The Day After
|The Day After|
The Day After DVD cover
|Distributed by||ABC Motion Pictures|
|Directed by||Nicholas Meyer|
|Produced by||Stephanie Austin (associate producer)
Robert Papazian (producer)
|Written by||Edward Hume|
|Music by||David Raksin
|Editing by||William Paul Dornisch
|Production company||ABC Circle Films|
|Release date||November 20, 1983|
|Running time||126 minutes|
The Day After is a 1983 American television film that aired on November 20, 1983, on the ABC television network. It was seen by more than 100 million people during its initial broadcast. It is currently the highest-rated television film in history.
The film postulates a fictional war between NATO forces and the Warsaw Pact that rapidly escalates into a full-scale nuclear exchange between the United States and the Soviet Union. However, the action itself focuses on the residents of Lawrence, Kansas, and Kansas City, Missouri, as well as several family farms situated next to nuclear missile silos.
The cast includes JoBeth Williams, Steve Guttenberg, John Cullum, Jason Robards, and John Lithgow. The film was written by Edward Hume, produced by Robert Papazian, and directed by Nicholas Meyer. It was released on DVD on May 18, 2004, by MGM.
Background on the war
The chronology of the events leading up to the war is depicted entirely via television and radio news broadcasts. The Soviet Union is shown to have commenced a military buildup in East Germany (which the Soviets insist are Warsaw Pact exercises) with the goal of intimidating the United States into withdrawing from West Berlin. When the United States does not back down, Soviet armored divisions are sent to the border between West and East Germany.
During the late hours of Friday, September 15, news broadcasts report a "widespread rebellion among several divisions of the East German Army." As a result, the Soviets blockade West Berlin. Tensions mount and the United States issues an ultimatum that the Soviets stand down from the blockade by 6:00 a.m. the next day, or it will be interpreted as an act of war. The Soviets refuse, and the President of the United States orders all U.S. military forces around the world on alert.
On Saturday, September 16, NATO forces in West Germany invade East Germany through the Helmstedt checkpoint to free Berlin. The Soviets hold the Marienborn corridor and inflict heavy casualties on NATO troops. Two Soviet MiG-25s cross into West German airspace and bomb a NATO munitions storage facility, also striking a school and a hospital. A subsequent radio broadcast states that Moscow is being evacuated. At this point, major U.S. cities begin mass evacuations as well. There soon follow unconfirmed reports that nuclear weapons were used in Wiesbaden and Frankfurt. Meanwhile, in the Persian Gulf, naval warfare erupts, as radio reports tell of ship sinkings on both sides.
Eventually the Soviet Army reaches the Rhine. Seeking to prevent Soviet forces from invading France and causing the rest of Western Europe to fall, NATO halts the Soviet advance by airbursting three low-yield tactical nuclear weapons over advancing Soviet troops. Soviet forces counter by launching a nuclear strike on NATO headquarters in Brussels. In response, the United States Strategic Air Command begins scrambling B-52 bombers.
The Soviet Air Force then destroys a BMEWS station in RAF Fylingdales, England and another at Beale Air Force Base in California. Meanwhile, on board the EC-135 Looking Glass aircraft, the order comes in from the President of the United States for a full nuclear strike against the Soviet Union. Almost simultaneously, an Air Force officer receives a report that a massive Soviet nuclear assault against the United States has been launched, stating "32 targets in track, with 10 impacting points." Another airman receives a report that over 300 Soviet ICBMs are inbound. It is deliberately unclear in the film whether the Soviet Union or the United States launches the main nuclear attack first.
The first salvo of the Soviet nuclear attack on the central United States (as shown from the point of view of the residents of Kansas and western Missouri) occurs at 3:38 p.m. Central Daylight Time, when a large-yield nuclear weapon air bursts at high altitude over Kansas City, Missouri. This generates an electromagnetic pulse that shuts down the electric power grid of the surrounding area. Thirty seconds later, incoming Soviet ICBMs begin to hit military and population targets, including Kansas City. Sedalia, Missouri and all the way south to El Dorado Springs is blanketed with ground burst nuclear weapons. While the story provides no specifics, it strongly suggests that America's cities and military and industrial base are heavily damaged or destroyed. The aftermath depicts the central United States as a blackened wasteland of burned-out cities filled with burn, blast, and radiation victims. Eventually, the U.S. President delivers a radio address in which he declares that there is now a ceasefire between the United States and the Soviet Union, which has suffered similar damage, and states that there has not been and will not ever be any surrender by the United States.
The story follows several citizens and those they encounter after a nuclear attack on Lawrence, Kansas and Kansas City, Missouri. The narrative structure of the film is presented as a before and after scenario with the first half introducing the various characters and their stories. The middle portion of the film shows the nuclear disaster itself, and the latter half details the effects of the fallout on the characters.
