Even though I’m one of genre’s biggest supporters, I’ve still taken an incredible amount of grief over the years regarding my personal opinion of a handful of what are considered Science Fiction classics.
You see, I’ve never based my opinion on any particular work on what the best and brightest tell me I should think of a film. I’ve always thought for myself; and – as a consequence – I learned long ago that I must also be comfortable with being both right and wrong on a particular project. While that would seem like a fairly benign foundation around which to operate, I can’t begin to tell you the amount of insults I’ve earned from casual readers, like-minded souls, and even folks within the entertainment industry who’ve stumbled upon some of my reflections. Of course, I do care (to a small degree) when and if they can lodge a reasoned argument; and, yet, I’ve rarely been persuaded to see things as they see them for the sake of ‘going along to get along.’ Each of us is entitled to our respective opinions about what makes for a great film, and I can only hope that – in the end – the movie gods are forgiven deities. If not, then I know where I’m bound; and so be it.
Now, this isn’t to say that I’ve any major reservations about 1971’s The Andromeda Strain. Based on a novel by Michael Crichton that was adapted for the screen by Nelson Gidding, Strain was directed by the great Robert Wise, a man who’s name is legendary around these parts for such contributions to film history as The Day The Earth Stood Still (1951) and Star Trek: The Motion Picture (1979). In it, Wise cast such talent as James Olson, Arthur Hill, David Wayne, Kate Reid, Paula Kelly, and others. Together, cast and crew explored about as dire a set of circumstances that was probably imaginable at the time; and it’s a cautionary tale that probably resonates a bit differently today just after the ‘age of COVID’ reshaped how mankind reacts with one another in the public square.
I can attest that I don’t like it nearly as much as do many other Science Fiction fans, and that’s part of the controversy I’ve alluded to above. It has elements I like, and I can still see what slim story there is weighted down by those elements I not so much detest but identify as inferior techniques that hijack the narrative when they shouldn’t. Nonetheless, I want to clarify up front that Strain is one of the very few pictures I encourage fans of serious genre entertainment to watch even though I caution they may not be entirely happy with it. Sometimes, the sum of the pieces is greater than the individual parts, and that’s definitely the case here as Wise and company deliver a thought-provoking and chilling account that could’ve spelled certain doom for all of mankind.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Top scientists work feverishly in a secret, state-of-the-art laboratory to discover what killed the citizens of a small town and how the deadly contagion can be stopped.”
You see, I’ve never based my opinion on any particular work on what the best and brightest tell me I should think of a film. I’ve always thought for myself; and – as a consequence – I learned long ago that I must also be comfortable with being both right and wrong on a particular project. While that would seem like a fairly benign foundation around which to operate, I can’t begin to tell you the amount of insults I’ve earned from casual readers, like-minded souls, and even folks within the entertainment industry who’ve stumbled upon some of my reflections. Of course, I do care (to a small degree) when and if they can lodge a reasoned argument; and, yet, I’ve rarely been persuaded to see things as they see them for the sake of ‘going along to get along.’ Each of us is entitled to our respective opinions about what makes for a great film, and I can only hope that – in the end – the movie gods are forgiven deities. If not, then I know where I’m bound; and so be it.
Now, this isn’t to say that I’ve any major reservations about 1971’s The Andromeda Strain. Based on a novel by Michael Crichton that was adapted for the screen by Nelson Gidding, Strain was directed by the great Robert Wise, a man who’s name is legendary around these parts for such contributions to film history as The Day The Earth Stood Still (1951) and Star Trek: The Motion Picture (1979). In it, Wise cast such talent as James Olson, Arthur Hill, David Wayne, Kate Reid, Paula Kelly, and others. Together, cast and crew explored about as dire a set of circumstances that was probably imaginable at the time; and it’s a cautionary tale that probably resonates a bit differently today just after the ‘age of COVID’ reshaped how mankind reacts with one another in the public square.
