...e la Terra prese fuoco

After more than forty years, this film is still a milestone in the science fiction genre. In its day, it was years ahead of its time. It had characters that acted like real people, instead of like John Agar and Lori Nelson. It contained a clearly implied sexual relationship between the two main characters, in an era when filmmakers were still routinely depicting even married couples as sleeping in separate beds. It was filled with shocking insinuations that the government is not all-wise and benevolent, that science doesn't really have all the answers, that the military is capable of blunders that put new meaning into the phrase "friendly fire," and that all may not be well, after all.

The film's greatest strength is in its understated, matter-of-fact presentation of the characters' various reactions to the relentlessly deteriorating situation. The performances are consistently honest and compelling, from the principal players down to the smallest walk-on parts. The award-winning script by Wolf Mankowitz is at times almost too clever for its own good. If there is one criticism that may be leveled against it, it is that most real people are not that consistently witty. Occasionally they are at a loss for words. Occasionally they say things that are lame, stupid, and altogether inappropriate. And this is the one element that was pretty much absent from the dialogue.

In an age when movies are being strangled to death by their own special effects, and character development often does not extend beyond the crudest bodily functions and four-letter expletives, it is genuinely refreshing to return to a film such as this one. Not only does it not rely on visual effects to tell its story, it is really so little dependent on the visual that it could have been equally successful as a radio drama (a forgotten art form nowadays), and might very well have caused an even greater panic than Orson Welles' "War of the Worlds."

Thoroughly recommend this film as one of the classics of British sci-fi. The look and feel of this film is superb and the director, Val Guest, delivers a piece that demonstrated perfectly the end result of nuclear games.

Some of the acting is a little wooden but the key players deliver a quality performance.

recommended....the DVD is well worth the investment.

Surely one of the best - and most realistic - sci-fi dramas ever made: sober, unflinching and totally absorbing (at the time, I'm sure it must have also been quite scary) - yet the script, delivered at breakneck speed as befits its journalistic milieu, is extremely witty (in an obviously darkish tone). While the film has garnered a cult reputation along the years, it hasn't been given its due in my estimation and seems mainly to be appreciated by connoisseurs - though when released it was certainly well-received, copping as it did the BAFTA award for the year's Best Screenplay!

Director Guest had already dabbled in sci-fi and even then, despite the fanciful plots concerned, he gave it a ring of truth by approaching the genre more or less as semi-documentary; this time, however, with paranoia about nuclear obliteration at its highest during the early 60s, it seemed more feasible than ever before and that anything was possible! The opening and closing moments are orange-tinted (the rest of the story is told in monochromatic flashback) in order to convey the tremendous heatwave which has enveloped Planet Earth - caused to spin off its axis by a number of simultaneous nuclear blasts! - on its way towards the Sun.

The film also incorporates the human element in the form of a blossoming romance (but given the appropriate tension by making it a love/hate relationship!) between maverick reporter Edward Judd (undergoing divorce proceedings from wife Renee' Asherson, who turns up for a 30-second bit!) and spirited meteorological employee Janet Munro; while both actors proved charismatic leads here, playing very well off each other, their careers faltered pretty quickly - Judd seemed to be typecast in sci-fi roles and was also something of a hellraiser, while Munro unfortunately fell prey to alcoholism and died quite young!

Leo Mc Kern is simply marvelous as the burly yet dynamic Science Correspondent of the "Daily Express" who sees his pragmatic theories about Armageddon (which he still admits to being largely guesswork on his part) realized to their most horrific extent and Arthur Christiansen (Editior-in-Chief for many years of the real newspaper featured here), actually brought in as technical adviser, was persuaded to appear in it more or less as himself - which further adds to the film's striving for complete authenticity (extending also to the meticulous recreation of Fleet Street - London's famous newspaper sector - on a studio set, though some of it was shot on actual locations). All of this, then, is superbly captured by Harry Waxman's stark cinematography; also, though no official score for the film was composed, sparse use is made of appropriately ominous library cues chosen by Stanley Black (with the beat-nik rhythms of one particular scene provided by Monty Norman, who immediately afterwards became world-famous for composing the James Bond theme!). The film, too, manages some very effective crowd scenes (one featuring a pre-stardom Michael Caine as a copper!) - as are the various manifestations of catastrophe the world over (despite relying heavily, in the latter case, on the use of stock footage).

Even if I was perfectly happy with Anchor Bay's R1 SE DVD - apart from the bland cover art, that is - I decided to purchase Network's R2 disc (though not before its price-tag had reasonably scaled down) due to an additional 8-minute interview with Leo McKern (recorded shortly before his death)...and a wonderful little extra it turned out to be too which, circumstances as they were, gave it added poignancy (and since then, even Val Guest himself has gone - who, of course, recorded an enthusiastic full-length Audio Commentary for the film moderated by Ted Newsom); that said, I miss the typically exhaustively-researched talent bios supplied by Anchor Bay - the biography section on the Network DVD is actually a misnomer, as it only provides filmographies for the director and the major cast members!

This 1961 classic is truly underrated. Performances by Janet Munro and the great Leo McKern (Rumpole of the Bailey) are quite good, and Edward Judd, whose career is introduced in this movie come together to create a create a sense of building tension as the audience finds out the reason for the strange changes in weather.

Judd plays his character a little roughly, but that is to be understood, given his problems with his divorce and visitation with his young son.

Leo McKern's dialogue and facial expressions are superb and create the perfect persona of the seasoned veteran science writer who interprets and unravels the mystery for us.

Janet Munro, who died prematurely in her thirties gave a very acceptable performance for a young starlet, who keeps reporter Pete Stenning (Judd) at bay, then feeds him the critical information that blows open the story. I have two copies - One I taped from TV in the 80's, and another that I bought new. My sci-fi collection wouldn't be complete without it.

Don't be fooled by the schlocky title of this 1961 British science fiction disaster film, it's actually one of the best apocalyptic films of its era. Told through the eyes of British reporter Peter Stenning (Edward Judd), we learn that both the U.S. and the U.S.S.R. have simultaneously set off nuclear explosions to test their efficiency, causing the Earth to go off its axis. Directed by Val Guest (The Abominable Snowman / The Quatermass Experiment), it offers a sobering look at a country staring the end of the world in the face. It uses matte paintings to create images of abandoned cities and desolate landscapes, as well as incorporating real London locations create a movie that is heavy on atmosphere (heavy rains buffet the windows of buildings, thick fog wafts through the city, a raging hurricane crashes into the British coast). The production even features the real Daily Express, using the paper's own then headquarters, the Daily Express Building in Fleet Street. The film was made in black and white, and in the original prints the opening and closing sequences are tinted orange-yellow to suggest the heat of the sun. Monty Norman wrote the "Beatnik Music" score, and would become well known one year later when his James Bond Theme was used in the title sequence of Dr. No. Look out for a before he was famous appearance by Michael Caine in an uncredited role as a police constable.