Dr. Russell Oakes (Jason Robards) lives in the upper-class Brookside neighborhood with his wife (Georgann Johnson) and works in a hospital in downtown Kansas City. He is scheduled to teach a hematology class at the University of Kansas (KU) hospital in nearby Lawrence, Kansas, and is en route when he hears an alarming Emergency Broadcast System alert on his car radio. He exits the crowded freeway and attempts to contact his wife, but gives up due to the incredibly long line at a phone booth. Oakes attempts to return to his home via the K-10 freeway and is the only eastbound motorist. The nuclear attack begins and Kansas City is gripped with panic as air raid sirens wail. Oakes' car is permanently disabled by the electromagnetic pulse from the first high altitude detonation, as are all motor vehicles and electricity. Oakes is about 30 miles (48 km) away from downtown when the missiles hit. His family, many colleagues, and almost all of Kansas City's population are killed. He walks 10 miles (16 km) to Lawrence, which has been severely damaged from the blasts, and, at the university hospital, treats the wounded with Dr. Sam Hachiya (Calvin Jung) and Nurse Nancy Bauer (JoBeth Williams). Also at the university, science Professor Joe Huxley (John Lithgow) and students use a Geiger counter to monitor the level of nuclear fallout outside. They build a makeshift radio to maintain contact with Dr. Oakes at the hospital, as well as to locate any other broadcasting survivors outside the city.
Billy McCoy (William Allen Young) is an Airman First Class in the United States Air Force stationed at Whiteman AFB near Kansas City, and is called to duty during the DEFCON 2 alert. As a missile repair technician at a silo, he is among the first to witness the initial missile launches, indicating full-scale nuclear war. After it becomes clear that a Soviet counterstrike is imminent, the soldiers panic. Several airmen stubbornly insist that they should stay at their post on duty and take shelter in the silo, while others, including McCoy, point out that it is futile because the silo will not withstand a direct hit. McCoy tells them they have done their jobs and speeds away in an Air force truck to retrieve his wife and child in Sedalia, but the truck is permanently disabled and stalls from the EMP effect of the first high altitude detonation. Realizing what has happened, McCoy abandons the truck and takes shelter inside an overturned semi truck trailer, barely escaping the oncoming nuclear blast. After the attack, McCoy walks towards a town and finds an abandoned store, where he takes candy bars and other provisions, while gunfire is heard in the distance. While standing in line for a drink of water from a well pump, McCoy befriends a man who is mute, and shares his provisions. McCoy asks another man, who is walking along the road with other injured survivors, what happened to Sedalia, and the man indicates that Sedalia no longer exists. As they both begin to suffer the effects of radiation sickness, they leave a refugee camp and head to the hospital at Lawrence, where McCoy ultimately succumbs to the radiation effects.
Farmer Jim Dahlberg (John Cullum) and his family live in rural Harrisonville, Missouri, about 37 miles (60 km) from Kansas City but very close to a field of missile silos. While the family is preparing for the wedding of their eldest daughter, Denise, to KU senior Bruce Gallatin, Jim is forced to prepare for the impending attack by converting their basement into a makeshift fallout shelter. As the missiles are launched, he forcefully carries his wife Eve (Bibi Besch), who refuses to accept the reality of the escalating crisis while continuing the wedding preparations, downstairs into the basement from their bedroom. While running to the shelter, the Dahlberg's son, Danny, inadvertently stared directly at a nuclear explosion and was flash-blinded. A KU student, Stephen Klein (Steve Guttenberg), while hitchhiking home to Joplin, Missouri, stumbles upon the farm and is taken in by the Dahlbergs. After several days in the basement since the nuclear holocaust took place, Denise, distraught over the situation and the unknown whereabouts of Bruce, who, unbeknownst to her, was killed in the attack, escapes from the basement and runs about the field that is cluttered with dead animals, sees a clear blue sky and thinks that the worst is over. However, unbeknownst to her, the field Denise is running about to get away from the house is actually covered in radioactive fallout. Klein goes after her, attempting to warn her about the effects of the nuclear radiation that still lurks around, but Denise, refusing to adhere to this warning, tries to run from him. Eventually, Klein is able to chase Denise back to safety into the basement, but not before Denise runs to the stairs to find her wedding dress. Because she ran about the contaminated field, Denise slowly develops radiation sickness and, during a makeshift church service, she begins to bleed externally, while the minister tries to express how lucky they are to have survived and a Presidential address remarks that there is a ceasefire between the United States and the Soviet Union, which has suffered similar damage, and states that there has not been and will not ever be any surrender by the United States. Klein takes Danny and Denise to Lawrence for treatment. Dr. Hachiya unsuccessfully attempts to treat Danny, and Klein also develops radiation sickness. Dahlberg, upon returning from an emergency farmers meeting, confronts a group of survivors squatting on the farm and is shot and killed.
Ultimately, the overall situation at the hospital becomes grim. Dr. Oakes collapses from exhaustion and, upon awakening several days later, finds out that Nurse Bauer has died from meningitis. Oakes, suffering from terminal radiation sickness, decides to return to Kansas City to see his home for the last time, while Dr. Hachiya stays behind. Oakes hitches a ride on a Army National Guard truck, where he witnesses military personnel blindfolding and executing looters. After somehow managing to locate where his home was, he finds the charred remains of his wife's wristwatch and a family huddled in the ruins. Oakes angrily orders them to leave his home. The family silently offers Oakes food, causing him to collapse in despair, as a member of the family comforts him.
As the scene fades to black, Professor Huxley calls into his makeshift radio: "Hello? Is anybody there? Anybody at all?". There is no response from the radio.
