Discussion:
Meteor (1979)
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Ubiquitous
2021-04-12 08:30:42 UTC
Permalink
It's a bird! It's a plane! No, it's a giant meteor headed straight to earth in the
ill-fated 1979 mix of disaster and science fiction, Meteor. Sean Connery heads an
all star cast that includes Natalie Wood, Karl Malden, Martin Landau and Henry
Fonda in this late entry in the disaster film craze of the 1970s. Connery plays an
American scientist called in by NASA to help save the world from the imminent
collision course of the meteor. The Americans want to use their top secret nuclear
weapons to destroy the meteor. However, when it turns out that the American
weapons won't be enough, the U.S. government is forced to ask the USSR for help in
the midst of sensitive cold war politics. Can the two opposing governments work
together for the common good?

The production company behind Meteor, American International Pictures (AIP), had
been in the Hollywood game since the 1950s, known mostly for their low-budget
beach party movies and horror flicks. By the 1970s, AIP wanted very much to
compete with the big studios. With its bigger than usual budget and name stars,
there were high hopes all around for Meteor to succeed.

Director Ronald Neame (The Poseidon Adventure [1972], The Prime of Miss Jean
Brodie [1969]) was hired to direct Meteor after his friend and Poseidon Adventure
colleague, production designer William Creber, encouraged him to meet with the
producers. "They need a director badly," Creber told Neame, "and I'm designing the
sets."

Neame's great expectations for Meteor, however, quickly turned into frustrations.
For starters, Neame felt that with five producers, there were too many cooks in
the kitchen. More importantly, there was no completed script ready for shooting.
The producers asked writer Edmund H. North (The Day the Earth Stood Still [1951])
to develop a story. When no one liked what North concocted, however, it was back
to the drawing board.

Stanley Mann (The Collector [1965]) was another writer who worked for three months
to complete a new draft of the screenplay. Just as things were looking up for
Meteor, however, William Creber walked off the picture over a contractual dispute.
Creber had been the one to bring Neame to the project, and Neame saw this loss as
a major blow, losing his most formidable ally. "Perhaps it should have given me a
hint about what lay ahead," said Neame in his 2003 autobiography Straight from the
Horse's Mouth.

Once a workable script was finally ready, Neame set about assembling a stellar
cast just as he had done with The Poseidon Adventure. Sean Connery, who was living
in Spain at the time, was the first star attached to Meteor in the central role of
Dr. Paul Bradley. It would be Connery's first film shot in the United States since
The Molly Maguires in 1970.

For Connery's love interest, producers wanted an actress who could speak Russian
convincingly, and Natalie Wood fit the bill. As Tatiana, a Russian interpreter
brought along by Soviet officials, Wood was required to speak a hefty portion of
her dialogue in Russian-no easy feat. Though she was born in America, Wood's
parents were Russian immigrants and often spoke Russian around the house. While
most people assumed that Wood was already fluent in Russian due to her heritage,
she wasn't. She understood some of it, but had never fully learned the Russian
language. "She went to Berlitz (Language Institute) and learned Russian, which she
really didn't know," said Wood's friend Peggy Griffin in Suzanne Finstad's 2001
book Natasha: The Biography of Natalie Wood. "People don't give her enough credit
for that...She crash-coursed it, which is very hard to do..."

AIP rented space at MGM Studios in Culver City, California for the shoot,
including the gigantic swimming pool on stage 30 custom made for the old Esther
Williams water spectaculars. Elaborate sets were constructed inside the empty pool
for part of the New York City subway system, featured in the film's muddy climax.

"It was not a great, happy, fun set," recalled Ginger Mason, Ronald Neame's
assistant at the time. The shoot was plagued with problems from start to finish.
"Roofs collapsed, scaffolding buckled, one technician tumbled thirty feet onto a
concrete floor and lived to tell the tale," according to Andrew Yule in his 1992
book Sean Connery: From 007 to Hollywood Icon. When the crew flew to the Bavarian
Alps to shoot footage for a spectacular avalanche scene, there was no snow when
they arrived. The looks-conscious Natalie Wood butted heads with Neame over how
much makeup she was wearing. Neame felt she was wearing too much, and sent word to
her that she needed to take some of it off for her scenes. "Tell him I'd be happy
to wear less makeup," came Wood's reply, "but only if Sean (Connery) will work
without his toupee." And that was the end of that.

