A prova di errore

I was thoroughly in suspense throughout this magnificent film. I almost felt as if I was watching World War III unfurl like the Gulf War did on CNN, it was that convincing. Fonda as the President and Matthau as the Professor, in truly memorable performances, are superb in their roles and indeed the entire cast is strongly competent. Besides the unforgettable ending, by way of the President's unthinkable concession, are the arguments and attitudes of the Professor and Colonel Cascio. At the time it must have been very tempting to many hawks in Cold War administrations to end the deadlock whenever a seemingly decisive opening presented itself. I strongly recommend this film for its believablity and realism and even the final credits! 10/10.

22 January 2010. Even in black and white, this edgy, raw and gripping nuclear apocalyptic thriller retains is powerful and emotional message even after 46 years. Even though some of the equipment is dated in this movie, the serious and almost seemingly electronic starkness is able to project a impressive, compelling impression of sophistication that maintains a level of captivating images that breath intelligence and innovation of government operations even years ago. The acting and substance of this thriller contains a constant level of tension, off-balance conflict that hits home even today. While almost deviating, particularly in the beginning to the dated acting dramatics of the 60s, this movie successful keeps its attention on seemingly realistic and heightened elements of military and political strategy, operations and equipment, tactics that all fit well together making the entire movie a unified and seamless experience in accidental tragedy. 9/10.

I saw this movie via two instances of serendipity. First I just happened to be living in an area that offered The Disney Channel in the basic cable package (which is all I ever get) and that as a Bruce Springsteen fan I was excited that the Disney Channel was going to broadcast a special concert short on The Boss. Of course I'm an older Springsteen fan, so instead of staying up late to watch it I just put a tape in and pressed record. The next day I enjoyed the concert, but forgot to hit stop when it ended. What followed next was "Fail Safe". After a few minutes it caught my interest, and now is one of my favorite films.

I'm not sure if this was a precursor to "Strangelove" or vice versa, for they are both listed as 1964 releases. Oddly they both have the same texture about them which leads me to believe that there was more than coincidence in their respective productions. Both are piece de resistances in Cold War studies. The main sundering is that where "Strangelove" excels in parody, "Fail Safe" is rich in tension.

Of course an anxious film about nuclear war on the brink can easily invoke tension (remember "War Games"?), but this film exceeds a good plot. The filmmakers use a backdrop of soceital depravity to create neurasthenia and presentiment; as shown by the strange and erotic scene with Walter Matthau and the woman in the car (kind of a mass-sadisim, lust thing) and the implied domestic violence in the apartment scene. The movie is also deliciously philosophical (the clever "criminals and file clerks will survive" theory) as well as adroit phsycological character development for all the main characters.

The picture is also darkly filmed, remarkedly minimalist and low-budget as if to show the limits of technology, in order to symbolize the sophistry of our trust in it. BTW I love the Matthau character's (the political science professor) line as he explains the faults of missles that have no human intuition. "The rockets have the defect of their virtues" he says in explaining how they cannot make a conscious decision to abort after receiving an order. But the message in this film is clear; even if technology breaks down it is only a symptom of our doom, ultimately it is humans who are responsible.

This cold war era classic certainly made you think if it's storyline was possible. The plausibility of the solution to avert an all-out retaliatory nuclear war that the American and Soviet leaders decide on in the film is still debated but this film captures the essence of the cold war paranoia in this film directed by Sidney Lumet. This was Lumet's seventh film of his career and he was known for his dramas that were screen stage plays with 12 Angry Men, Long Days Journey Into Night and The Pawnbroker. Henry Fonda heads up an excellent cast including Walter Matthau, Fritz Weaver, Larry Hagman, Dan O'Herlihy, Ed Binns and Frank Overton. In 1958 author Peter George wrote the novel Red Alert and would go on to win an out of court settlement over the authors of Fail Safe, Eugene Burdick and Harvey Wheeler, on plagiarism charges. Interestingly the dramatic novel Red Alert would serve as the basic premise for this dramatic film and in the dark comedy Dr. Strangelove which were both released in the same year by the same studio. Good tension and drama from this script by Walter Bernstein. Weather it could or couldn't have happened as it did in this story it's still a compelling film 42 years later. I would give it an 8.5 out of 10.

