Réalisation:
Russell MulcahyPhotographie:
Martin McGrathMusique:
Christopher GordonActeurs·trices:
Armand Assante, Rachel Ward, Bryan Brown, Jacqueline McKenzie, Steve Bastoni, Rod Mullinar, Bill Hunter, Grant Bowler, Catherine Sutherland (plus)Résumés(1)
Une crise gravissime éclate entre la Chine et les Etats-Unis, à la suite de l'invasion de Taïwan par les Chinois. L'éventualité d'une guerre atomique plane sur le monde. L'irréparable se produit en effet et l'Amérique est rayée de la carte. Lors du désastre, le sous-marin américain "le Charleston" était en plongée. Le commandant Dwight Towers et son équipage sont donc les seuls américains encore en vie. Au bout de plusieurs mois, le taux de radioactivité ayant fini par baisser, le sous-marin peut enfin remonter à la surface. Il se dirige vers l'Australie, qui est encore épargnée, mais pour quelques semaines seulement, en raison de la progression rapide du nuage radioactif... (texte officiel du distributeur)
(plus)Critiques (1)
From one point of view, I'm quite sad that the script of On the Beach was only made as a TV film, but from the other I'm happy about it. Paradoxically, Mulcahy could afford to shoot a spectacularly lyrical disaster film, in which the viewer waits in vain for a fierce reversal into the traditional scheme of "the hope of salvation exists and a handful of the brave will turn it into reality". Much more than an action film about saving the world, this is about character relationships, a decently executed love storyline, moralizing and truly epic peace propaganda, which is therefore tolerable given that it does not look at the borders of the great powers. On the Beach is an impressive film because it cannot afford to show mass scenes of ruin like the Hollywood disaster spectacles. "Highlander" Rusell Mulcahy is surprisingly strong in terms of his hints that very impressively map the end of human society (a dead family lying peacefully on a bed, looting in Melbourne). I would almost expect a superficial clinging to effect from a director of his caliber, but adversely, in On the Beach he tries to work honestly with the characters and utilizes the maximum from the more effective scenes. Unfortunately, the limits of all of the components (visual, acting, directing, etc.) are sometimes too obvious and the film tends to be a bit tense and awkwardly emotional. Tremors of dilettantism and TV averageness are common and otherwise affect the excellent story more than they should. But even so, On the Beach is a hundred times more impressive statement about the apocalypse than 99% of large productions merged into one. If you are expecting a high-paced film with spectacular effects in which the hero saves the world, hugs a woman, kisses a child and emotionally blows his nose into a flag, stay away from this. However, if you are expecting an essentially conservative and lyrical story about several characters facing the end of the world, try to stay On the Beach. I am convinced that the creators succeeded, albeit with small reservations.
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