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The Day After was the idea of ABC Motion Picture Division president Brandon Stoddard, who, after watching The China Syndrome, was so impressed that he envisioned creating a film exploring the effects of nuclear war on the United States. Stoddard asked his executive vice president of television movies and miniseries Stu Samuels to develop a script. Samuels created the title The Day After to emphasize that the story was not about a nuclear war itself, but the aftermath. Samuels suggested several writers and eventually Stoddard commissioned veteran television writer Edward Hume to write the script in 1981. ABC, which financed the production, was concerned about the graphic nature of the film and how to appropriately portray the subject on a family-oriented television channel. Hume undertook a massive amount of research on nuclear war and went through several drafts until finally ABC deemed the plot and characters acceptable.
Originally, the film was based more around and in Kansas City, Missouri. Kansas City was not bombed in the original script, although Whiteman Air Force Base was, making Kansas City suffer shock waves and the horde of survivors staggering into town. There was no Lawrence, Kansas in the story, although there was a small Kansas town called "Hampton". While Hume was writing the script, he and producer Robert Papazian, who had great experience in on-location shooting, took several trips to Kansas City to scout locations and met with officials from the Kansas film commission and from the Kansas tourist offices to search for a suitable location for "Hampton." It came down to a choice of either Warrensburg, Missouri and Lawrence, Kansas, both college towns — Warrensburg was home of Central Missouri State University and was near Whiteman Air Force Base and Lawrence was home of the University of Kansas and was near Kansas City. Hume and Papazian ended up selecting Lawrence, due to the access to a number of good locations: a university, a hospital, football and basketball venues, farms, and a beautiful countryside. Lawrence was also agreed upon as being the "geographic center" of the United States. The Lawrence people were urging ABC to change the name "Hampton" to "Lawrence" in the script.
Back in Los Angeles, the idea of making a TV movie showing the true effects of nuclear war on average American citizens was still stirring up controversy. ABC, Hume, and Papazian realized that for the scene depicting the nuclear blast, they would have to use state-of-the-art special effects and they took the first step by hiring some of the best special effects people in the business to draw up some storyboards for the complicated blast scene. Then, ABC hired Robert Butler to direct the project. For several months, this group worked on drawing up storyboards and revising the script again and again; then, in early 1982, Butler was forced to leave The Day After because of other contractual commitments. ABC then offered the project to two other directors, who both turned it down. Finally, in May, ABC hired feature film director Nicholas Meyer, who had just completed the blockbuster Star Trek II: The Wrath of Khan. Meyer was apprehensive at first and doubted ABC would get away with making a television film on nuclear war without the censors diminishing its effect. However, after reading the script, Meyer agreed to direct The Day After.
However, Meyer wanted to make sure he would film the script he was offered. He did not want the censors to censor the film, nor the film to be a regular Hollywood disaster movie from the start. Meyer figured the more The Day After resembled such a film, the less effective it would be, and preferred to present the facts of nuclear war to viewers. He made it clear to ABC that no big TV or film stars should be in The Day After. ABC agreed, although they wanted to have one star to help attract European audiences to the film when it would be shown theatrically there. Later, while flying to visit his parents in New York City, Meyer happened to be on the same plane with Jason Robards and asked him to join the cast.
Meyer plunged into several months of nuclear research, which made him quite pessimistic about the future, to point of becoming ill each evening when he came home from work. Meyer and Papazian also made trips to the ABC censors, and to the United States Department of Defense during their research phase, and experienced conflicts with both. Meyer had many heated arguments over elements in the script, that the network censors wanted cut out of the film. The Department of Defense said they would cooperate with ABC if the script made clear that the Soviet Union launched their missiles first—something Meyer and Papazian took pains not to do.
In any case, Meyer, Papazian, Hume, and several casting directors spent most of July 1982 taking numerous trips to Kansas City. In between casting in Los Angeles, where they relied mostly on unknowns, they would fly to the Kansas City area to interview local actors and scenery. They were hoping to find some real Midwesterners for smaller roles. Hollywood casting directors strolled through shopping malls in Kansas City, looking for local people to fill small and supporting roles, while the daily newspaper in Lawrence ran an advertisement calling for local residents of all ages to sign up for jobs as a large number of extras in the film and a professor of theater and film at the University of Kansas was hired to head up the local casting of the movie. Out of the eighty or so speaking parts, only fifteen were cast in Los Angeles. The remaining roles were filled in Kansas City and Lawrence.
While in Kansas City, Meyer and Papazian toured the Federal Emergency Management Agency offices in Kansas City. When asked what their plans for surviving nuclear war were, a FEMA official replied that they were experimenting with putting evacuation instructions in telephone books in New England. "In about six years, everyone should have them." This meeting led Meyer to later refer to FEMA as "a complete joke." It was during this time that the decision was made to change "Hampton" in the script to "Lawrence." Meyer and Hume figured since Lawrence was a real town, that it would be more believable and besides, Lawrence was a perfect choice to play a representative of Middle America. The town boasted a "socio-cultural mix," sat near the exact geographic center of the continental U.S., and Hume and Meyer's research told them that Lawrence was a prime missile target, because 150 Minuteman missile silos stood nearby. Lawrence had some great locations, and the people there were more supportive of the project. Suddenly, less emphasis was put on Kansas City, the decision was made to have the city completely annihilated in the script, and Lawrence was made the primary location in the film.