Henry Fonda did two days of work in what was essentially a cameo role as "The
President." He delivered a powerful 2 œ minute speech to the Washington Press
Corps in the film that was so moving that when the scene wrapped, he received a
standing ovation from the crew and over 200 extras. Unfortunately, no one would
get to see it because it was cut from the theatrical release version of Meteor.

By far the most difficult scene to shoot in Meteor was the climax in which the New
York subway floods, trapping the main characters while they try to make their
escape. It took eight days to shoot and cost 1.5 million dollars of the total
budget. One million pounds of Bentonite, a material described by Andrew Yule as "a
jelly-like mud substance normally used by oil drillers," was transported to MGM's
stage 30 and pumped through the ducts of Esther William's old swimming pool where
it poured down on the actors from above. Originally, the mud was going to be
heated in order to make it more comfortable for the actors, who had to be drenched
in it for hours at a time. However, when they tried it, the heat from the mud made
the cameras fog up, so the plan was scrapped. The stars would stuff their ears
with cotton to protect them from the mud, and after each take they would have
their eyes washed out. "Those were difficult scenes for everybody," said Karl
Malden, "because it was very real...it was heavy mud, it wasn't just water. It was
heavy and you had a hard time raising yourself, and if you were under, you had a
hard time to get up. And so you had to be careful and protect yourself as much as
you could."

Once the film was in post production, everyone held their breath for the special
effects to be added, which were supposed to be one of Meteor's biggest strengths.
However, much of the special effects footage had technical problems that rendered
it unusable. The special effects shots that did work, unfortunately, were often
shoddy and cheap looking.

An emergency meeting was held to discuss how to save the film. "I suggested we
needed to spend more money to get usable effects material," said Ronald Neame,
"Sandy (Howard) didn't agree. The meeting began in a gentlemanly manner, but it
wasn't long before it took on another tone. Accusations were hurled back and
forth. People in the outer office could hear the yelling. Realizing there was no
compromise other than cut around the effects, thus destroying the film, I wanted
out and walked away."

What Neame later described as a "cheap effects person" was brought in at the
eleventh hour to tweak and hopefully improve some of the special effects, but
Neame was not impressed with the results. "Despite my best legal efforts," said
Neame later, "my name still appears as director. Meteor cost $16,000,000. The
result was a terminal disaster and an unhappy experience for all concerned." The
cast and crew did, however, try to keep their senses of humor by wearing t-shirts
that said "There is Life After Meteor".

Brutalized by critics and audiences, Meteor crashed and burned, becoming one of
the biggest flops of the decade. On a positive note, the film did manage to
receive one Academy Award nomination for Best Sound, and the distinguished cast is
fun to watch as it tries mightily to give class to what essentially amounts to a B
movie.

Producer: Sandy Howard, Gabriel Katzka, Arnold Orgolini, Theodore Parvin, Run Run
Shaw
Director: Ronald Neame
Screenplay: Stanley Mann, Edmund H. North
Cinematography: Paul Lohmann
Film Editing: Carl Kress
Art Direction: David A. Constable
Music: Laurence Rosenthal
Cast: Sean Connery (Dr. Paul Bradley), Natalie Wood (Tatiana Nikolaevna Donskaya),
Karl Malden (Harry Sherwood), Brian Keith (Dr. Alexei Dubov), Martin Landau (Maj.
Gen. Adlon), Trevor Howard (Sir Michael Hughes).
C-107m. Letterboxed.

