Showing posts with label disaster film. Show all posts
Showing posts with label disaster film. Show all posts

You Don't Know Shat! : Disaster on the Coastliner (1979)

Hello folks and welcome to the first installment of the 3rd Annual Celebration of William Shatner’s birthday, You Don’t Know Shat! With all the Horrorhound talk going on around The Lair this month, some of you may have thought I would let Shatner’s birthday slip my mind, but how could I? To kick things off, I thought I’d look at a flick that I’d never even heard of before it cropped up on Netflix Instant Watch in the last few days. Disaster on the Coastliner might sound like it should involve some high seas hijinks, but this made for ABC television movie is all about run away trains… and of course the runaway locomotive of sexual magnetism that is William Shatner. I can’t seem to get away from trains these days, but where The Sleeping Car was full of supernatural terror, The Coastliner is caused by good old fashioned human arrogance and vindictiveness which is just the kind of thing The Shat was put on this world to stop.

Disaster on the Coastliner is cut from the same cloth that produced movies like The Towering Inferno, Airport, and The Poseidon Adventure in the theaters, and brought to the small screen disasters featuring one named menaces such as Flood! (1976) and Fire! (1977). Like so many disaster epics, it was also featured a cast full of notable actors hamming it up on the small screen. Apart from Shatner, the film also boast appearances from Lloyd Bridges, Pat Hingle, Raymond Burr, Robert Fuller, E.G. Marshall, Yvette Mimieux, and Paul L. Smith. Smith plays Jim Waterman, a man convinced that the Trans-Allied Railroad Corporation covered out the truth about the death of his wife and daughter in a tragic train derailment. So now to get the corporation to fess up to the truth, he’s taken over one train and remotely hijacked the other setting them on a course to collide head on unless company head Estes Hill (Burr) makes a public apology for the cover-up.

The plot is as simple as can be, but Disaster on the Coastliner doesn’t garner much of its entertainment value from the scintillating plot. Rather it picks up much of its steam from the tiny side plots that develop alongside the trains speeding toward each other. Shatner, for instance, is in disguise when we first meet him trying to avoid some cops. Using Yvette Mimieux’s character Paula as extra cover to get on the train, Shatner, the ultra slick Stuart Peters, starts up a train bound romance with her once on board. While she sees though his cat and mouse game with the police, she goes along with him because he’s just so damn charming. That’s the kind of thing that no one would ever get away with but Shatner. Then there’s the side plot about the safety of the Vice President’s wife who is on board one of the speeding trains. While neither she nor her Secret Service detail become characters in the film, Lloyd Bridges, playing the agent sent in to monitor her progress from the railway computer control, is quite the character. Anyone who has ever seen Airplane has seen Bridges play this same kind of character, but this time it was supposed to have been played straight. How E.G. Marshall, who shared all of his scenes with Bridges, kept a straight face while acting opposite the hammy star of SeaHunt is a credit to Marshall’s acting skill.

While doing a bit of looking around about this film, I came across a number of sites featuring posts from what I can only describe as “train nerds”. Much like any other nerd, they seem to live to poke hole and wag their finger at anything that diverges from what they know to be the very accurate and quite dorky truth. Disaster on the Coastliner apparently is full of these instances. The first of which, that the Trans-Allied Railroad Corporation was fictitious, seemed pretty obvious to me as all the exteriors are clearly marked AmTrack. Secondly the Trainees… Trainers….Train Enthusiasts point out that movie conveniently ignores the fact that there are emergency brakes in every rail car, that no train system would ever solely rely on computer control, and that a hastily thrown together split track barely welded together would ever be able to resist the force of a 100 MPH runaway train. To these nerds I say become proper nerds of something like Star Trek and you wont care about the technical minutia because you’ll be way too busy enjoying Mr. Shatner’s performance

Director Richard C. Sarafian, who started in television before transitioning over to feature films in the early ’70’s including such gems as Vanishing Point, definitely relied on his skill at shooting speed to give the TV flick its greatest point of suspense. Filming the speeding locomotives from similar low angles just as he had in Vanishing Point certainly helps to maintain suspense throughout the movie. Though I could just as well have watched a whole ninety minutes for Shatner having fun playing the caddish con artist, Sarafian strings together all the disparate parts of the film in an interesting way. He especially excelled at the film’s final moments which of course included the obligatory walking on top of the trains shot. This final sequence, played by Shatner and Paul L. Smith, put both the actors to the test as well as Shatner’s hairpiece which never looked better or like it was working quite so hard during all of Trek.

Disaster on the Coastliner is not the only disaster film with William Shatner in it, but it is easily one of the better TV movie roles that The Shat took on in the limbo time between the end of Star Trek and be beginning of T.J. Hooker. It allowed the actor to be a charmer, do some comedy, and act as a supporting character, but in the end be hailed as the big hero. That kind of rundown exemplifies an almost perfect situation for Shatner (obviously he should be the lead character). The movie itself is not of the highest quality, but, if you’ve got Netflix, as an Instant Watch selection, one could do way, way, way, way worse. I hope you all enjoyed this first installment of You Don’t Know Shat!, and I’ll be back each Friday this month with a new entry as well as on March 22 to celebrate the Eightieth birthday of everyone’s favorite ham, William Alan Shatner.

