Film Review: On the Beach (1959)

Certain films possess a profound depressive weight that can drain the joy from even the most optimistic viewers, rendering them unsuitable for those grappling with specific psychological conditions. These films often achieve notoriety and sometimes attain classic status, primarily because their themes resonate deeply with contemporary audiences. One notable example is On the Beach, a 1959 post-apocalyptic drama directed by Stanley Kramer. The film is particularly renowned for its groundbreaking portrayal of the effects of global nuclear conflict, presenting a chilling narrative that reflects the anxieties of its time.

On the Beach is adapted from Nevil Shute's eponymous 1957 novel, set in a dystopian near future—specifically, 1964—following a catastrophic nuclear exchange between the United States and the Soviet Union during World War III. The plot opens in a world where much of the Northern Hemisphere has been obliterated, with survivors succumbing to lethal radiation. The Southern Hemisphere, including Australia, remains unscathed for now; however, it is only a matter of time before radiation spreads southward to extinguish all life on Earth. The protagonist, US Navy Commander Dwight Lionel Towers (Gregory Peck), commands the USS Sawfish, a nuclear submarine seeking refuge in Australia. When enigmatic Morse code signals emerge from the West Coast of the United States, Towers is dispatched to investigate potential survivors or ascertain whether radiation levels have diminished. He is reluctantly accompanied by Royal Australian Navy Lt. Commander Peter Holmes (played by Anthony Perkins), who would rather spend his remaining time with his wife Mary (played by Donna Anderson). Ultimately, Towers and his crew discover that radiation remains perilous and that no survivors exist. Upon returning to Australia, Towers spends his dwindling days with Moira Davidson (played by Ava Gardner), a woman who has fallen in love with him.

The film boasted a substantial budget and featured prominent Hollywood stars, generating significant interest in Australia as it marked the first major Hollywood production of such scale filmed in the country. Its high-profile cast and production values attracted considerable attention both domestically and internationally.

Globally, On the Beach resonated profoundly due to its grim subject matter, which mirrored widespread anxieties during the Cold War era. The escalating tensions between superpowers raised fears that an actual conflict could result in an apocalyptic scenario akin to that portrayed in the film. Stanley Kramer, known for his liberal perspectives and explicit messaging in his films, did not shy away from conveying a stark warning: nuclear war must be avoided at all costs. In such a war, there would be no victors; noble ideals like democracy and freedom would lose their significance if humanity itself were eradicated.

Shute, who would die shortly after premiere, was reportedly dissatisfied with John Paxton's script alterations, particularly regarding an overemphasis on romantic subplots at the expense of narrative depth. Nonetheless, some of Paxton's changes improved on Shute's original work; notably, the film's portrayal of global thermonuclear war differs significantly from the novel's gradual escalation of conflict. In On the Beach, the war is attributed to human or technological errors leading to a catastrophic chain reaction resulting in Mutually Assured Destruction—a concept later validated by real-life close calls during the Cold War. This theme would be revisited in subsequent films such as Fail-Safe, released five years later.

While Kramer's intentions were commendable, some creative choices proved less effective. One such decision was transforming On the Beach into a grand Hollywood epic rather than maintaining a more intimate and impactful narrative style. The film's excessive length and star-studded cast—though undeniably talented—resulted in a lack of chemistry between Peck and Gardner, rendering their characters somewhat forgettable. In contrast, Perkins delivered a more compelling performance as a family man confronting inevitable tragedy.

An intriguing casting choice was Fred Astaire as Julian Osborn, a disillusioned nuclear scientist who provides exposition on humanity's impending doom. Astaire’s portrayal diverged sharply from his established image as a light-hearted entertainer; his presence in this sombre drama left a profound impact on audiences familiar with his previous roles.

However, some contemporary critics argued that On the Beach failed to depict nuclear apocalypse realistically. The film refrains from showcasing graphic symptoms of radiation poisoning; instead of portraying chaotic societal collapse, Australians await their fate with stoicism and orderliness. This restrained depiction appears tame compared to later films addressing similar themes—most notably Threads, a BBC television film released twenty-five years later.

Despite its thematic relevance, On the Beach struggled at the box office and received lukewarm critical reception upon release. Nevertheless, it garnered attention from influential figures, including politicians in Washington D.C. and Moscow. During the Cuban Missile Crisis three years later—a situation that mirrored the film's narrative—wiser heads prevailed globally regarding nuclear policy decisions. Linus Pauling, a Nobel Prize-winning chemist and advocate for nuclear disarmament, famously remarked that On the Beach was "the film that saved the world."

After its initial release, On the Beach seemed to lose much of its impact following the end of the Cold War when prospects of World War III appeared increasingly unlikely. This diminishing relevance was evident in a 2000 television remake starring Armand Assante and Rachel Ward which failed to capture public interest.

However, contemporary geopolitical tensions have shifted dramatically since then; today’s world presents far more perilous circumstances than those faced in the late 1950s. Decisions made by military-industrial complex appear increasingly driven by greed rather than genuine concern for global safety. Politicians often focus on short-term electoral gains while media and tech moguls maintain an almost delusional sense of invulnerability. In times resembling past crises like Cuba's standoff with America, it seems more likely that those in power will be swayed by Marvel Cinematic Universe rather than films like On the Beach.

On the Beach stands as both an artistic achievement and a poignant reminder of humanity's precarious existence amid nuclear threats. Its exploration of existential dread resonates deeply today. Despite its flaws and criticisms over realism, Kramer's film remains an essential part of cinematic history—a powerful cautionary tale about the consequences of war that continues to echo through subsequent generations of filmmakers tackling similar themes.

RATING: 6/10 (++)

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