THE CASSANDRA CROSSING
UK, 1976, 129 minutes, Colour.
Sophia Loren, Richard Harris, Ava Gardner, Burt Lancaster, Ingrid Thulin, Lee Strasburg, Martin Sheen, Anne Turkel, John Philip Law, O.J. Simpson, Alida Valli.
Directed by George Pan Cosmatos.
The Cassandra Crossing is cinema disaster. Cinema disaster has a penchant for planes and trains. The Crossing is an old railway bridge in Poland where this trainload of stars and contagious plague is destined. For a while the plot looks wildly plausible, despite very contrived dialogue, but towards the end, melodramatic crisis piles upon crisis. Which makes for exciting entertainment, but takes the sting out of some strong criticism of power playing with people's lives. The verve of the film comes from the suspenseful journey and the plague and some stylish stars like Burt Lancaster, Ingrid Thulin, Ava Gardner. Sophia Loren is a lovely heroine as always. Richard Harris is a whispering hero.
1. An example of the disaster trend of the 70s? An example of international politics? A successful and enjoyable example? Critics were harsh.. audiences enjoyed it. Why?
2. The importance of the international flavour, the European setting, the American overtones, especially in terms of surveillance, cover-ups, murders?
3. How credible was the basic plot? The characters within this basic framework? Conventional characters on a train ride? The gallery and assortment of characters and their interactions - melodramatic? The quality of the dialogue and its contrived style for this kind of group? How well did it all mesh together for satisfactory adventure entertainment?
4. The Geneva framework and Geneva as an international city: the long shot of entering into this world and leaving it after the experience of the train and the disaster and the cover-up? The importance of the colour photography of the settings: an authentic atmosphere - the city of Geneva, its buildings, the European countryside, Switzerland, Poland?
6. The choice of the train conventions for this kind of disaster? The momentum of the train, sense of destination and movement, travel and the locations of the countryside? The confined atmosphere, limited interaction of people, the atmosphere of danger? Audience expectations from train disaster films?
7. The impact of the initial raid, the reminders of the terrorism of the 70S? The cause and its lack of clarity, motivations, the lack of background of the people involved? Health experimentation in Geneva and security? The risk taken, viruses and plagues? The government sponsorship of this kind of research? The violence of plague and the picturing of deaths? The situation of the escape and the danger for the train? How credible this kind of misadventure in such a city as Geneva?
8. The film's presentation of research, the status of research, medical investigations, lack of cures? Security? Doctor Stradner as representing the research point of view? Her personality, involvement in her work, human compassion for the people on the train? Her interaction with Colonel McKenzie? and her being helpless?
9. Colonel McKenzie? and his strict control of the situation? His representing America, international interests? What kind of character to be in such a position? The tension, advice of Doctor Stradner and Major Stack? The growing tension, his responsibility to Papa Superius? The decision about the train, his contact with Dr. Chamberlain and advice? The decision about the crossing? The double think and the double talk? Government hypocrisy? How did he salve his conscience about the disaster? What end justified the means that he took? The critique of Dr. Stradner but her helplessness? Major Stack and his supervision? The irony of his being under surveillance at the end and his death ensuing? Dr. Stradner also under surveillance?
10. The personality of the Swede terrorist, the raid, his infection, his going on to the train, encounter with the little girl, other passengers, in the dining car, the ugliness of his death?
11. How important was the Chamberlain story? The background of Judith and her writing, the divorces? Jonathan Chamberlain and his medical work, his inability to live with Jennifer? How interesting the story, how trite and conventional? Hero and heroine for this kind of film? The fact that Sophia Loren and Richard Harris were playing these roles? Dr. Chamberlain and his gradual involvement medically his involvement with the saving of the people? Jennifer and her help. the risks that she ran. the bond with her husband? The heroism for the ending? Credible for this kind of person?
12. The atmosphere of arrogant glamour with Nicole Dressler, having Robbie Navarro with her, travelling with a gigolo? Her arrogance, her German industrial background? Ava Gardner and her style? Her reaction to the situation? The disillusionment with Robbie when it was revealed that he was using her for drug smuggling? The irony of the federal agent disguised as Father Haley? The character of Haley? How conventional these people for the action? Nicole and her attitude towards the possible destruction Navarro and his heroics in travelling along the outside of the train - his death?
13. The European background with Herman Kaplan? His fears and memories of Poland? The echoes of Nazi persecution of the Jews? His freedom, sense of foreboding, his not wanting to return? The ominous knowledge of the Cassandra Crossing and the concentration camp the irony of his being diverted there? His help during the crisis, the pathos of his suicide?
14. Minor characters like Susan and her boyfriend suffering from the plague? Mrs Chadwick as governess and the little girl? Their contribution to the plot?
15. The personality of the train conductor, and his having to cope with the situation?
16. The atmosphere of the plague, physical manifestations, illness, people panicking, people coping? The importance of the sealing of the train and the security guards - and Kaplan's attempt to escape? The progress of the train through Poland and the oxygen clearing up the plague? The hopes then for their not having to travel to Poland? The irony of the government not wanting the information spread?
17. The visual presentation of security guards, the fascist overtones of the control of the train and the people and their destiny?
18. The visual presentation of the Crossing, the strength and weaknesses of the bridge, speculation about the success, the purpose of sending the train to the Crossing?
19. The final atmosphere of heroics, especially Navarro climbing on the outside of the train? Chamberlain and his device for separating the carriages?
20. Was the audience expecting so much of the train to crash after the Crossing gave way? The visual presentation and the special effects? Audience identification with such disaster? The escape and the implications of people surviving such a disaster, the breaking of the cover? Would authorities hunt down the survivors from the train?
21. The irony of the film's ending with McKenzie? being victimised in the same way as he victimised the train passengers? How seriously was the film meant to be taken? As much more than an adventure? The implications for modern travel, security, dangers, disasters? An easy 'message' film?