I can attest that I don’t like it nearly as much as do many other Science Fiction fans, and that’s part of the controversy I’ve alluded to above. It has elements I like, and I can still see what slim story there is weighted down by those elements I not so much detest but identify as inferior techniques that hijack the narrative when they shouldn’t. Nonetheless, I want to clarify up front that Strain is one of the very few pictures I encourage fans of serious genre entertainment to watch even though I caution they may not be entirely happy with it. Sometimes, the sum of the pieces is greater than the individual parts, and that’s definitely the case here as Wise and company deliver a thought-provoking and chilling account that could’ve spelled certain doom for all of mankind.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Top scientists work feverishly in a secret, state-of-the-art laboratory to discover what killed the citizens of a small town and how the deadly contagion can be stopped.”
In order to captivate an audience, a storyteller has a great number of tricks in his (or her) bag that can be put to good use. This doesn’t mean that he should use all of them; rather, a good teller of tales knows when to pull out a certain gadget only when necessary in order to work his magic and then pull it back out of risk of spoiling the charade. This is always a delicate balance; and only the finest narrators ‘get it right’ each and every time its tried. In fact, I suspect more miss the target they’re aiming for more consistently than they strike; but bless the professional souls who keep trying for even some of their failures still give us something to think about.
It's in this fertile ground wherein I’ve always struggled with The Andromeda Strain. Wise’s film doesn’t always ‘enthrall’ when it should, and – more often than not – this is because of the tricks used to spin this web. A great deal of this stumbling is owed to the fact that the director chose to impart as much information as he felt was entirely necessary to both educate and entertain his audience; and my position is that a good deal of entertainment was sacrificed in the process.
Rather than inundate a reader with dozens of examples, I’ll highlight those I find most destructive.
First, Gidding’s script – based on Crichton’s novel – details a great number of facts, some of which were authentic while others were ‘manufactured’ in order to have a story that made sense. I’ve read others describe this as ‘the science facts’ associated with a newly discovered virus, and that’s a mostly accurate take. Because there’s an almost endless stream of information – info about viruses, info about how they grow and mutate, info about how they’re contained as much as how buildings and structures and technology are erected to do that and deal with them – the viewer is besieged with constant exposition. These central scientists are always laying a brick in the foundation before they can get to their human reactions to it; and this constant push-and-pull gave the film an all-too-sluggish pace. I’ve heard some suggest that Strain is far too long, and I’ve always insisted that it isn’t: it just feels too long because of the abundance of information required to make this palatable. Even with it, it never quite finds the proper balance.
Second, because the script has this operational preponderance of sheer data, the characters – as an ensemble – just never quite cohered beyond their stated scientific purposes for being there. They were never made human enough for me to grow interested in them – as a group – and, consequently, I found it difficult to moved by their collective plight. Some small attempts were made to give them traits that would bring me closer to caring about them as individuals (i.e. Dr. Mark Hall – as played by James Olson – definitely represented the humanity one wants in a practicing physician; Dr. Ruth Leavitt – played by Kate Reid – was easily the most relatable most because she was imbued with a level of human cynicism that had its own charm). However … as a team? Well, they were mainly destined to ‘save the day’ mostly because that’s how it was scripted as opposed to any Avengers-style group dynamic, so viewers just had to roll with the punches.
It's in this fertile ground wherein I’ve always struggled with The Andromeda Strain. Wise’s film doesn’t always ‘enthrall’ when it should, and – more often than not – this is because of the tricks used to spin this web. A great deal of this stumbling is owed to the fact that the director chose to impart as much information as he felt was entirely necessary to both educate and entertain his audience; and my position is that a good deal of entertainment was sacrificed in the process.
Rather than inundate a reader with dozens of examples, I’ll highlight those I find most destructive.