The ultimate moral dilemma confronts the President of the United States when everything goes wrong with the strategic offensive power of a US Air Force bomber squadron, leaving viewers shaken at the end of a superior Cold war drama highlighted by its extraordinary claustrophobia.

Filming of Fail-Safe coincided with filming of Dr. Strangelove, and Stanley Kubrick succeeded in getting his film done first. The earlier publicity for Strangelove hurt Fail-Safe's exposure, and this is doubly disappointing because Fail-Safe is in most ways a superior film, telling its story straight and highlighting superior performances by the entirety of the cast, from Henry Fonda, Frank Overton, Fritz Weaver, and Dan O'Herlihy to a stunningly strong performance by comedian Dom Deluise in a rare dramatic role.

What begins as a routine albiet annoying tour for a visiting Congressman of Strategic Air Command's headquarters in Omaha turns into the ulitmate nightmare. An unidentified aircraft is spotted on a course toward Detroit and airborne bombers are scrambled to fixed points orbiting Soviet Russia until the UFO can be identified. The scramble is routine but this particular one becomes more dramatic as identifying the UFO proves more troublesome than usual, but eventually all is cleared up.

But replacement of a faulty componant in SAC's mainframe briefly flashes the base's plotting board, and activates an attack signal in Bomber Group Six under the command of old-school Colonel Jack Grady (Edward Binns). Attempt to contact Omaha runs into unexpected and mysterious jamming, and the attack signal is verified - Moscow.

It is here that the real nightmare begins, and the President himself must summon Peter Buck (Larry Hagman) down to the underground command shelter in which lies the direct "hotline" oral communication hookup to Soviet Russia's ruling chairman himself. From here the President must coordinate with the Pentagon and SAC HQ to try and stop the bombers, despite endless jamming and the crew's own orders not to answer further contacts.

The actions to stop the bombers drive the drama and bring out the excellence of the cast. Frank Overton is the SAC commanding general whose faith in his systems is shaken by the accident. Fritz Weaver is his XO, driven by shame over his upbringing (shown when he gets into a fight with his alcoholic father before being summoned to SAC HQ) and more likely to crack under the strain. Dan O'Herlihy is a Brigadier General harboring endless doubt about the sagacity of the US strategic arsenal - "We've got to stop war, not limit it," he says, against the better judgement of his peers - who plays a pivotal role in the crisis' outcome.

But even with the excellence of these and others, it is Henry Fonda as the President and Larry Hagman who drive the drama in their hotline conversations with the Soviet chairman; the pivotal angle of these conversations is Peter Buck's whispered comments about the intangibles of the Russian leader's words and expression of them - when the Soviet claims no knowledge of jamming equipment, Buck expresses belief that the Russian is lying - and also his analysis of arguments among the Russian leader's own staff; as the conversations continue on Buck takes on more and more of the role of outright surrogate for the Soviet chairman.

The running battle to stop the bombers leaves the President with a decision that is the only hope, should the bombers succeed, to prevent Russia from a full-scale retaliatory attack that will incinerate the world; the President's decision is of course outrageously implausible in real life but nonetheless works in the context of the film, and leads to a delicious bit of irony at the very end that ties in a bizarre fixation with a matador.

Among the liberties the film takes to tell the story, aside from the hotline telephone (the actual hotline was a teletype transmitter, continuously updgraded over the years), are the types of bombers used and the speed and weapon capability of these craft. Such focus on hardware often hurts dramatic pull, but here it is kept to a minimum and only serves to help move the story along, a nice balance that exemplifies the strength of the story and the performances within.