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Production began on Monday, August 16, 1982, at a farm just west of Lawrence. Sunshine was needed but it turned out to be an overcast day. The set required a floodlight. The crew set fire to the farm's red barn for one scene during the blast sequence, though this shot was eventually cut. The owner of the farm was not paid, but ABC did compensate by building him a new barn. A set in rural Lawrence, depicting a schoolhouse, was made in six days from fiberglass "skins." On Monday, August 30, 1982, ABC shut down Rusty's IGA supermarket in Lawrence's Hillcrest Shopping Center from 7 a.m. until 2 p.m. to shoot a scene representing panic buying. A local man and his infant son came to the market, apparently unaware that ABC was filming a movie. The man reportedly saw the chaos and ran back into his car in fear.
Local extras were paid $75 to shave heads bald, have prosthetic latex scar tissue and burn-marks affixed to their faces, be plastered with coats of artificial mud, and be dressed in tattered clothes for scenes of radiation sickness. They were requested not to bathe or shower until filming was completed. In a small Lawrence park, ABC set up a grimy shantytown to serve as home to survivors. It was known as "Tent City." On Friday, September 3, 1982, the cameras rolled with many students as extras. The next day, Jason Robards, the best-known "star" of the film, arrived and production moved to Lawrence Memorial Hospital.
Many local individuals and businesses profited. It was estimated in newspaper accounts that ABC spent $1 million in Lawrence, not all on the production. Meyer said he wanted the film not to take political stands, but rather just remind people of nuclear war's perils. He thought of the TV film as a gigantic public service announcement.
On September 6, in downtown Lawrence, the filmmakers repainted signs, changing the names of stores, staining the facades with soot. The large windows were shattered into sharp teeth, bricks were scattered and junked cars were painted with clouds of black spray. Two industrial-sized yellow fans bolted to a flatbed trailer blew clouds of white flakes into the air. This fallout-matter was actually cornflakes painted white.
On September 7, students poured into Allen Fieldhouse, the basketball arena, the only place on campus big enough to accommodate so many wounded. A scene was filmed with thousands of radiation victims stretched out on the court floor.
On September 8, a four-mile stretch on K-10 between the Edgerton Road exit and the DeSoto interchange at former K-285 (now Lexington Avenue) was closed for shooting highway scenes representing a mass exodus on Interstate 70. On September 10, Robards' character was filmed returning to what is left of Kansas City to find his home.
ABC used the demolition site of the former St. Joseph Hospital located at Linwood Boulevard and Prospect Avenue in an inner city neighborhood in Kansas City as the set. The network paid the city to halt demolition for a month so it could film scenes of destruction there. However, when the crew arrived, more demolition had apparently taken place. Meyer was angry, but then realized he could populate the area with fake corpses and junked cars "and then I got real happy." Robards was in makeup at 6 a.m. to look like a radiation poisoning victim. The makeup took three hours to apply. Passers-by strained for a closer look as Robards lifted the arm of a body stuck under fallen debris — just the arm, severed at the shoulder. It was at this site that the moving final scene where Dr. Oakes confronts a family of squatters was filmed.
There were more problems on September 11. Meyer had desperately wanted the Liberty Memorial, a tall war memorial in Penn Valley Park overlooking downtown Kansas City, for two scenes: postcard-perfect shots of Kansas City near the beginning and a scene of Robards stumbling through the ruins. However, one director of the local parks department was opposed to letting it be used for commercial purposes and expressed concern that ABC would damage the Memorial. A resolution was reached. By using fiberglass, the filmmakers made it look as if the Memorial had been reduced to rubble. Robards stumbled through debris once again. That evening, the cast and crew flew to Los Angeles.
Interior hospital scenes with Robards and JoBeth Williams were shot in Los Angeles. Many scientific advisors from various fields were on set to ensure the accuracy of the explosion, its effects and its victims. The government, nervous of how it would be portrayed, insisted that the Soviets be the instigators of the attack, and disagreed with the producers who wanted it to be confused and unclear about who was responsible for launching first, didn't allow the production to use stock footage of nuclear explosions in the film, so ABC hired special effects creators. The result was a visually authentic explosion and iconic "mushroom cloud" created by injecting oil-based paints and inks downward into a water tank with a piston, filmed at high speed with the camera mounted upside down. The image was then optically color- and contrast-inverted. The water tank used for the "mushroom clouds" was the same water tank used to create the "Mutara Nebula" special effect in Star Trek II: The Wrath of Khan.
The Day After relied heavily on footage from other movies and from declassified government films. Extensive use of stock footage was interspersed with special effects of the mushroom clouds. While the majority of the missile launches came from United States Department of Defense footage of ICBM missile tests (mainly Minuteman IIIs from Vandenberg Air Force Base adjacent to Lompoc, California), all of the stock footage of missile launches were acquired from declassified DoD film libraries. The scenes of Air Force personnel aboard the Airborne Command Post receiving news of the incoming attack are footage of actual military personnel during a drill and had been aired several years earlier in a 1979 PBS documentary, First Strike. In the original footage, the silo is "destroyed" by an incoming "attack" just moments before launching its missiles, which is why the final seconds of the launch countdown are not seen in this movie.
Further stock footage was taken from news events (fires and explosions) and the 1979 theatrical film Meteor (such as a bridge collapsing and the destruction of a tall office building originally used to depict the destruction of the World Trade Center in that film). Brief scenes of stampeding crowds were also borrowed from the disaster film Two-Minute Warning (1976). Other footage had been previously used in theatrical films such as Superman and Damnation Alley.
The editing of The Day After was one of the most nerve-wracking processes ABC had ever gone through in post-production of any of their films. There were many meetings with the censors and Nicholas Meyer was enraged and confused because the network cut out many scenes that it felt slowed the pacing of the film, and not because they were too controversial or too graphic.