First, Gidding’s script – based on Crichton’s novel – details a great number of facts, some of which were authentic while others were ‘manufactured’ in order to have a story that made sense. I’ve read others describe this as ‘the science facts’ associated with a newly discovered virus, and that’s a mostly accurate take. Because there’s an almost endless stream of information – info about viruses, info about how they grow and mutate, info about how they’re contained as much as how buildings and structures and technology are erected to do that and deal with them – the viewer is besieged with constant exposition. These central scientists are always laying a brick in the foundation before they can get to their human reactions to it; and this constant push-and-pull gave the film an all-too-sluggish pace. I’ve heard some suggest that Strain is far too long, and I’ve always insisted that it isn’t: it just feels too long because of the abundance of information required to make this palatable. Even with it, it never quite finds the proper balance.
Second, because the script has this operational preponderance of sheer data, the characters – as an ensemble – just never quite cohered beyond their stated scientific purposes for being there. They were never made human enough for me to grow interested in them – as a group – and, consequently, I found it difficult to moved by their collective plight. Some small attempts were made to give them traits that would bring me closer to caring about them as individuals (i.e. Dr. Mark Hall – as played by James Olson – definitely represented the humanity one wants in a practicing physician; Dr. Ruth Leavitt – played by Kate Reid – was easily the most relatable most because she was imbued with a level of human cynicism that had its own charm). However … as a team? Well, they were mainly destined to ‘save the day’ mostly because that’s how it was scripted as opposed to any Avengers-style group dynamic, so viewers just had to roll with the punches.
Third, Wise made use of some various split-screen techniques far more often than I believed was absolutely necessary. (For those unawares, split screening involves showing multiple non-overlapping perspectives in the frame for any number of narrative purposes.) When Hall and Dr. Jeremy Stone (Arthur Hill) are making their way in hazmat suits through the decimated city of Piedmont, New Mexico, they’re shown in one tracking shot peering through windows: instead of showing the audience directly what they’re seeing in a cut sequence, Wise instead chose to insert another view into the frame of the victims. This continues across several quick discoveries. Chiefly, what I don’t like about split screening is that it pulls the viewer out of the experience – it’s a way that kills my emergence entirely in the film because it reminds me that “it’s only a film.” When the same effect could’ve been achieved with traditional jump cut from the doctors to these town interiors, the splits are entirely problematic (as I see them) and kill the impact in favor of something obviously artistic and not supportive of good storytelling.
These failings aside, Strain is one of those atypical experiences for me because – fundamentally – it really helped establish a kinda/sorta new sub-genre within the wider Science Fiction community of the science-based Thriller.
Before Wise and Crichton teamed up to work their movie charm, outbreaks were a bit tiredly derivative of one another: victims are exposed to X, victims mutate into something new, and the bulk of the remaining action was dedicated to a band of heroes working to stay safe from these mutants as well as figure out how to deal with the original catalyst. All that really happened from one picture to the next was that the cause changed – as did how the sufferers either dealt with or succumbed to it – and the flicks grew incessantly predictable for sticking to the same formula. With Strain, however, the picture went in an all-new direction, dedicating serious screen time to the mechanics of both how authentic science would and should be applied in the process of resolving the crisis. (Granted, I’ve always stated above that perhaps they didn’t handle this with the highest level of efficiency, but sins are sometimes forgivable when you’re the first to commit them.) At the film’s onset, its plague was already here, and this script focused directly on how to prevent it from metastasizing into the ultimate nightmare. That hadn’t quite happened before – at least, not in ways that I’m aware of – and I think the film deserves to be screened despite what I see as some flaws in design.
In other words, other entries in the realm of the Fantastic like 1995’s 12 Monkeys, 2002’s 28 Days Later, 2011’s Contagion, or even 2013’s World War Z may not have found the success they did had The Andromeda Strain not gone where it did first. Crichton’s masterful novel really paved the way for how the science-based story could exist and be both incorporated to visuals and still relatable to audiences who weren’t all brainiacs. (Let’s face it: not everyone who attends the cineplexes works for the Centers For Disease Control!) While I might nit and pick here and there with what I see are some less-then-effective choices in that adaptation, I’ll always insist Wise owes the respect for being there at the front of the line when others thought the material out-of-reach.
These failings aside, Strain is one of those atypical experiences for me because – fundamentally – it really helped establish a kinda/sorta new sub-genre within the wider Science Fiction community of the science-based Thriller.