Bugg Rating

As this was TV fare, there's no trailer, but here's the opening scene.

The Swarm (1978): Oh, No! Not the Bees! Not the Bees!

There are many things I’m afraid of. To begin the list you could start with snakes or spiders, but coming in at a close third you could put bees. I have no idea why I’m so scared of bees, but if I see one at a distance, I’ll immediately start planning on how to get away from it. My wife always tells me to keep still and they’ll ignore me, but to hell with that, I’m going to be out of there like The Roadrunner leaving only a smoky outline of myself. So the idea behind tonight’s film, The Swarm, is terrifying to me. An invasion of killer bees would rank up there with my worst nightmares, and some people warned me that the film itself might be pretty nightmarish. Still, I decided I should face my fear and the film that so many people had warned me about.

The Swarm was directed by the disaster movie impresario Irwin Allen who produced and co-directed the films The Towering Inferno (1974) and The Poseidon Adventure (1972). (His credit on IMDB for Inferno and Poseidon lists him as directing the action scenes, and, presumably, the other director handled the drama.)After the success of those two films, Allen was ready to have the canvas director’s chair all to himself, and so he chose to direct The Swarm without a partner. Like his other disaster epics, he assembled a deep cast of actors, Michael Caine, Richard Widmark, Richard Chamberlain, Olivia de Havilland, and Henry Fonda just to name a few. He even secured powerhouse composer Jerry Goldsmith and veteran cinematographer Fred J. Koenekamp for the film. Everything seemed set for a repeat of his previous efforts, but little did Allen know that if you mess with The Swarm, you’re bound to get stung.

The film starts in the aftermath of a disaster at an Intercontinental Ballistic Missile Silo where nearly everyone has been killed. When General Slater (Richard Widmark) and his men arrive at the silo, they find few survivors, but they also find entomologist Brad Crane (Michael Caine) lurking about. Much to the General’s chagrin, the culprit for the deaths seem to be a swarm of killer African bees, and the President personally puts Crane in charge of defeating the menace before they overrun the sleepy Texas town of Maryville. Crane calls in his scientist pals Dr. Hubbard (Chamberlain) and Dr. Krim (Fonda) to help him find a way to defeat the bees, but their efforts seem fruitless and the bees nearly level the small town before making their way to Houston.

That synopsis doesn’t even begin to cover the plot threads running though this film. I didn’t even get a chance to bring up Katherine Ross as Helena, Brad Crane’s love interest, or the elderly love triangle between Fred MacMurray, Ben Johnson, and Olivia de Havilland. The latter of these two storylines was the most forced, and the conclusion of that thread is spectacularly unsatisfying for how much time was spent on it. Now when I started watching the film (via Netflix instant view), I had the IMDB up as usual and saw it had a nearly two hour running time. After an hour and half, I started wondering how they were going to wrap this up and I checked where I was in the picture only to find I had another hour to go. The version I was lucky enough to see was the extended cut of The Swarm that runs nearly a half hour longer. Why or how this version happened (I assume it can’t be a director’s cut as Allen wouldn’t even talk about this film after it flopped), but I can assure you that you have no reason to track it down.

While I enjoyed a few of the performances, for the most part this movie is full of painful acting and more painful dialog. Michael Caine is saddled with lines like, ‘The bees have always been our friends.”, and by the second half of the film Richard Widmark’s General drops gems like “Will history blame me or the bees?”. It should also be noted that Widmark’s General spends the second half of the film dropping part of his foe’s name. While he starts off wanting to fight the “African killer bees“, by the end of the film he’s down to simply “the Africans”. The script was written by Stirling Silliphant (based on a book by Arthur Herzog Jr.) who is usually fairly dependable. Not only did he write Allen’s previous disaster epics, he also penned classics like Village of the Damned, In the Heat of the Night, and Circle of Iron. Again, it’s a mystery as to how such a stalwart writer penned such a travesty, but I suppose when you’re writing disaster one’s bound to happen to you eventually.

While overall the film was way to long, way to boring, and way too meandering, there was something about it I rather liked. It had this unintentional silliness that made it nearly come off as a parody of the ‘70’s disaster trend. It was also cool to see all those famous faces share the screen. I mean when the fate of the world is in the hands of Allen Quartermain, Jack Carter, and Abraham Lincoln you have to feel pretty safe. Also, for me at least, it contained some horrifying footage of bee attacks. I don’t care of they looked a little cheesy; they were harrowing to watch. I do have to say that the giant bee hallucinations that some people had after being stung were less cringe inducing and more laugh producing. Overall, The Swarm is not a movie I can’t with a clear conscience encourage people to watch, but I kind of had a good time watching it. Although I might have had a better time if it had been the regular version and not super sized. So if bees bug you or if you’re a big fan of any of the famous names involved, then check it out. Otherwise, I think you can buzz right by this one.

Bugg Rating