RICK MCGINNIS AT STEYN ONLINE: Wow Finish: Stanley Kramer brings down the curtain in On the Beach.
“Every man who worked on this thing told you what would happen,” Julian [Fred Astaire] argues. “The scientists signed petition after petition. But nobody listened. There was a choice. It was build the bombs and use them. Or risk the United States and the Soviet Union and the rest of us would find some way to go on living.” In any case the radiation level in the room they’re in is nine times higher than it was a year ago.
“We’re doomed, you know,” Julian tells them. “The whole silly, drunken pathetic lot of us. Doomed by the air we’re about to breathe. We haven’t got a chance.”
The whole terrible scene reduces Mary to tears and inspires Moira [Ava Gardner] to get drunker and, later that night when the party is over, try to get Towers to explain to her what happened and why. He can’t explain it any better than anyone else – the film is far vaguer than [Nevil] Shute’s book with a geopolitical scenario for global nuclear war – but it’s the beginning of a simmering flirtation that was inevitable once Kramer put [Gregory] Peck and Gardner in the same frame.
[Anthony] Perkins, Gardner and Astaire all play Australians but while Perkins and Astaire attempt a spotty accent in early scenes it’s gone long before the end of the picture and Gardner doesn’t even bother. It probably didn’t matter much to American audiences at the time, but what did bother Shute was the changes Kramer made to the budding romance between Moira and Towers.
In adapting the story with screenwriter John Paxton, John Osborne became Julian Osborn and was aged up from a man in his late twenties to the spry but senior Astaire. Moira was also aged up from a petite blonde in her twenties to the curvaceous brunette Gardner, attractive but showing every bit of her hard-lived thirty-six years, and still able to draw the stares of a shipful of sailors on the aircraft carrier HMAS Melbourne as she walks down the dock to the Sawfish. This all makes On the Beach a movie artifact of a world of adults, glimpsed just before youthful demographics would banish that world to ancient history.
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On the Beach is such a famous, relentless downer that it’s no surprise, with or without the efforts of the USIA, the State Department, the OCDM and the Pentagon, the film flopped at the box office. Eisenhower needn’t have worried. And as if confirming the old adage about “first time as tragedy, second as comedy”, five years later Stanley Kubrick would tell a nuclear war story as essentially bleak and hopeless with Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.
In sharp contrast to the grim slog of On the Beach, at least Kubrick, his cast, and the movie’s viewers had plenty of fun before the world blew up. As Kubrick later told an interviewer, “I started work on the screenplay with every intention of making the film a serious treatment of the problem of accidental nuclear war. As I kept trying to imagine the way in which things would really happen, ideas kept coming to me which I would discard because they were so ludicrous. I kept saying to myself: ‘I can’t do this. People will laugh.’”