The network originally planned to air the film as a four-hour "event" spread over two nights for a total running time of 180 minutes without commercials. Meyer felt the script was padded, and suggested cutting out an hour of material and presenting the whole film in one night. The network disagreed, and Meyer had filmed the entire script. Subsequently, the network found that it was difficult to find advertisers, considering the subject matter, and told Meyer he could edit the film for a one-night version. Meyer's original cut ran two hours and twenty minutes, which he presented to the network. After the screening, the executives were sobbing and seemed deeply affected, leading Meyer to believe they approved of his cut. However, a long six-month struggle began over the final shape of the film. The network now wanted to trim the film to the bone, but Meyer and his editor Bill Dornisch refused to cooperate. Dornisch was fired, and Meyer walked off. The network brought in other editors, but the network ultimately was not happy with their versions. They finally brought Meyer back in and reached a compromise, with a final running time of 120 minutes.
The Day After was initially scheduled to premiere on ABC in May 1983, but the post-production work to reduce the film's length pushed back its initial airdate to November. Censors forced ABC to cut an entire scene of a child having a nightmare about nuclear holocaust and then sitting up, screaming. A psychiatrist told ABC that this would disturb children. "This strikes me as ludicrous," Meyer wrote in TV Guide at the time, "not only in relation to the rest of the film, but also when contrasted with the huge doses of violence to be found on any average evening of TV viewing." In any case, they made a few more cuts, including to a scene where Denise possesses a diaphragm. Another scene, where a hospital patient abruptly sits up screaming, was excised from the original television broadcast but restored for home video releases. Meyer persuaded ABC to dedicate the film to the citizens of Lawrence, and also to put a disclaimer at the end of the film, following the credits, letting the viewer know that The Day After downplayed the true effects of nuclear war so they would be able to have a story. The disclaimer also included a list of books that provide more information on the subject. When the film was finished, Meyer vowed never to work in television again.
The Day After received a large promotional campaign prior to its broadcast. Commercials aired several months in advance, ABC distributed half a million "viewer's guides" that discussed the dangers of nuclear war and prepared the viewer for the graphic scenes of mushroom clouds and radiation burn victims. Discussion groups were also formed nationwide.
In 1987, The Day After was broadcast on Soviet Union Central television.
Composer David Raksin wrote original music and adapted music from The River (a documentary film score by concert composer Virgil Thomson). Although he recorded just under 30 minutes of music, much of it was edited out of the final cut.
Deleted and alternative scenes
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Due to the film's being shortened from the original three hours (running time) to two, several planned special-effects scenes were scrapped, although storyboards were made in anticipation of a possible "expanded" version. They included a "bird's eye" view of Kansas City at the moment of two nuclear detonations as seen from a Boeing 737 on approach, as well as simulated newsreel footage of American troops taking up positions in preparation of advancing Soviet armored units, and the tactical nuclear exchange in Germany between NATO and the Warsaw Pact, which follows after the attacking force breaks through and overwhelms the NATO lines.
ABC censors severely toned down scenes to reduce the body count or severe burn victims. Meyer refused to remove key scenes but reportedly some eight and a half minutes of excised footage still exist, significantly more graphic. Some footage was reinstated for the film's release on home video. Additionally, the nuclear attack scene was longer and supposed to feature very graphic and very accurate shots of what happens to a human body during a nuclear blast. Examples included people being set on fire, their flesh carbonizing, being burned to the bone, eyes melting, faceless heads, skin hanging, deaths from flying glass and debris, limbs torn off, being crushed, blown from buildings by the shockwave, and people in fallout shelters suffocating during the firestorm. Also cut were images of radiation sickness, as well as graphic post-attack violence from survivors such as food riots, looting, and general lawlessness as authorities attempted to restore order.
JoBeth Williams' character was originally scripted with a death scene, asking whether the living envy the dead in a nuclear war's aftermath. This scene was cut when the film was reduced to two hours. In the released version, Nurse Bauer's death occurs off-camera and is mentioned by Dr. Hachiya as having been due to meningitis. The dialogue was garbled and some viewers failed to hear the cause of death on the first viewing.
One cut scene shows surviving students battling over food. The two sides were to be athletes versus the science students under the guidance of Professor Huxley. Another brief scene later cut related to a firing squad, where two US soldiers are blindfolded and executed. An officer reads the charges, verdict and sentence, as a bandaged chaplain reads the Last Rites. A similar sequence occurs in a 1965 UK-produced faux documentary, The War Game. In the original broadcast, when the President addressed the nation, the voice was an imitation of Ronald Reagan. In subsequent broadcasts, that voice was overdubbed by a stock actor.
Home video releases in the US and internationally come in at various running times, many listed at 126 or 127 minutes; full screen (4:3 aspect ratio) seems to be more common than widescreen. RCA videodiscs were limited to 2 hours per disc, so that full screen release appears to be closest to what originally aired on ABC in the US. A 2001 US VHS version (Anchor Bay Entertainment, Troy, Michigan) lists a running time of 122 minutes. A 1995 double laser disc "director's cut" version (Image Entertainment) runs 127 minutes, includes commentary by director Nicholas Meyer and is "presented in its 1.75:1 European theatrical aspect ratio" (according to the LD jacket).
