Twilight’s Last Gleaming (1977)

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Not The Final Installment In That Teen Vampire Series

***This Review Contains Spoilers***

1977 was a year of some high profile bombs which later achieved some cult status such as Cross of Iron, Sorcerer and Twilight’s Last Gleaming. This partially came about from the competition from a certain film called Star Wars which offered a more optimistic and hopeful cinematic experience. As someone who has mixed feeling on New Hollywood, these movies don’t deserve to be ignored the way they are and are some of the best hidden gems of the 1970’s. Likewise, the trashy, conspiracy theory concept of Twilight’s Last Gleaming would be the ire of many high brow critics but it’s the high concept which makes Twilight’s Last Gleaming irresistible and helps the viewer to look past the implausibility of the premise. This is a film which trades it’s logic for emotion and is aware of its own implausibility (“How in the hell does some joker walk into a top-secret installation and get control of the most sophisticated weapons system in the world?”). As a layman, it feels believable within the context of the movie but it’s always fun to ask, could it happen in real life?

Twilight’s Last Gleaming features an ironic use of ‘My Country Tis of Thee’ during the opening and closing credits; it’s not exactly a happy movie. Oddly, however, Jerry Goldsmith’s score sounds like something from an action/adventure blockbuster and is even John Williams like at times. The action takes place over a single day in what can be described as Dog Day Afternoon like scenario in a missile silo for a film which you could mistaken as being based on a stage play with its handful of sets and lengthy scenes. On my first viewing I wasn’t convinced the running time was justified but watching it again I was hooked. Twilight’s Last Gleaming takes is set in the future year of November 16th, 1981 although it’s not stated why it’s set on this particular date.

Burt Lancaster was still getting some great roles into the 1970’s. He still had his mojo and now with a beat-up face to boot. As one of the characters in the film puts it, “with that rhetoric he could be elected governor in ten states”. Lancaster’s role of General Lawrence Dell draws parallels to his role of General Scott in the political thriller Seven Days In May; a megalomaniac going to extremes in order to fulfill his agenda despite the risks to the United States and the world as a whole. He may be trying to provide a catharsis to the pain and anger of Vietnam veterans but at what cost? Lancaster and co-star Paul Winfred have an enjoyable chemistry between them and provide comic relief with their back and forth. It’s interesting seeing Lancaster sparring off with actors much younger than him as well as dropping some F-bombs. On top of that, there is something surreal about watching Burt Lancaster drinking a can of Coca-Cola. Product placements for Coca-Cola appear at several points throughout the film with Coke vending machines in clear sight; I guess they have to answer to The Coca-Cola Company.

Twilight’s Last Gleaming consists of veteran actors talking some serious stuff. The discussions in the Oval Office scene are a lot to take in on one viewing (“Ralph! Are you comparing Vietnam to Hitler?!” – It always goes back to Hitler). The movie is full of entertaining one-liners – “It’s like Star Trek all over again”, “Come on this isn’t Disneyland” and my favourite, “There are no midgets in the United States Air Force”.  The oldest among this cast is Melvyn Douglas, the prime example of an actor who got better with age as clearly evident here; full of powerful subdue comments and monologues (“The beginning of the end of mankind, in graphic black and white”).

The film’s extensive use of split screen works remarkably well and does not feel like a gimmick creating a unique viewing experience; the split screen here is clearly not an afterthought. The entire sequence in which missiles are about to be launched is presented entirely in split screen with events being monitored in three different locations in order to heighten the tension. The scene itself is one scary sequence with the pandemonium and the sight of the missiles rising (the model of the silo exterior is shown on screen just briefly enough not to notice they are models). The President himself describes it best – “The opening of the doors of hell”.

The President in Twilight’s Last Gleaming played by Charles Durning is not an idealistic representation of a president nor is he massively charming and ultimately a bit drab. However, we do get to see his human side during a scene in which he talks to his General alone and admits to being scared out of his mind. At the beginning of the film, there is a scene in which the President has a conversation with a character played by Roscoe Lee Brown. It doesn’t have a purpose in the plot but does set the tone of the White House scenes and foreshadows the rest of the movie (“If I grant Zabat sanctuary, I give approval to every dissident with a cause and a gun”).

The ending of Twilight’s Last Gleaming all comes down to the question of whether or not society can deal with the truth? With widespread distrust in the government starting with the assassination of JFK and not getting any better with the Watergate scandal, would the President’s cabinet reveal the movie’s purported truth on the Vietnam War to the American public like he ordered before being shot down in an attempt to take down the two men holding him hostage. However was his death even an accident or did they intend to let him be shot down in order to keep the truth hidden; it does seem odd that no medical aid is given to him after being shot. The ending is left ambiguous and the viewer is left to think about it.

Sometimes a Great Notion (1970)

Sometimes a Great Motion Picture

***This Review Contains Spoilers***

There is no overarching plot in Sometimes a Great Notion yet I was still engaged with the life of this family with their ongoing effort to try and make a living and their own family dilemmas all occurring among the beautiful forest scenery of Oregon. This is a man’s movie reminiscent of the male bonding films from Howard Hawks such as Only Angels Have Wings and Tiger Shark.

Henry Fonda plays a character called Henry so I like to imagine his interactions on set with Paul Newman occur just like they do in the movie. I’ve also often championed Henry Fonda’s unsung abilities as a comedic actor and here he provides the film with some great moments of comic relief. Michael Sarrazin gives the most interesting performance though as the girly man Leeland Stamper who doesn’t fit in with the rest of the men largely due to his long hair. There’s a quiet confidence to his character though as he is unbothered by the remarks of the other men and eventfully wins their respect, by how? Winning a game of the ever manly sport of football.

The logging scenes themselves are actually quite suspenseful, seeing men who are putting their lives in danger in order to make a living, you’re expecting someone to get injured or killed at any time and that brings me to scene in the film which left the greatest impression on me. There are two death scenes towards the end of the film. First, there’s Henry Fonda’s death which is sad, itself but that is but nothing compared to the death of Richard Jaeckel; I was thinking about this scene for days after watching the film and it’s even more powerful watching it a second time as I’m waiting in dread for the scene to arrive. For starters, the character is trapped under a log while the tide is slowly rising and he spends the whole time joking about it and when he is eventually submerged in the water he can only stay alive through constant mouth to mouth resuscitation until help shows up to move the giant log. I can’t imagine a more terrifying situation a person could be in; you can possibly get rescued and live but in order to do so you must remain completely calm; one mistake and you’re a goner. This one of the most harrowing things I’ve ever seen in a film. I doubt I will ever see a more intense death scene or one so difficult to watch.