Before Wise and Crichton teamed up to work their movie charm, outbreaks were a bit tiredly derivative of one another: victims are exposed to X, victims mutate into something new, and the bulk of the remaining action was dedicated to a band of heroes working to stay safe from these mutants as well as figure out how to deal with the original catalyst. All that really happened from one picture to the next was that the cause changed – as did how the sufferers either dealt with or succumbed to it – and the flicks grew incessantly predictable for sticking to the same formula. With Strain, however, the picture went in an all-new direction, dedicating serious screen time to the mechanics of both how authentic science would and should be applied in the process of resolving the crisis. (Granted, I’ve always stated above that perhaps they didn’t handle this with the highest level of efficiency, but sins are sometimes forgivable when you’re the first to commit them.) At the film’s onset, its plague was already here, and this script focused directly on how to prevent it from metastasizing into the ultimate nightmare. That hadn’t quite happened before – at least, not in ways that I’m aware of – and I think the film deserves to be screened despite what I see as some flaws in design.
In other words, other entries in the realm of the Fantastic like 1995’s 12 Monkeys, 2002’s 28 Days Later, 2011’s Contagion, or even 2013’s World War Z may not have found the success they did had The Andromeda Strain not gone where it did first. Crichton’s masterful novel really paved the way for how the science-based story could exist and be both incorporated to visuals and still relatable to audiences who weren’t all brainiacs. (Let’s face it: not everyone who attends the cineplexes works for the Centers For Disease Control!) While I might nit and pick here and there with what I see are some less-then-effective choices in that adaptation, I’ll always insist Wise owes the respect for being there at the front of the line when others thought the material out-of-reach.
The Andromeda Strain (1971) was produced by Robert Wise Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I can still assure you that the completed product restored in 4K from the original camera negative just looks incredible: of course, there’s a bit of grain, but enthusiasts likely wouldn’t have it any other way. My only bugaboo is that there were a few scenes that came off looking a bit dark; and I can only assume this is owed to the source material. Lastly, if you’re looking for special features? I generally don’t get all that animated by audio commentaries – frankly, I’ve listened to far too many that come off a bit routine – but the one here from critic Bryan Reesman is top dollar: he deftly balances a wealth of minutiae involving the cast and crew and still keeps it moving in such a way that I have to give it a strong thumbs up. It’s one of the best I’ve heard in quite some time. I’ve just begun digging into the others, but there’s plenty so those of you who enjoy this stuff can buckle up.
Highly recommended.
My opinion is nothing if not controversial – especially when it comes to vintage Science Fiction crafts – but it is what it is: The Andromeda Strain might not be a particular effective or emotionally involving story, and yet I’ll always argue that it’s the kind of picture that deserves to be seen most deservedly by fans of genre entertainment. Yes: its characters are a bit flat. Yes: its pacing leaves a lot to be desired. Yes: director Wise employs a bit of post-production trickery that pulls viewers out of the experience on a few occasions. However, none of that reduces the fact that it’s arguably a groundbreaking event-style film – perhaps the first of its kind – and should be ‘required viewing’ for anyone who wants to talk the straight dope about SciFi filmmaking.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary check disc copy of The Andromeda Strain (1971) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Highly recommended.
My opinion is nothing if not controversial – especially when it comes to vintage Science Fiction crafts – but it is what it is: The Andromeda Strain might not be a particular effective or emotionally involving story, and yet I’ll always argue that it’s the kind of picture that deserves to be seen most deservedly by fans of genre entertainment. Yes: its characters are a bit flat. Yes: its pacing leaves a lot to be desired. Yes: director Wise employs a bit of post-production trickery that pulls viewers out of the experience on a few occasions. However, none of that reduces the fact that it’s arguably a groundbreaking event-style film – perhaps the first of its kind – and should be ‘required viewing’ for anyone who wants to talk the straight dope about SciFi filmmaking.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary check disc copy of The Andromeda Strain (1971) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
RSS Feed