Two different German DVD releases run 122 and 115 minutes; edits reportedly downplay the Soviet Union's role.
On its original broadcast (Sunday, November 20, 1983), ABC and local TV affiliates opened 1-800 hotlines with counselors standing by. There were no commercial breaks after the nuclear attack. ABC then aired a live debate, hosted by Nightline's Ted Koppel, featuring the scientist Carl Sagan, former Secretary of State Henry Kissinger, Elie Wiesel, former Secretary of Defense Robert McNamara, General Brent Scowcroft and conservative commentator William F. Buckley, Jr.. Sagan argued against nuclear proliferation, while Buckley promoted the concept of nuclear deterrence. Sagan described the arms race in the following terms: "Imagine a room awash in gasoline, and there are two implacable enemies in that room. One of them has nine thousand matches, the other seven thousand matches. Each of them is concerned about who's ahead, who's stronger."
One psychotherapist counseled viewers at Shawnee Mission East High School in the Kansas City suburbs, and 1,000 others held candles at a peace vigil in Penn Valley Park. A discussion group called Let Lawrence Live was formed by the English Department at the university and dozens from the Humanities Department gathered on the campus in front of the Memorial Campanile and lit candles in a peace vigil. At Baker University, a private school in Baldwin City, Kansas, roughly 10 miles south of Lawrence, a number of students drove around the city, looking at sites depicted in the film as having been destroyed.
Children's entertainer Mr. Rogers also dedicated five episodes of his television program (entitled the "Conflict" series) to comfort and talk to young children who had seen the movie on television.
A week before the film's airing, conservative group Citizens for America issued a "Call for Action" to its "local chairmen", including background material on the Reagan administration's position on strategic defense, along with instructions on how to hold a press conference and a sample guest editorial. In his November 15, 1983 cover letter, Lew Lehrman (Lewis Lehrman) wrote, "Our response to this piece of nuclear freeze propaganda must be swift and convincing. President Reagan has presented this country with the only option to nuclear disaster: the construction of a strategic defense system that can protect the free world from aggression without the use of the threat of annihilation as a deterrent."
The film and its subject matter were prominently featured in the news media both before and after the broadcast. On such covers as Time Magazine, Newsweek, and U.S. News & World Report, and TV Guide.
Critics tended to claim the film was either sensationalizing nuclear war or that it was too tame. The special effects and realistic portrayal of nuclear war received praise. The film received twelve Emmy nominations and won two Emmy awards. It was rated "above average" in Leonard Maltin's Movie Guide, until all reviews for movies exclusive to TV were removed from the guide.
Nearly 100 million Americans watched The Day After on its first broadcast, a record audience for a made-for-TV movie. Producers Sales Organization released the film theatrically around the world, in the Eastern Bloc, China, North Korea and Cuba (this international version contained six minutes of footage not in the telecast edition). Since commercials are not sold in these markets, Producers Sales Organization lost an undisclosed sum of money. Years later this international version was released to tape by Embassy Home Entertainment (Metro-Goldwyn-Mayer now holds the video rights in the US).
Commentator Ben Stein, critical of the movie's message (i.e. that the strategy of Mutual Assured Destruction would lead to a war), wrote in the Los Angeles Herald-Examiner what life might be like in an America under Soviet occupation. Stein's idea was eventually dramatized in the miniseries Amerika, also broadcast by ABC.
The New York Post accused Meyer of being a traitor, writing, "Why is Nicholas Meyer doing Yuri Andropov's work for him?" Much press comment focused on the unanswered question in the film of who started the war. Richard Grenier in the National Review accused The Day After of promoting "unpatriotic" and pro-Soviet attitudes.
Effects on policymakers
President Ronald Reagan watched the film several days before its screening, on November 5, 1983. He wrote in his diary that the film was "very effective and left me greatly depressed," and that it changed his mind on the prevailing policy on a "nuclear war". The film was also screened for the Joint Chiefs of Staff. A government advisor who attended the screening, a friend of Meyer's, told him "If you wanted to draw blood, you did it. Those guys sat there like they were turned to stone." Four years later, the Intermediate-Range Nuclear Forces Treaty was signed and in Reagan's memoirs he drew a direct line from the film to the signing. Reagan supposedly later sent Meyer a telegram after the summit, saying, "Don't think your movie didn't have any part of this, because it did." However, in a 2010 interview, Meyer said that this was a myth, and that the sentiment stemmed from a friend's letter to Meyer; he suggested the story had origins in editing notes received from the White House during the production, which "...may have been a joke, but it wouldn't surprise me, him being an old Hollywood guy."
The film also had impact outside the U.S. In 1987, during the era of Mikhail Gorbachev's glasnost and perestroika reforms, the film was shown on Soviet television. Four years earlier, Georgia Rep. Elliott Levitas and 91 co-sponsors introduced a resolution in the U.S. House of Representatives "[expressing] the sense of the Congress that the American Broadcasting Company, the Department of State, and the U.S. Information Agency should work to have the television movie The Day After aired to the Soviet public."
Many newcomers or obscure actors were cast for the film. Jason Robards and John Cullum were the best-known actors in the production. Bibi Besch was a relative unknown, recently thrust into the spotlight as Dr. Carol Marcus in Meyer's Star Trek II: The Wrath of Khan. Steve Guttenberg, who went on to considerable success later in the 1980s in the Police Academy comedies, was at the time known for the 1982 Barry Levinson comedy Diner. Stephen Furst was known primarily as Flounder in National Lampoon's Animal House. George Petrie, a stock player on several incarnations of Jackie Gleason's television series and the Ewing family lawyer in Dallas, had a small role as a doctor. Cullum and Besch later played Holling Vincoeur and Maggie O'Connell's mother on Northern Exposure.
