Threads (1984)

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Devastating film.

Even to those who know of Threads‘ reputation, the film still packs a punch that leaves you winded and miserable. It is a comprehensive and compelling insight into nuclear warfare that brutally highlighting the abject foolishness of MAD – the apt acronym for Mutually Assured Destruction.

The film focuses on young couple Jimmy (Reece Dinsdale) and Ruth (Karen Meagher) and their respective families. Ruth’s pregnant, so they’ve decided to do the proper thing by marrying and moving in together. Of course, their plans are never realised. The cast consists of unknown actors, which is a smart move because any household names may have detracted from the reality of it.

Although it is a drama, much of the film adopts a documentary format. Informative captions are typed across the screen by what sounds like a teletyper, producing that loud, mechanical sound as it ominously details the strategic and economic importance of Sheffield and the rapidly worsening international relations. It is this documentary realism that gives Threads a disturbing authenticity that further adds to the tension preceding the inevitable attack.

When the bomb finally strikes, the preamble that has led to it ensures that it remains powerful even if the special effects aren’t spectacular. I was actually pleasantly surprised by the special effects, the image of the mushroom cloud rising above the screams and hysteria of Sheffield is haunting, albeit lacking in scope compared to that infamous sequence in Terminator 2. It certainly blows ‘The Day After’, a similar American production, out of the water.

‘In an urban society, everything connects. Each person’s needs are fed by the skills of many others. Our lives are woven together in a fabric, but the connections that make society strong, also make it vulnerable.’

‘Threads’ opens with this profound piece of narration from Paul Vaughan, explaining its title and foreshadowing the abject horror that’s to come. It is after the bomb strikes that the viewer really begins to understand what it looks like when this vulnerable fabric of society is absolutely shattered. Once humanity has their veneer of civilisation destroyed, they become desperate and animalistic. Money becomes worthless, the new currency is food, food such as stale bread and raw meat, and people work frantically for it. Crops are scarce and the diminishing fuel reserves lead to the use of hoes rather than combine harvesters. Within a few years of the attack, the British population reaches medieval numbers of 4 – 11 million.

These damning facts and figures either appear in the aforementioned captions or are narrated by Vaughan, whose diction is comparable to Laurence Olivier’s in the brilliant Thames Television series The World at War.

Threads is a trenchant argument for nuclear disarmament. What an obnoxiously reckless species we’d be if we allowed nuclear warfare to destroy our planet. Imagine if some extra-terrestrial tourist with knowledge of Earth’s abundance of natural beauty, culture and technology landed on our planet only to find themselves amidst a nuclear winter, what a shameful task explaining ourselves to them would be.

We’ve all seen depressing, harrowing films, but the utter nihilism that is explored in such grinding detail here will make the idea of merely existing in a functioning, productive society seem positively Utopian.

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Monster (2003)

charlize theron aileen wuornos

A torturous, depressing biography with an uncannily accurate lead performance.

What a tortured life this woman led; a life of inferiority, confusion, violence, victimisation, prostitution, anger and ultimately, murder. Charlize Theron’s utter transformation is what drives this film, her performance and physical emulation perfectly conveying the desperate pain and impetuous anger of her character. I think the Oscars are not much more than a smug festival of self-celebration, but this performance deserved commendation.

‘Monster’ is the story of Aileen Wuornos, a prostitute from Florida who murdered seven men between 1989 and 1990. One might think that the film’s title would suggest otherwise, but  the film gives a very human representation of Wuornos. She was indeed a ‘monster’ in her final years, but the film’s emphasis on the brutal, relentless path that led to her first killing shows the architecture of such a creation. But not for a second, I hasten to add, does the film condone her violence, she isn’t glorified and she isn’t vilified either, the film is so very downbeat and visceral that it would be impossible for anyone to be allured by it. ‘Monster’ is by no means the tale of one woman standing up against chauvinist pigs; her tale of nature, nurture and the consequences of violence is impartially told.

The film reflects on Wurnos’ childhood, a time of sexual favours, inadequacy, rape and beatings. A narrative gap, which misses a dubious failed marriage and numerous arrests, presents the viewer with a sorry picture, a woman who washes in petrol station toilets, a woman who is desperately trying to survive. She then meets a companion, the vulnerable Selby Moore. It’s at this point that the film strays from the facts; ‘Selby Moore’ is a fictional character, very loosely based, especially in appearance, to Tyria Moore, Wuornos’ lover until her execution.

The pair, who have moved in together, live off Wuornos’ prostitution wage until their relationship is complicated by Moore’s discovery of Wuornos’ taste for violence. The film depicts the first murder as Wuornos described it -self defence. Unlike her later stories, I think this claim has credibility; it’s quite possible that Mallory thought Wuornos was expendable social underclass, an easy thrill without consequence. I respect that the scene was orchestrated in this manner.

Monster is a stark and balanced insight into the frankly miserable life of Aileen Wuornos. You may not like her and all the violence will most likely strain your empathy, but I think you’ll leave the film having a greater understanding of the woman.

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