movies, and I want to make them, and this movie is a perfect example of fine filmmaking.

This is one of the few movies that I have seen on the small screen (originally seeing it air on AMC, I believe, and then on the DVD I just watched) that made me get that feeling in the pit of my stomach. That little gnawing sensation that the director would hope you feel while watching his thriller.

Jack Lemmon's performance is a fine one, and Jane Fonda and Michael Douglas follow. I felt so much empathy of Lemmon, who's character Jack Godell, only wanted people to listen to his warning.

But what impresses me most about this film is the lack of a score, and this is also what makes it beautiful to me. Apart from the opening titles there are no background music to increase the tension, because none is needed. And while the credits run, white on black, in silence it drives the point home.

I use the movie as an example to anyone who says music makes the movie. I think the movie should make the movie and the music should only amplify that. But for The China Syndrome music is not necessary to get across the realism and the urgency depicted here. The characters portray all of this far better than the music ever could.

I highly recommend this movie, it is one of my favorites. If you like movies, you won't be disappointed. If you like movie soundtracks more, you might not want to give this one a go.

"The China Syndrome" is perhaps the first horror film that is not necessarily following the rules of the genre. It takes place in the contemporary '70's, and features people in the normal profession of broadcast television news. But, when a news story about the leakage of nuclear energy breaks; let's just say - there is your monster.

Jane Fonda is absolutely superb as Kimberley Wells, an ambitious Los Angeles reporter relegated only to fluff pieces by her sexist boss (Peter Donat). She wants something juicier, and gets it, in the form of an accident at a nuclear power plant facilitated by Jack Godell (Jack Lemmon with expressions too numerous to count). Her hippie radical cameraman (Michael Douglas, who also produced) photographs the incident without the plant's knowledge and they both agree that public safety is a valid story. The network brass doesn't think so, and soon both Fonda and Douglas are entangled in a web of legalities concerning the tape.

The crux of the film is Lemmon's character. A man torn between loyalty to his company and telling the truth - even in the face of grave consequences. What makes this horror scenario so compelling is that these are true flesh-and-blood people stuck in the most extraordinary of circumstances faced with both a threat of cosmic proportions as well as a human one.

This is a remarkably chilling thriller, and I'm disappointed that it's not taken more seriously (as both art and tract).

The China Syndrome is a perfectly paced thriller and not slow or boring at all, as some people tend to say. The transitions from one scene to another are great and the tension build up in the film will keep you on the edge of your seat for the entire two hours. Jack Lemmon is great, as always, as the somewhat nervous plant operator and Jane Fonda succeeds again in bringing some real emotions into the story. You can see this film as a political statement of the time, or just as an intelligently made thriller. Either way it is definitely worth watching.

70's Hollywood made so many great contemporary political thrillers like "The Parallax View", "Three Nights Of The Condor", "All The President's Men" to name but three, but this one at the end of the decade I'd somehow missed. Of course everyone will know about the coincidence of the Three Mile Island incident which occurred within days of the film's original release which gave it instant topicality and of course gave it a commercial boost, but subsequent nuclear-related disasters at Chernobyl and Fukishama mean that the movie's relevance doesn't diminish as time goes by.

All of that would be of no matter unless it wasn't a cracking good film which it certainly is. It's superbly cast for one thing not only with a dream-team of Lemmon, Fonda and Douglas in the main roles (all garnered deserved Oscar nominations for their work) but it's also well cast in the supporting roles too. The plot is convincingly believable at almost every stage with only the somewhat contrived melodramatic climax slightly at odds with what had gone before.

The film makes telling points about corporate greed over safety considerations still relevant in every walk of business today, but also confronts the limits of free speech and obviously, the debate on the use of nuclear power as an energy source in today's society, but at a more basic level it's just a top-class thriller which ratchets up the tension throughout.

The acting just couldn't be better, Fonda is convincing as the lightweight "feel-good spot" TV reporter who scents a real story for the first time, Douglas as the rule-bending maverick camera-man desperate to get the story out there and Lemmon in one of his last great roles as the company man whose loyalty is tested by his own conscience when he becomes aware of the cover-ups at the plant.

Sure the fashions and depicted technology to name but two elements are dated as only a film set in the 70's can be, but the message of the movie combined with its entertainment value easily transcends these to deliver a taut, exciting and thought-provoking film which was one of the best of, in my opinion, a great decade for Hollywood movie-making.

All the right elements seemed to conspire here to make this a memorable thriller for years to come. You have the stellar cast - Michael Douglas in an uncharacteristic 'free-spirit' role that pretty much launched his movie career, Fonda playing her typical forthright female doing her bit for womens lib, and Jack Lemmon as assured as ever showing us a man with a crisis of confidence. Give them a hot-button topic about big business being duplicitous, and that's encouraging for a kickoff, but to have life imitating art so soon after is a marketing man's dream.

The script is impressively taut, intelligent but mercifully keeping the jargon to a minimum, and there is a genuine sense of sustained tension brought in play by the director as our three protagonists race to beat the clock. If you like 'whistle blowing' dramas, then this is not quite as good as "The Insider", but the whole thing is more than nervy enough.