Locals filled smaller supporting roles. Jeff East, who played Bruce Gallatin, was a local Kansas City actor who had appeared in Superman as the young Clark Kent. Doug Scott and Ellen Anthony, who played the younger Dahlberg children, were found in Lawrence (Anthony was the daughter of the film's Kansas casting director Jack Wright). Arliss Howard, a local thespian at the time, was cast in a small role as an airman. Howard went on to portray roles in several major films, most notably as "Pvt. Cowboy" in the Stanley Kubrick Vietnam War film Full Metal Jacket. Charles Oldfather, Herk Harvey and Charles Whitman, all at one time professors at the University of Kansas, were cast as farmers.
John Lithgow, JoBeth Williams and Amy Madigan were relative newcomers. Williams' best known roles at the time of The Day After were as Dustin Hoffman's mistress in the 1979 Oscar-winning Kramer vs. Kramer and the then recently released horror classic Poltergeist. Lithgow was in the then recently released The World According to Garp, earning an Academy Award nomination. He went on to appear in 1983's eventual Best Picture Terms of Endearment and was nominated again. He also appeared in 1984's Footloose. Madigan would star in films such as Streets of Fire and Field of Dreams.
- The Oakes
- The Dahlbergs
- John Cullum as Jim Dahlberg
- Bibi Besch as Eve Dahlberg
- Lori Lethin as Denise Dahlberg
- Doug Scott as Danny Dahlberg
- Ellen Anthony as Joleen Dahlberg
- Hospital staff
- JoBeth Williams as Nurse Nancy Bauer
- Calvin Jung as Dr. Sam Hachiya
- Lin McCarthy as Dr. Austin
- Rosanna Huffman as Dr. Wallenberg
- George Petrie as Dr. Landowska
- Jonathan Estrin as Julian French
- Steve Guttenberg as Stephen Klein
- John Lithgow as Joe Huxley
- Amy Madigan as Alison Ransom
- William Allen Young as Airman First Class Billy McCoy
- Jeff East as Bruce Gallatin
- Dennis Lipscomb as Reverend Walker
- Clayton Day as Dennis Hendry
- Antonie Becker as Ellen Hendry
- Stephen Furst as Aldo
- Arliss Howard as Tom Cooper
- Stan Wilson as Vinnie Conrad
- Harry Bugin as Man at phone
- Janet Reutter survivor
|This section does not cite any references or sources. (July 2014)|
Emmy Awards won:
- Outstanding Film Sound Editing for a Limited Series or a Special
- Outstanding Achievement In Special Visual Effects
Emmy Award nominations:
- Outstanding Achievement in Hairstyling
- Outstanding Achievement in Makeup
- Outstanding Art Direction for a Limited Series or a Special (Peter Wooley)
- Outstanding Cinematography for a Limited Series or a Special (Gayne Rescher)
- Outstanding Directing in a Limited Series or a Special (Nicholas Meyer)
- Outstanding Drama/Comedy Special (Robert Papazian)
- Outstanding Film Editing for a Limited Series or a Special (William Dornisch and Robert Florio)
- Outstanding Film Sound Mixing for a Limited Series or a Special
- Outstanding Supporting Actor in a Limited Series or a Special (John Lithgow)
- Outstanding Writing in a Limited Series or a Special (Edward Hume)
- Arc Light, a World War III scenario set post-cold war, where a strategic nuclear exchange between the Russia and the US is followed by a conventional World War III in the midst of a major US economic crash and a constitutional crises.
- Invasion, a 2000 novel by Eric L. Harry portraying a future Chinese invasion of the US after China becomes a global superpower.
- The Third World War: The Untold Story by General Hackett, portrays a conventional Soviet invasion of Western Europe, including the behavior of the formally neutral Ireland and Sweden, and internal Soviet debates and thinking.
- Team Yankee, a 1987 novel by Harold Coyle set in Hackett's scenario
- Red Army, by Ralph Peters, showing a Soviet invasion of Western Europe from an entirely Soviet perspective.
- Red Storm Rising, a similar World War III scenario covering a conventional Soviet invasion of Western Europe, by Tom Clancy
- The Third World War by Humphrey Hawksley depicts a slow building crises that culminates in a nightmarish World War III involving nuclear and biological weapons.
- Trinity's Child by William Prochnau, portrays a sudden nuclear attack by the USSR upon the United States, followed by an eruption of global warfare.
- The Last Ship by William Brinkley. Portrays a sudden massive nuclear exchange between the superpowers, with further escalating exchanges over a four hour period leaving most of the northern hemisphere choked in radioactive fallout. The ship loses contact with the U.S. Navy, and then investigates various sites around Europe and Africa starting with Naval Station Rota in Spain, making contact with other stray ships, military and civilian. All the consequences of the exchange for the crew, and humanity as a whole, are explored.
- Special Bulletin, a 1983 made-for-TV movie about nuclear terrorism, shot in the style of simulated news broadcasts.
- Countdown to Looking Glass, a TV movie made in the form of a news broadcast following a deterioration in NATO-Warsaw Pact relations that ends in nuclear warfare.
