At the Movies with Alan Gekko: The Day After “83”

MPAA Rating: TV-PG/ Genre: Sci-Fi/ Stars: Jason Robards, Steve Guttenberg, JoBeth Williams, Georgann Johnson, Kyle Aletter, John Cullum, Bibi Besch, Lori Lethin, Doug Scott, Ellen Anthony, William Allen Young, Calvin Jung, John Lithgow, Amy Madigan, Lin McCarthy, Rosanna Huffman, George Petrie, Jonathan Estrin, Wayne Knight, Arliss Howard, Jeff East, Dennis Lipscomb, Clayton Day, Antonie Becker, Stephen Furst, Stan Wilson, Harry Bugin/Runtime: 127 minutes

If there is one thing that people are often surprised to learn about me it’s usually not anything to do with my work as a film reviewer of some skill and renown. Nor for that matter is it the fact that I am just as sarcastic in person as I can be in my writing. Oh and it’s definitely not the fact that one of the ways to really get through to me is via the magical power of Carmel Frappuccinos from Starbucks (hint hint for anyone out there who might be so inclined). Rather, it’s the fact that I am someone who just does not scare as easily as the vast majority of people out there. Indeed maybe it’s a result of an incredibly desensitized childhood, maybe it’s because I used to imagine the worst in people, or maybe it’s just because I’m too grumpy to really let fear take over at nearly any point in time. Whatever answer you choose to go with however, the fact remains that I am someone who, when the monster leaps out and scares the absolute heck out of everyone else in the audience, just looks at it and goes “huh…well that was interesting”. With that said though, it should be said that even though this particular “rule” of mine does hold true 9 times out of 10 that, by default to say nothing of basic math, does mean that it is possible for a slice of cinema to actually leave me chilled to the bone and my spine all a tingle. The reason I bring this up to you dear reader is because the slice of cinema I am reviewing for you today, 1983’s The Day After, is a film that definitely manages to fit into that previously mentioned 1 out of 10 slot alarmingly well and has managed to stay there ever since I first saw this about 12 years ago. To be sure, it might not be perfect and there is no doubt in my mind that it will most assuredly leave you either shaken to the core, depressed, or both, but with the aid of nothing less than potent and powerful work on both sides of the camera, The Day After is a soul-tearing, heartbreaking, and gut wrenchingly vivid look at not only one of the worst nightmares mankind could ever think of having to face at some point be it when this movie first premiered, now, tomorrow, or even 5-10 years from now to say nothing of the immediate aftermath of that nightmare, but also the pain, heartache, and even the very grim reality of either instantaneous or quickly encroaching death that it would rain down on people much like you or me dear reader.

The plot is as follows: Taking us to a fictional take on the year 1983 (the same year this film premiere on ABC incidentally) The Day After gets its intriguing narrative underway by taking us to the area surrounding the small town of Lawrence, Kansas. A picturesque little community that, among other attributes that are worth knowing about it, is a seemingly tranquil spot where everyone knows everyone, that is right across the way from Kansas City, Missouri and which ultimately feels about as American as apple pie on a warm 4th of July evening. It is here we see, among the various storyline that we will be following on our journey, a family getting ready for the oldest daughter to get married, a skilled veteran member of the medical community named Dr. Russell Oakes doing his duties as the chief of surgery at the hospital in Lawrence, a young man by the name of Stephen Klein decides to begin making his way home to Joplin, and a military officer named Billy McCoy keeps a diligent eye on his post. Yet it isn’t long before we see that, amidst these seemingly heartwarming and idyllic cinematic snapshots of life in the heartland of America, the tranquility on display is very much being offset by a river of tension and unease. This is because, for a period of indeterminate time prior to the start of our story, the United States has been embroiled in an ideological conflict with the Soviet Union. Yet whilst this “Cold War” has seen both countries engage in a politically-based game of one-upmanship as well as exist in a seemingly consistent state of paranoia and panic toward the other, there has also not been an attempt to really engage the other side in a direct conflict for reasons of a nuclear variety shall we say. Unfortunately, it isn’t long into our story before we see things between the two world superpowers start to take a turn for the nightmarish that begin to take us, to say nothing of our cast of characters, down a very particular path. One that, by the time this film has concluded, will not only have left you all but clinging for dear life onto the edge of your seat, but will also have taken you on a heartbreaking guided tour of sorts. Not of a specific section of land here in the United States, but potentially of a specific area within what could possibly amount to less a country on this planet and more in the vein of something resembling a massive graveyard. As for what I mean by that to say nothing of the effect this has on the various characters within our tale that is something that I think I will let you discover for yourself dear reader…

