The Day the Earth Caught Fire

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.

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."

In a world where The Earth's axis has shifted a fraction after atomic testing by both The USA and Russia, a group of journalists aim to get the story, and give the public all the facts.

I had to do a double take to check that this film was actually made back in 1961, it is well and truly ahead of its time, and over sixty years on, it still packs an almighty punch. It feels more 1980's, it put me in mind of Threads, it has that very realistic, bleak vibe. Don't expect the typical 60's love story, there's a romance, but it's far from tropical of the time.

It's so interesting, the end of the world, but not seen through the eyes of a lead character, but scene from the point of view of the press, it's so interesting.

Made during the years of The Cold War, a time where people had genuine anxieties about nuclear weapons, and possible fallout.

Very clever camera work, the main body of the film is in black and white, in wide-screen, the opening sequences use warmer sepia tones to show the future earth, you can almost feel the arid heat.

The visuals are so impressive for its time, they made great use of the facilities on hand, the foggy bus trip, the cyclone and various disaster scenes all look wonderfully effective.

Edward Judd, Leo McKern and Janet Munroe are all excellent, I cannot fault a single performance.

A very impressive movie. Two hours pass by very quickly.

9/10.

1961's "The Day the Earth Caught Fire" must be judged according to the parameters of classics as 1951's "The Day the Earth Stood Still", and not today's special effects mega productions in which the perspective of the disappearance of planet Earth is taken with cynic humor.

The idea came to director Val Guest during the Cold War in 1954, and it is under that decade's spirit that the movie is better appreciated. I remember seeing it when it opened, and I have never forgotten that experience, specially its tinted sequence. Sixty years later I am able to see it again, and it is still the same notable film, not the least affected by today's cinematic technology, because, in its core, Guest's motivation -the worry for the actions of mindless men who struggle to control the Earth- is still relevant.

If it is not highly regarded today as "The Day the Earth Stood Still", I think it has to do with the fact that Universal sold it as a B movie in the United States (although not so by British Lion in the UK, where it was a huge success, and won the film industry's top prize for its screenplay) and because not too many critics paid attention to it and wrote positive reviews, establishing it as an important science-fiction movie since then. Although there are very few re-enacted disaster scenes and it relies upon footage of real catastrophes, the tension is handled effectively in the newspaper's office where most of the action takes place, with its overlapping dialogues and constant flow of new information; and in the development of the romantic story in the midst of violence and terror in the streets. Edward Judd, Janet Munro and Leo McKern contribute good performances to this fine movie, shot in wide-screen Dyaliscope.

This has got to be one of the best sci-fi films ever made. Great plot, snappy and witty script, characters with real depth and histories, and a (debatably) great ending. What more could you ask for?

Although the plot is quite similar to that of 'When Worlds Collide', the realism of the characters and setting really lift the whole film far above its contemporaries. Its use of journalists to tell the story is similar to that of many of the classic works of literary science fiction (HG Wells' War Of The Worlds or John Wyndham's Kraken Wakes for example) and it follows a similar apocalyptic template as well.

The theme of mankind's actions causing havoc for the globe, which was originally a criticism of the cold war, is still very relevant today for quite different reasons. The parallel with global warming is obvious, and the graphic depiction of the effects of this are all the more disturbing because we see similar effects, on a smaller scale, around the world on a day to day basis. The film is shocking in its bleak vision of the havoc that mankind has brought upon himself.

Basically, this is the benchmark for all serious science-fiction, and makes a perfect partner for the other great of the cold war era, "The Day the Earth Stood Still".