- Damnation Alley, a 1970s movie about a sudden Soviet nuclear attack.
- Deterrence, a 1999 French-American movie about a Walter Emerson, about a man who's just become US President in the same manner as Gerald Ford, without having been elected. Emerson is on a campaign tour, trapped by a storm in a small town diner, when he gets word Iraq has invaded Kuwait a second time, and is poised to do the same to Saudi Arabia. With US troops committed in a separate engagement on the Korean peninsula, Emerson decides the only way to stop Iraq is to threaten to air-burst a 100 megaton nuclear weapon above Baghdad.
- Fail Safe, a 2000 film about a computer malfunction at the NMCC in the 1960s giving false Emergency Action Messages to B-52 bombers to penetrate Soviet airspace and commence strategic nuclear strikes. The President, Joint Chiefs, US Strategic Air Command and national security council all try to stop the bombers by various means. They find it hard to get through to the bombers who have been trained to ignore recall signals that are not properly encoded, and at the same time, the Russians are not sure if this is deception warfare or a real malfunction.
- Miracle Mile, a 1988 movie about an ordinary group of people, who learn, via a phone call from someone in an ICBM silo (who was trying to reach their father at the diner) that a nuclear exchange is about to take place, thus within the hour Soviet missiles will rain down on them. Some believe it and try to flee, others scramble around the city to find loved ones in a desperate attempt to join those already headed for the airport.
- The Sum of All Fears, a 2002 movie with Ben Afleck and Morgan Freeman. Terrorists plant a nuclear weapon in a US city in an attempt to frame the Russians for the attack and prompt the two powers to wipe each other out.
- Threads, a 1984 UK film about a major Soviet nuclear attack on the United Kingdom.
- On The Beach, a 2000 film about the aftermath of a series of major nuclear exchanges between the US-Russia-China choking the northern hemisphere in fallout which is slowly spreading to humanity's last refuge in Australia.
- Testament, a 1983 American film which tells the story of how one small suburban town near the San Francisco Bay Area slowly falls apart after a nuclear war destroys outside civilization.
- When the Wind Blows, a 1986 animated British film that shows a nuclear attack on Britain by the Soviet Union from the viewpoint of a retired couple.
- Able Archer 83, NATO command post exercise that resulted in the 1983 nuclear war scare and changed thinking about nuclear war.
- Operation Square Leg a military analysis of the effects of a nuclear war on Britain.
- Protect and Survive, the 1970s British government information films on nuclear war.
- Cheers, Michael, "Search for TV Stars Not Yielding Right Types", Kansas City Times, July 19, 1982.
- Twardy, Chuck, "Moviemakers Cast About for Local Crowds", Lawrence Journal-World, August 16, 1982.
- Twardy, Chuck, "Fake Farmstead Goes Up in Flames for Film", Lawrence Journal-World, August 17, 1982.
- Laird, Linda, "The Days Before 'The Day After'", Midway, the Sunday Magazine Section of the Topeka Capital-Journal, August 22, 1982.
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- Kindall, James, "Apocalypse Now", The Kansas City Star Weekly Magazine, October 17, 1982.
- Loverock, Patricia, "ABC Films Nuclear Holocaust in Kansas", On Location magazine, November 1983.
- Bauman, Melissa, "ABC Official Denies Network Can't Find Sponsors for Show", Lawrence Journal-World, November 13, 1983.
- Meyer, Nicholas, "'The Day After': Bringing the Unwatchable to TV", TV Guide, November 19, 1983.
- Torriero, E.A., "The Day Before 'The Day After'", Kansas City Times, November 20, 1983.
- Hoenk, Mary, "'Day After': Are Young Viewers Ready?", Lawrence Journal-World, November 20, 1983.
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- Trowbridge, Caroline and Hoenk, Mary, "Film's Fallout: A Solemn Plea for Peace", Lawrence Journal-World, November 21, 1983.
- Greenberger, Robert, "Nicholas Meyer: Witness at the End of the World", Starlog magazine, January 1984.
- Eisenberg, Adam, "Waging a Four-Minute War", Cinefex magazine, January 1984.
- Boyd-Bowman, Susan (1984). "The Day After: Representations of the Nuclear Holocaust". Screen 6 (4): 18–27.
- Meyer, Nicholas (1983). The Day After (TV-Miniseries). United States: Embassy Home Entertainment.
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- "Tipoff". The Ledger. January 20, 1989. Retrieved October 11, 2011.
- The Complete Directory to Prime Time Network and Cable TV Shows, 1946-Present. Ballantine Books. 2003. pg. 805. ISBN 0-345-45542-8
- Google Maps directions from Harrisonville, MO to Kansas City, MO
- Niccum, John. "Fallout from The Day After". lawrence.com. Retrieved October 11, 2011.
- Meyer, Nicholas, "The View From the Bridge: Memories of Star Trek and a Life in Hollywood", page 150. Viking Adult, 2009
- Susan Emmanuel. "The Day After". The Museum of Broadcast Communications.
- Leonard Maltin. Leonard Maltin's TV Movies And Video Guide 1987 edition. Signet. p. 218.
- Empire, "How Ronald Reagan Learned To Start Worrying And Stop Loving The Bomb", November 2010, pp 134-140
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- Reagan, An American Life, 585
- "thomas.loc.gov, 98th Congress (1983-1984), H.CON.RES.229"