Disaster on the Coastliner

Two commuter trains are set on a collision course by a computer programmer who has a grudge against the railroad company. It is then a race against time to save the hundreds of passengers on the two trains (including the vice presidents wife) from impending disaster.

Reasons to love this movie

• Its full of stars - the guy from star trek, the guy from ironside, the guy from men in black its great to see all these 'stars' and to see how they were then.

• Its got tension, excitement and the implausible ending (which any classic disaster movie needs) -

Finally it has Lloyd Bridges reprising his role from Airplane - "Now, this is no time for coffee" What more do you need?

Ah, you have to love the 70s. Time of the made for TV movies.

This train tale of terror includes a lot of separate scenes cut together to appear like some semblance of an actual movie. Scenes range from railroad track construction, several train car interiors, and my favorite: the people gathering to protest. Why or what they are protesting is not really explained but you have to love the shoddy signs and workmanship.

The acting does its best to keep the movie bustling along the tracks. Lloyd Bridges is angry, annoyed and tries to take control pretty much in every scene he is in. I knew I recognized E.G. Marshall from somewhere but didn't recognize him without cockroaches crawling all over as from his performance in the classic Creepshow. E.G. and Lloyd butting heads trying to find a solution provide some highlights.

Bill Shatner saves this from being a true disaster. I can never get enough seeing Bill smoke cigarettes, do his mack daddy Kirk routine, and eluding the authorities all at once. He pretty much stands out whenever on screen and the epic finale makes this worth the ride.

Take the ticket for this 70s version of Speed on trains..except it's better.

When speaking of disaster movies from the 70s decade, you automatically think of the gloriously flamboyant and heavily budgeted productions of Irwin Allen, with dazzling all-star casts and spectacular stunt work as most recognizable trademarks. As much as I worship those, I must admit that many made-for-TV disaster movies from that same era are just as awesome, or even more awesome, despite their much smaller budgets.

"Disaster on the Coastliner" is such a fantastic TV-film, but for some inexplicable and totally undeserved reason, it's unknown and entirely forgotten. I can't possibly fathom why that is, because it has a terrific yet textbook disaster movie plot, a downright fantastic cast and a more than competent director (Richard C. Sarafian of "Vanishing Point"). Paul Smith is terrific as an embittered and vengeful employee of the Railway company who sabotages the computerized controls and arranges for two passenger trains to head towards each other at high speed, and on the same tracks. In the control room, as well as on both trains and even at Amtrak headquarters, people slowly realize that a catastrophic head-on collision becomes unavoidable.

The film has everything! There's suspense, fast-paced action, a garden variety of interesting characters, odd humor and an edge-of-your-seat climax. Despite this being a TV-production, there are some impressive action sequences and the finale with the miniature derailment is excellent. The sequences in the control room, and especially the interactions between Lloyd Bridges and E.G. Marshall, are quite funny, since Bridges can complain non-stop about computers and modern technology, and you can't help thinking of him in "Airplane!" the entire time. Furthermore, the stellar cast includes Yvette Mimieux, Robert Fuller, Pat Hingle, Lane Smith and the great William Shatner who depicts a petty criminal who nevertheless becomes the hero who saves the day.

Fun stuff for it's time. An ABC Sunday Night Movie, made by Shatner largely after he completed principal photography on STAR TREK-THE MOTION PICTURE, in 1978. I happened to be on an Amtrak train in 1979,going to a "Star Trek" Convention. The conductor explained to me that that very route-Rhode Island/Connecticut to NYC, was actually the very route and train(Amtrak) on which much of the film was shot, including several stunt sequences involving a small bridge. Many "out the window" reaction shots and some of the interaction was filmed with Connecticut whizzing by the windows. The crew apparently rented out three of the cars to do some quick filming on, however the conductor had access to all of them, so he got to meet the cast used in the sequences.

Of course it was an "all star film" like many of the time. And miniatures were used in the film as well.

An interesting anecdote.

Taut, tense telemovie concerning a grieving widow and father (Paul Smith) whose family was killed in a railways accident the cause of which he attributes to gross negligence, but which he alleges has been covered up. To make his point, he hijacks a commuter train and sets it on a collision course with a train carrying the mayor's wife. Told from myriad vantage points, various characters come into focus as heroes and villains emerge amid the ensuing chaos.

Key perspectives include the distrusting relationship between special agent Bridges and wily schedule controller Marshall, whilst on board the potential train-wreck, affable con artist Shatner woos the affections of scorned Mimieux, her philandering husband (Fuller) in turn, up to no good on the opposing train. Raymond Burr appears later in the film as the newly appointed railways director, with a sympathetic ear for Smith's allegations, causing feathers to fly in his corrupt coop.

Solid cast, full of familiar faces (Peter MacLean, Harry Caesar, Lane Smith, Rockne Tarkington, Michael Pataki just to name a few) complements the taut action sequences with remarkable depth and quality for a telemovie. Peripheral characters are given multiple opportunities to establish persona's, and the skills of director Sarafian (an experienced feature film director) is evident in adding this dimension.

Elements of distinction include the intelligent dialogue peppered with wry humour, impressive action sequences and stunt-work, and most importantly, an engaging narrative that builds to a satisfying climax. Even the music, and its pulsating high octane rhythm is fitting. But overall it's Sarafian's fluent narrative, and attention to character depth that elevate this movie beyond formula disaster fodder. Riveting stuff and very entertaining.