Now right off, it should be said that the work done by the various departments behind the camera on this particular slice of cinema is nothing short of phenomenal. This starts with the work done in the director’s chair by Nicholas Meyer (1979’s Time After Time) and here we see that Meyer does an absolutely outstanding job of not really bringing a whole lot bells and whistles to his time at the helm. Instead, he makes the wonderful creative choice to just let the story to say nothing of what we are seeing unfurl before us on screen carry the movie and, as a result, the whole viewing experience is able to make the impact that it is so desperately aiming to have with you, the viewer as a result. I also really applaud the work done here on this slice of cinema’s script by noted television writer Edward Hume. Indeed not only does Hume do a brilliant job at really grounding the entire film in reality right down to not only the procedures engaged in by the military when things really begin to go south to say nothing of the medical aspects with particular regard to certain ailments that I shan’t go into for fear of spoilers, but also in two other areas. The first is that when things finally come to a head, Hume does a wonderful job of not cluing us in to who throws the first punch so to speak. This is brilliant because by not pointing the finger at one side over the other, this film really is able to permit the viewer to really take a moment to both think about the more overarching impact that this singular event would have on us as a species whilst also really pushing the importance of making sure such an event never occurs. The second is that Hume does a terrific job at presenting important information in the first half of the film through such things as television shows and/or radio broadcasts being listened to by the cast of characters. As a result, not only are we as viewers able to learn these things at the same time as the characters thus raising the degree of suspense and unease present immensely, but it also permits us to place ourselves in their respective shoes as they go through this truly nightmarish chain of events to say nothing of the fact that it adds to the level of realism that this film is aiming to pull off here. I also think that praise is most assuredly worthy of mention to the visual effects, costuming, and make-up teams on this movie. Not just for a moment about halfway through (if not a little bit earlier) that is sure to make your blood run cold and glue you to your seat in sheer terror, but also in terms of how they really make the characters look less like actors and more like people we might interact with in our own day to day lives to say nothing of how terrifyingly effective they are at showcasing a certain type of physical degradation on some of the characters in the back half of the film respectively. Suffice it to say that when you also throw into the mix phenomenal work from the cinematography department as headed by Gayne Rescher (1957’s A Face in the Crowd and 1982’s Star Trek II: The Wrath of Kahn) and a musical accompaniment that is a wonderful mix of poignant, tear-jerking, and wistful all rolled into one it’s clear that this might have been a made-for-TV movie, but the skill behind the camera is still undeniably well-done.

Of course, the other big element that can either make or break a film would undeniably have to come in the form of the work done by the cast of talent that has been assembled in front of the camera to bring that respective film’s collection of characters to life. In that regard, I think it can safely be said that this slice of cinema is blessed with possessing a roster of talent that are all, no matter how big or small their overall amount of screentime in this may be, nothing short of incredible and extremely well-chosen. Without a doubt in my mind, this starts with screen legend Jason Robards in the role of Dr. Russell Oakes. Indeed Robards always was a class act whenever he showed up in something and here he does a wonderful job of mixing together a bit of humor, a warm and fairly affable demeanor, an equal devotion to everyone in his life be they co-workers, patients, or family, and just an overall sense of decency and goodness to create for us as movie goers a character that we really care about and even empathize with as the film goes on. That and, without going into spoilers, the last 10-15 minutes with him are easily some of the most heartbreaking in the entire film. Indeed I won’t tell you what happens, but don’t be surprised if you find yourself crying right alongside him. Equally as good as Robards however, and much to my own surprise I have no shame in admitting, is the work done here by none other than Steve Guttenberg in the role of pre-med student Stephen Klein. Yes I know Guttenberg is mostly known for his goofy comedic style as seen in such films as Cocoon, Short Circuit, Three Men and a Baby/Little Lady and the Police Academy franchise (or at least up to number 4), but there is also no denying that the man has had success in more dramatic fare as well including 1978’s The Boys from Brazil and 1982’s Diner. Suffice it to say that Guttenberg’s work in this is definitely a wonderful example of the latter and gives us a turn in this that is potent, gripping, fairly emotional, and easily one of the top 5 performances of his career as well if I’m being honest. Lastly, I would definitely be amiss if I didn’t take some time in this section to praise the powerful work done here by screen icon John Lithgow in the role of Professor Joe Huxley. No, it’s not the biggest role in the movie, but Lithgow (in that way only an actor of his caliber could pull off) does a terrific job at both providing the audience with the information they need in order to fully comprehend both what is going on to say nothing of what eventually is occurring in the film whilst also ensuring that he is a three-dimensional character with his own arc in the proceedings as well. Suffice it to say that when you also factor in genuinely powerful turns from such individuals as JoBeth Williams as a wonderfully dedicated nurse who is a vital part of Robards’ medical team, John Cullum, Bibi Besch (who had me in tears with one of the most powerful scenes in the movie), William Allen Young, Amy Madigan, Dennis Lipscomb, Clayton Day, Arliss Howard, and Stephen Furst (Flounder from National Lampoon’s Animal House!) among others it’s clear that not only is everyone involved in front of the camera passionate about the story that is being told here, but that they are all more than willing to bring no less than their own individual A-games in order to help it succeed on the level that it ultimately has been able to with audiences since it first came out.

All in all and at the end of the day I know this last section is usually the one where I say that the movie I am looking at is not perfect before then proceeding to snarkily point out that the movie I am reviewing is by no means worse than (insert terrible movie title here). Given the subject matter that this slice of cinema is operating with however, I feel that is perhaps not the appropriate course of action here. To be sure, there have been other movies that have definitely touched on this very same topic with 1959’s On the Beach, the also from 1983’s Threads and 1964’s Fail-Safe being a few of the more noteworthy serious examples that come to mind. Unlike those other slices of cinema however not only does this film continue to haunt me long after seeing it, but it also managed to inspire no less a figure than President of the United States Ronald Reagan to try and find a better path forward for both the US and the Soviet Union. A path that would eventually lead to the fall of the Berlin Wall and, by extension, the Cold War along with it. Suffice it to say then that this slice of cinema is one that is extremely significant to the history of the world as we know it might just be a wee bit of an understatement. Rather, I would say that yes this slice of cinema is chilling, yes it is depressing, and yes it will stay with you long after the screen has cut to black to the point that don’t be surprised if you find yourself crying to sleep that night. At the same time however, it is also a powerfully made to say nothing of soulfully and honestly performed look at one of the worst nightmares that mankind has ever had and yet ultimately how we as people must do everything in our power to keep it from transforming into a terrifying reality. Not just for the sake of our continued existence on this planet, but so we can maybe try to make the world a better place. Not just for ourselves, but for any future generations that will be blessed to call this tiny blue and green planet home. Make of that what thou will dear reader. On a scale of 1-5 I give The Day After “83” a solid 4.5 out of 5.