Le mystère Andromède

These "old" science fiction movies always have a certain special tension and atmosphere like "2001: A Space Odyssey" and "Capricorn One". Something I sometimes miss in todays movies.

Sure the pace is slow, especially the beginning but that's what helps to build up the tension. It certainly makes the race against time ending even more suspenseful.

The style of the movie can be called unique. Especially the camera work and editing. It's very experimental, almost Brain De Palma like and I like it a lot. It makes the movie's style special and unique and it adds to the atmosphere.

The story is good and is told in such a way that it actually becomes to some extend believable. With the exception of some clichéd moments and the ending. The movie begins slow and mysterious and builds up the tension extremely well, while the ending itself is quite spectacular and fast. This also makes the movie special and worth remembering. Some of the scene's you will never forget. The virus itself (the adromeda strain) is pretty scary and disturbing, mainly because you don't know what it is or what it does and how it can be stopped.

There are also some nice character played by not so well known actors. What's great about the characters is that they all feel very human and not perfect. I like the fact that they don't all like each other and don't always agree.

A classic science fiction/thriller that deserves to be better known.

8/10

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There's an echo of 2001 and a foreshadowing of The Parallax View in this paranoiac sci-fi drama. The movie delights in presenting the tools of science and questions the direction and authority of those elected or selected to preserve us. The pacing strikes modern audiences as slow - it is - but that's the film's greatest success: suspensefully unfolding at a snail's pace. Some of the dialog is stilted and some points are far too belabored (the scene where Dr. Mark Hall, James Olson, is instructed on the use of his key is a tedious overplaying of the moment). The cast do what they can with dialog that sounded a little trite and predictable in its day and sadly is the main thing that mars an otherwise hypnotic journey into the dangers of modern governments and modern science. At the film's core, however, is a lesson that bears repeating, lest we forget.

I saw this movie quite a while ago, but it made a cracking impression on me. Really if you like 60/70 sci-fi movies this is definitely the movie youve been searching for. Brilliant camerawork ,acting, scenary. And the story is so *****in good. Its too bad they dont make these anymore nowadays.

Believe me if i tell you that im a very critical moviefanatic but this movie is really the best sci-fi movie after A space Odyssey 2001.

9+ / 10 GREAT!!!!

Well on second hand 10 / 10

The 1970s were a time before some of the "intelligentsia" of American culture began to abandon rationality and reject science on pseudo-ethical grounds. Unsurprisingly, then, 1970s sci-fi is often better informed by science than the sci-fi of later decades, and it is also often more thoughtful and intelligently written. The Andromeda Strain is one of the best hardcore sci fi epics from a decade which brought us such genre classics as 2001, Solyaris, Silent Running, and the original Rollerball. Unlike most of these films, however, Andromeda Strain does not strain believability beyond its bounds, nor does it indulge in metaphysical tangentializing or philosophical moralizing.

Developed from what I consider to be Michael Crichton's best book, the Andromeda Strain takes its cue directly from the hard realism of that book, along with its documentary style and scientific background research. Though aspects of the plot defy biological probability, if not law, almost the entire film is plausible. Also borrowed from Crichton's writing is the general point the film attempts to make - one which is present in nearly all of Crichton's work - that along with technological advance comes risk. Fortunately, however, this story does not reach the near-paranoid levels of technophobia which sometimes appear in later works.

A great ensemble cast full of not easily recognized character actors represent a team of scientists called together to contain and manage a deadly virus-like organism which has arrived on a crashed space research probe. The virus has already wiped out an entire town, and now the scientists must work at a breakneck, sleepless, pace to determine what the organism is, how it spreads and grows, and how it can be killed or contained. Their only major clues, it seems, are an old man and a baby who survived the initial outbreak. To avoid spoilers, I will avoid any further details regarding the plot.

The only aspect of the film which really seems dated is the strange electronic soundtrack, which, at times, seems more derivative of 1950s sci-fi than more modern stuff. Suffice to say that this is one of the best uses of the 'as-it-happens' documentary film-making style. The entire film is delivered in a very refreshingly straightforward manner, with believable dialog, actors that look like real people, and a pace that builds constantly from start to finish.

Highly recommended.

Within the logic confines of the Cold War and the eternal quest for the upper hand in annihilation, space becomes a frontier for seeking the next new biological weapon. When a US satellite crash-lands in a remote town of Piedmont in New Mexico a sudden outbreak of a cosmic threat causes almost the entire town to die in mid-step. The terrifying reality of an uncontrollable epidemic initiates a clandestine Wildfire project, where the finest scientific minds are whisked away to a secure underground facility with state of the art technology and a self-detonating nuclear device set to explode to prevent any potential outbreak. The project itself was formed by a group of prominent scientists led by Dr. Jeremy Stone (Arthur Hill) specifically for this eventuality: to counterattack any extraterrestial form of life, that could cause a deadly epidemic. Together with fellow scientists Charles Dutton (David Wayne), Ruth Leavitt (Kate Reid) and Mark Hall (James Olson) they descend into the facility, where they attempt to isolate the new life form and diagnose the two survivors of Piedmont: an crackpot drunkard and a helpless infant.

Transcending into Robert Wise's feature is a prolonged pay-off, mostly focused on the procedural side of such a scenario, slowly building the story and only about midway do we finally get down to actually finding out what the titular Andromeda strain is, which in turn leads to an intense and riveting finale. Meanwhile however we snail downward the facility with five separate levels - each with scenes of progressive sterilisation. The journey to the heart of the facility, where the nitty gritty essence of the research starts, is essentially tedious, albeit serving its purpose of setting up the final act and acknowledging the relapsed tension that such an occurrence would create. Although the fate of the world being at hand, the road to salvation is slow, meticulous and affords no space for a misstep. Despite the slow unwinding there is also little in the way of character development, possibly only Kate Reid's cantankerous Ruth offering a stronger imprint on proceedings, which are otherwise dominated by the science and the crawling Armageddon.

Midway the lethargic pacing stalled my interest, but once the story unfolds all the pieces fall into place delivering a high-tempo ending within this otherwise sedentary movie. Coupled with arguably the most exact scientific jargon in sci-fi features history and a overall believable background (despite some ridiculous mumbo-jumbo by one of the scientists about the possibility of microorganisms being sentient) delivers a sombre piece that can bore most, but will engage those who offer the movie their mind and body.