Le syndrome chinois

Made in the same year as the Three Mile Island incident, "The China Syndrome" posits a core meltdown in a Californian nuclear plant. What if contractors, driven by profit, omit to x-ray all the welded joints in a power station's water pumps? What if contaminated water leaches into the environment? What if faulty instruments indicate that reactor rods are being cooled, when in fact they are exposed, and generating uncontainable heat?

The film is also a dissertation on the power of the media to shape our awareness. In the opening sequence we see images of Kimberly Wells, the Channel 3 news presenter, but we hear the disembodied voices of directors controlling the newscast. Powerful, unseen people decide what we can see. There are also mishearings and broken links - TV is an imperfect medium and the wrong information can easily be conveyed. "Hey! Hey! Is anybody listening to me?" asks Kimberly. It is a metaphor for the whole film.

Kimberly and a freelance cameraman, Richard Adams, drive out to the Ventana power plant to shoot some routine feature footage. During their visit, an earth tremor causes a 'scram', an emergency alert in the plant's control room. Flouting regulations, Adams surreptitiously films the panic.

Kimberly and Richard (Jane Fonda and Michael Douglas) make a harmonious team. As they head along the freeway to the accompaniment of the opening music we see them sharing a soft drink, nodding in agreement and mirroring each other's hand gestures. Later, when events force them in divergent directions, the issues will seem clearer for us because we have seen the team co-operating closely.

For the first three-quarters of this film, I was rejoicing that for once a Hollywood project was dealing with a real issue rather than relying on guns and police cars. "The China Syndrome" shows that social and political conflict can be gripping on the big screen, even more gripping than the action genre. Imagine my disappointment, then, when in the final stretch the movie lost its nerve and turned to guns and police cars. For all that, the thing was worth doing. Michael Douglas, an actor-producer in the tradition of his father, had the courage to make a feature film about the seemingly unpromising subject of the hazards of nuclear energy. he is to be commended for that.

Jack Lemon is wonderful as Jack Godell, the middle-manager with a conscience. He is introduced into the story during the earth tremor, and he alone notices the secondary shudder which spells potential disaster. We see in his thoughtful, careworn face a gradual realisation that something is terribly wrong. It is this growing awareness, and Godell's honest desire to do something about it, which provide the engine of the plot. Godell is torn between his innate sense of fairness and a sincere loyalty to his industry. "I love that plant," he says, and he means it. During the tremor crisis, the camera's focus is thrown from Kimberly and Richard in the observation gallery to Godell on the control room floor. It is he, not the media, who will be the battleground on which this conflict will be fought.

The secondary strand of the plot concerns Kimberly's place in the TV news industry. Don Jacovich, the channel boss, wants to steer her away from hard news and restrict her to anodyne stories about animals and children. "You're better off doing the softer stuff," he tells her. She was hired for her looks, not for her analytical powers. When she raises the subject of the clandestine filming of the 'scram', she is told not to worry her pretty little head about it. "She is a performer," says Jacovich (Peter Donat), strongly implying that thinking forms no part of her duties.

When Kimberly tries to follow up the Ventana story, her very celebrity gets in the way. Autograph hunters in the local bar make it impossible for her to interview Godell properly. At the end, her dual role as a participant in, and reporter of, events culminates in an emotional broadcast during which she concedes, "I'm sorry - I'm not very objective."

When a news station acquires 'hot' footage, should it screen the material, regardless of consequences, on the basis of public interest? Richard provokes this debate by letting his camera roll inside the plant. Jacovich is worried about broadcasting an unconfirmed story because to do so is irresponsible use of media power, not to mention the lawsuits it would attract. Richard sees this as cowardice.

Weaknesses in the film centre on the credibility of the story. When Hector needs rescuing, Richard ousts the medics and takes personal control, even though he is only a cameraman. Kimberly and Richard nurse the stricken Godell while everyone else ignores him - even though he has just made international headlines.

However, the film contains plenty that is excellent. In a morality tale about the artifice of TV, we are shown how even the anchor man's adlibs are read from the autocue. Fittingly, TV literally moves into the plant's control room for the climax of the story. The phrase 'no accident' keeps recurring, with semantic syncopations. The SWAT team is careful to avoid the cameras, a nice touch which suggests that the police's work is somehow dirty. In a memorable shot McCormack, the flint-hearted chairman of the board, looks down on the seemingly tiny Kimberly and Godell, the representatives of the little guy. As the plant emergency grows complicated, the TV director cuts to a commercial for microwave ovens - frivolous radiation jarring ironically with the deadly stuff. Kimberly's slip of the tongue, "selfish sufficiency" for "self-sufficiency" is a clever comment on the attitude of the power company. The tense climax of the 'scram' is made more excruciating by being entirely wordless. In an awful moment, we get to learn what the 'China Syndrome' actually is. This is powerful cinema.

"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).

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 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.

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.