Logan's Run: What Lies Beyond the Dome

In the distant future, civilization's survivors live inside a huge dome controlled by a computer. When the city's inhabitants reach the age of 30, they are "renewed" by participating in a ritual called the Carousel. Dressed in white robes and masks, they are literally lifted off the ground and disappear in a flash of bright light as the younger residents cheer their approval.

As you may have guessed, "renewal" is actually death and the implication is that the computer has implemented this process to avoid overpopulation. Most of the residents live in blissful ignorance, but there are those that seek to escape to a place known only as Sanctuary. These "runners" are tracked down and eliminated by a police force known as the Sand Men.

Michael York as Logan 5.

The computer directs a Sand Man called Logan 5 to locate and destroy Sanctuary by becoming a runner. Logan (Michael York), a naturally curious young man, enlists the aid of Jessica 6 (Jenny Agutter). The two share a mutual attraction, though Jessica can't fathom how Logan can kill his fellow humans. Still, she helps him escape from the dome into the outside world. Unknown to them,  Francis 7--a fellow Sand Man and Logan's best friend--is in hot pursuit.

The first half of Logan's Run is an absorbing portrait of a futuristic society. We learn that the young people have a "life clock" embedded in their hands that changes color as they approach the age of renewal. Except for the Sand Men, the dome's inhabitants don't appear to work. They party at night, whether at a risque nightclub or by tapping into a virtual database to see who is interested in casual sex. Most of them wear red and green pastel uniforms (again, except for the Sand Men who wear black and gray). And, of course the highlight of their existence is the Carousel.

Jessica and Logan outside the dome.

The film takes a hard turn when it leaves all that behind to focus on Logan and Jessica's odyssey outside the dome. There are some interesting Ozian overtones, such as the realization of what "home" is. However, there are simply too many scenes of Logan and Jessica wandering through the forests or among the ruins of the past. Peter Ustinov pops up unexpectedly along the journey to lend some meaning to the proceedings and Francis (Richard Jordan) finally catches up with his quarries. However, by then, Logan's Run has lost all momentum and can't recapture it with an overly optimistic ending.

The Capitol building in the future.

Logan's Run earned Academy Award nominations for its cinematography, art direction, and special effects. It only won in the latter category, but that was notable in that it was the fourth Oscar for L.B. Abbott, 20th Century-Fox's long-time resident special effects wizard. In addition to working his magic for films such as The Poseidon Adventure and Fantastic Voyage, he also supervised the special effects on television classics like Voyage to the Bottom of the Sea and Lost in Space. His work on Logan's Run is a mixed bag, though, with some of the miniature sets looking like...well, miniature sets.

Logan's Run performed well at the boxoffice and inspired a short-lived 1977-78 TV series with Gregory Harrison as Logan and Heather Menzies-Urich as Jessica. The film's success also resulted in renewed interest in the 1967 novel. Co-author William F. Nolan even wrote a 1977 sequel called Logan's World.

By the way, Logan's Run is also notable for featuring a brief fight between the stars of Call the Midwife and Charlie's Angels. Yes, that'd be Jenny Agutter and Farrah Fawcett. Apparently, their fight scene got intense enough for director Michael Anderson to shorten it to prevent unwarranted hair pulling.

The Friday Night Late Movie: Michael York Defends a Fellow Officer Accused of "Conduct Unbecoming"

Michael York.

Conduct Unbecoming is a harsh indictment of the British Army, circa the 1890s, disguised as a courtroom drama. The irony is that the well-played trial scenes are so engrossing that the film’s point becomes almost too subtle. That hardly seems a fair criticism, though. Perhaps, it’s better to call Conduct Unbecoming a multilayered film in which some layers work better than others.

Michael York and James Faulkner play second lieutenants freshly assigned to the tradition-rich 20th Indian Light Cavalry in India. Mr. Drake (York) is an earnest, young man with middle-class origins, who wants to succeed as a British officer. Mr. Millington is his polar opposite, an impudent cynic from a wealthy family. He would like nothing better than to be kicked out of the army. As soon as we meet Millington, we know he is destined for trouble.

York as Mrs. Scarlet.

He finds it in the form of Mrs. Scarlett (Susannah York), an attractive widow who enjoys being the center of attention. Although she firmly rejects Millington’s advances during a ball, the young officer pursues her. When she is attacked later that evening, Mrs. Scarlett accuses Millington of the crime. In lieu of a scandalous court martial, the regimental colonel authorizes an informal midnight inquiry. Millington is allowed to choose his own defending officer and selects Drake because he is a “gentleman of honor.”

Drake faces overwhelming pressure during the start of the trial. His client is uncooperative and apathetic. Captain Harper (Stacy Keach), the president of the board, urges Drake to just go through the motions. But the reluctant “lawyer” refuses to give less than 100%. Eventually, the flippant Millington comes to respect Drake and learn the true meaning of duty. Drake’s persistent pursuit of the truth also gradually earns him the support of an influential superior officer (in what may be the best scene).

As with most military dramas, the relationships among the men take center stage. However, it’s unfortunate that the film’s female characters, both victims of atrocious crimes, come across as indifferent. Mrs. Scarlett, in particular, fears doing anything that could result in her “deportation” back in England. In India, she is the admired widow of an Army hero; in her homeland, she is just another pretty face.

Michael York and James Faulkner.

Michael York, an actor I sometimes find bland, gives an appealing, convincing performance. He captures Drake’s tentativeness at the outset of the trial (Drake doesn’t know what he’s doing and is afraid he’s ruining his military career). As the trial progresses and Drake comes closer to the truth, York projects an air of confidence and authority. Stacy Keach stands out among the all-star supporting cast, which also includes Trevor Howard and James Donald.

I first saw Conduct Unbecoming at an art film theatre in Bloomington, Indiana. I remember liking it, but it wasn’t until my wife and I watched it many years later that I fully appreciated its virtues (especially a nice little twist involving Drake near the climax). It’s not a great film, but it’s consistently interesting and at times riveting—just what a good courtroom drama should be.