by Andrea Passafiume

https://www.tcm.com/tcmdb/title/25454/meteor/#articles-reviews?articleId=161362

--
Trump won.
anim8rfsk
2021-04-12 16:32:03 UTC
Permalink
Post by Ubiquitous
It's a bird! It's a plane! No, it's a giant meteor headed straight to earth in the
ill-fated 1979 mix of disaster and science fiction, Meteor. Sean Connery heads an
all star cast that includes Natalie Wood, Karl Malden, Martin Landau and Henry
Fonda in this late entry in the disaster film craze of the 1970s. Connery plays an
American scientist called in by NASA to help save the world from the imminent
collision course of the meteor. The Americans want to use their top secret nuclear
weapons to destroy the meteor. However, when it turns out that the American
weapons won't be enough, the U.S. government is forced to ask the USSR for help in
the midst of sensitive cold war politics. Can the two opposing governments work
together for the common good?
The production company behind Meteor, American International Pictures (AIP), had
been in the Hollywood game since the 1950s, known mostly for their low-budget
beach party movies and horror flicks. By the 1970s, AIP wanted very much to
compete with the big studios. With its bigger than usual budget and name stars,
there were high hopes all around for Meteor to succeed.
Director Ronald Neame (The Poseidon Adventure [1972], The Prime of Miss Jean
Brodie [1969]) was hired to direct Meteor after his friend and Poseidon Adventure
colleague, production designer William Creber, encouraged him to meet with the
producers. "They need a director badly," Creber told Neame, "and I'm designing the
sets."
Neame's great expectations for Meteor, however, quickly turned into frustrations.
For starters, Neame felt that with five producers, there were too many cooks in
the kitchen. More importantly, there was no completed script ready for shooting.
The producers asked writer Edmund H. North (The Day the Earth Stood Still [1951])
to develop a story. When no one liked what North concocted, however, it was back
to the drawing board.
Stanley Mann (The Collector [1965]) was another writer who worked for three months
to complete a new draft of the screenplay. Just as things were looking up for
Meteor, however, William Creber walked off the picture over a contractual dispute.
Creber had been the one to bring Neame to the project, and Neame saw this loss as
a major blow, losing his most formidable ally. "Perhaps it should have given me a
hint about what lay ahead," said Neame in his 2003 autobiography Straight from the
Horse's Mouth.
Once a workable script was finally ready, Neame set about assembling a stellar
cast just as he had done with The Poseidon Adventure. Sean Connery, who was living
in Spain at the time, was the first star attached to Meteor in the central role of
Dr. Paul Bradley. It would be Connery's first film shot in the United States since
The Molly Maguires in 1970.
For Connery's love interest, producers wanted an actress who could speak Russian
convincingly, and Natalie Wood fit the bill. As Tatiana, a Russian interpreter
brought along by Soviet officials, Wood was required to speak a hefty portion of
her dialogue in Russian-no easy feat. Though she was born in America, Wood's
parents were Russian immigrants and often spoke Russian around the house. While
most people assumed that Wood was already fluent in Russian due to her heritage,
she wasn't. She understood some of it, but had never fully learned the Russian
language. "She went to Berlitz (Language Institute) and learned Russian, which she
really didn't know," said Wood's friend Peggy Griffin in Suzanne Finstad's 2001
book Natasha: The Biography of Natalie Wood. "People don't give her enough credit
for that...She crash-coursed it, which is very hard to do..."
AIP rented space at MGM Studios in Culver City, California for the shoot,
including the gigantic swimming pool on stage 30 custom made for the old Esther
Williams water spectaculars. Elaborate sets were constructed inside the empty pool
for part of the New York City subway system, featured in the film's muddy climax.
"It was not a great, happy, fun set," recalled Ginger Mason, Ronald Neame's
assistant at the time. The shoot was plagued with problems from start to finish.
"Roofs collapsed, scaffolding buckled, one technician tumbled thirty feet onto a
concrete floor and lived to tell the tale," according to Andrew Yule in his 1992
book Sean Connery: From 007 to Hollywood Icon. When the crew flew to the Bavarian
Alps to shoot footage for a spectacular avalanche scene, there was no snow when
they arrived. The looks-conscious Natalie Wood butted heads with Neame over how
much makeup she was wearing. Neame felt she was wearing too much, and sent word to
her that she needed to take some of it off for her scenes. "Tell him I'd be happy
to wear less makeup," came Wood's reply, "but only if Sean (Connery) will work
without his toupee." And that was the end of that.
Henry Fonda did two days of work in what was essentially a cameo role as "The
President." He delivered a powerful 2 Н minute speech to the Washington Press
Corps in the film that was so moving that when the scene wrapped, he received a
standing ovation from the crew and over 200 extras. Unfortunately, no one would
get to see it because it was cut from the theatrical release version of Meteor.
By far the most difficult scene to shoot in Meteor was the climax in which the New
York subway floods, trapping the main characters while they try to make their
escape. It took eight days to shoot and cost 1.5 million dollars of the total
budget. One million pounds of Bentonite, a material described by Andrew Yule as "a
jelly-like mud substance normally used by oil drillers," was transported to MGM's
stage 30 and pumped through the ducts of Esther William's old swimming pool where
it poured down on the actors from above. Originally, the mud was going to be
heated in order to make it more comfortable for the actors, who had to be drenched
in it for hours at a time. However, when they tried it, the heat from the mud made
the cameras fog up, so the plan was scrapped. The stars would stuff their ears
with cotton to protect them from the mud, and after each take they would have
their eyes washed out. "Those were difficult scenes for everybody," said Karl
Malden, "because it was very real...it was heavy mud, it wasn't just water. It was
heavy and you had a hard time raising yourself, and if you were under, you had a
hard time to get up. And so you had to be careful and protect yourself as much as
you could."
Once the film was in post production, everyone held their breath for the special
effects to be added, which were supposed to be one of Meteor's biggest strengths.
However, much of the special effects footage had technical problems that rendered
it unusable. The special effects shots that did work, unfortunately, were often
shoddy and cheap looking.
An emergency meeting was held to discuss how to save the film. "I suggested we
needed to spend more money to get usable effects material," said Ronald Neame,
"Sandy (Howard) didn't agree. The meeting began in a gentlemanly manner, but it
wasn't long before it took on another tone. Accusations were hurled back and
forth. People in the outer office could hear the yelling. Realizing there was no
compromise other than cut around the effects, thus destroying the film, I wanted
out and walked away."
What Neame later described as a "cheap effects person" was brought in at the
eleventh hour to tweak and hopefully improve some of the special effects, but
Neame was not impressed with the results. "Despite my best legal efforts," said
Neame later, "my name still appears as director. Meteor cost $16,000,000. The
result was a terminal disaster and an unhappy experience for all concerned." The
cast and crew did, however, try to keep their senses of humor by wearing t-shirts
that said "There is Life After Meteor".
Brutalized by critics and audiences, Meteor crashed and burned, becoming one of
the biggest flops of the decade. On a positive note, the film did manage to
receive one Academy Award nomination for Best Sound, and the distinguished cast is
fun to watch as it tries mightily to give class to what essentially amounts to a B
movie.
Producer: Sandy Howard, Gabriel Katzka, Arnold Orgolini, Theodore Parvin, Run Run
Shaw
Director: Ronald Neame
Screenplay: Stanley Mann, Edmund H. North
Cinematography: Paul Lohmann
Film Editing: Carl Kress
Art Direction: David A. Constable
Music: Laurence Rosenthal
Cast: Sean Connery (Dr. Paul Bradley), Natalie Wood (Tatiana Nikolaevna Donskaya),
Karl Malden (Harry Sherwood), Brian Keith (Dr. Alexei Dubov), Martin Landau (Maj.
Gen. Adlon), Trevor Howard (Sir Michael Hughes).
C-107m. Letterboxed.
by Andrea Passafiume
https://www.tcm.com/tcmdb/title/25454/meteor/#articles-reviews?articleId=161362
--
Trump won.
Yeesh.

Did I mention my viewing accomplice and I were the only people in the
theater?
--
“The last thing I want to do is hurt you, but it’s still on my list.”
T987654321
2021-04-16 17:39:17 UTC
Permalink
Was kind of fun when it came out but it hasn't aged well.

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