Reviews (69)

Doesn't Play Well In Time
I liked this movie when it was first released to the theatres in the 1970s. I thought a revisit on DVD would bring back some of those fond memories, but, sadly, the film looks very dated.'

Forget the premise - it's pure enviro-fiction. Think about it for a minute: the planet earth has no more forests, trees, deserts - no wilderness left. We had to put all our critical environments in pods and orbit Jupiter with them (why Jupiter? why not orbit Earth?).

This very Asimovian premise falls on its face in light of science: since green plants give us the oxygen we need, a planet devoid of all green plants would be a dead planet - there would be no oxygen-breathing life on it.

OK. Let's say, though, that the radical environmental movement has succeesed in numbing your sense of reason - the film still fails in its scripting, which is needlessly whiny. Bruce Dern gives a rather egalitarian performance as the tree-hugger, which doesn't help to lend credibility to his cause.

Some of the effects still hold up, but overall the film has that shaky, matted look of cheesy 70s sci-fi (even STAR WARS has that look).

The most interesting thing about the DVD is the Special Features, and the documentaries on the making of the film. Once I finished with those, I had nothing more interesting to watch.

Great 1970s dystopic...
Like death and dying, there are several stages in evaluating "Silent Running" as a film. The first stage is whoa! great effects, unusual idea for a film made in the early 1970s. The second stage is the realization that you are being hit with some of the hardest propaganda since "Battleship Potempkin" or "Triumph of the Will". The final stage is nostalgia for such a ground-breaking movie with super special effects.

Bruce Dern is comfy in his role as a slowly-unraveling sociopath. What many don't realize is that the screenplay was written by a then-young Michael Cimino and Steven Bochco ("The Deer Hunter", "NYPD Blue". What's truly amazing is the use of mechanical (not visual) effects. If you've never been on an aircraft carrier, you'll believe that there is an American Airlines cargo freighter "Valley Forge". The details are wonderful: the corporate logos on the cargo pods, the technical manuals lying around, the overall believability of the wonderful drones, the background radio chatter from the other ships.

It's a shame Douglas Trumbull hasn't been more visible, this was a great effort.

A Bold Attempt with Fatal Touches
I must say I actually applauded Douglas Trumball for making this film, and upon it's release, it made an impact with audiences, but I never cared for it as entertainment or as serious science fiction. Today, the short-lived "ecology movement", green flags and all, is long gone, and this film is now is a seriously dated curio of it's time.

There are some terrific things to be said about this film... and there are some intelligent reviews of it that I agree with... however there are some fatal touches that make this a dated piece, and that make it difficult to watch today.

First of all, Bruce Dern's unappealing character is a stereotypical "hippie". He is a classic "passive-agressive" person... at one moment "loving and peaceful" and the next minute he is angry, pissed off, not in control of his emotions. He is certainly difficult for me to empathize with, since he reminds me of many "do-gooders" I have known who are unpredictable and untrustworthy and have a "hidden agenda" besides "peace and love". Dern plays this part to perfection, but its not something comfortable to watch for 2 hours. I have seen this film 2 or 3 times and each time I just wanted a chance to stuff something in his mouth to shut him up.

Secondly, the soundtrack of Joan Baez singing her folk tunes in space is just too limited for the scope of the visuals and destroys the impact of the powerful message the film tries to convey about "saving the planet". Her passive, slightly off-key and limited-ranged vocals do not marry well to the scenes of space, stars, planets and infinity. It does not work on any level... either then or now.

Finally, the most fatal flaw of this film is that as the plants begin to die... our hero panics and says he has no clue why. Forgetting about the space ship leaving the solar system and the gigantic glass domes leaving solar rays, he suddenly "realizes" that plants need SUN. What kind of ecological genius is this guy?

Well, the robots are clever and cute, the sets are impressive, the early scenes with the "friendly" plants are nice and the special effects are first rate for their day.... and we get to see Saturn's rings in the movies for the first time looking relatively authentic. It's certainly not as bad as a few reviewers have said, and sci-fi fans should see it, but there are far better sci-fi films out there.... and better ones that deal with the rape of our ecosystem.

Douglas Trumbull's Underappreciated SF Classic
On an overtechnologized and defoliated Earth of the future, the ecosystem has been carelessly destroyed by humans and the only remaining wilderness environs are grudgingly looked after by astronauts on massive domed spaceships. The vitamins, minerals, and such required to sustain human life can be easily synthesized in laboratories, so the folks on Earth are becoming increasingly apathetic about the need to sustain the circumgyrating greenhouses. When the inevitable order to scrap the project and destroy the orbiting flora and fauna finally comes through, Freeman Lowell (Bruce Dern), the only astronaut in the project who truly cares about the plants and animals, violently rebels and places upon himself the responsibility of protecting the last vestiges of Earth's non-human life. But just how far will he go to ensure that he's successful in his self-imposed calling?

1972's SILENT RUNNING marks the directorial debut of FX wizard Douglas Trumbull, probably best known for his FX work on Stanley Kubrick's 1968 sci-fi epic 2001: A SPACE ODYSSEY. Though the skeleton was given flesh by writers Deric Washburn , Michael Cimino, and Steven Bochco, the underlying structure of the plot is Trumbull's. In light of his work with Kubrick, it is interesting that Trumbull would come up with an idea such as that for SILENT RUNNING, as it makes it seem as if he felt that the only way he could demonstrate that he is more than just an FX man was to create a film that is the thematic opposite of the one featuring his best known FX work. Kubrik's opus tells a story that celebrates mankind's intellectual evolution and subsequent technological advancements, whereas Trumbull's brainchild embraces the ideals of 1960's counter-culture ecology movement and implies that technological advancement is conducted irresponsibly and consequently pollutes the environment and wrecks the Earth.

The plot of SILENT RUNNING is a bit slow at times, but the film is never dull or boring. And in the role of the good-intentioned but increasingly psychotic Lowell, Dern turns in one of his most intense and most memorable performances. Due to its anti-technology and pro-environmentalist theme, however, many critics have panned SILENT RUNNING as a '60s throwback in which Trumbull tries to milk emotions from the last vestiges of the pro-ecology hippies, often citing the fact that '60s folk singer Joan Baez performs some of the film's music as proof of their theory. But this is really an unfair evaluation. Environmentalist themes have been a long tradition in science fiction, with a future dystopia used to illustrate what might happen if present society continues being ecologically apathetic. And SILENT RUNNING isn't the only classic SF film from the '70s built around such a theme. Other SF films of the era also express concern about man's effect on nature--NO BLADE OF GRASS (1970), Z.P.G. (1972), SOYLENT GREEN (1973), and PROPHECY (1979) to name just a few. So it's more likely that Trumbull, a science-fiction fan himself, simply chose a traditional SF theme that appealed to his own ideals and tastes.

The DVD from Universal offers a good digital transfer of the film in anamorphic widescreen. Also included are some pretty cool bonus features, not the least of which are the original made-for-tv featurette on the making of the film and an interesting feature commentary with Trumbull and Dern. No true fans of SF will want to miss the opportunity to include this film in their DVD collections.

tell them all they love will die, tell them why, in the sun
I recently purchased this DVD, and viewed the film again after a break of many years.

There is little if anything of a critical nature that I could add to the excellent comments of darkgenius (see below). I did not see the character of Freeman Lowell as quite the fanatic that he did - which surprised me, because that *is* how I remembered him from my previous viewings, many years ago. If we lived in the ecologically monstrous era of the film, yet saw with the vision of a man of today (as Lowell does), I imagine many of us would exhibit more outrage than he does. In fact, I think the indifference of his co-workers astonishes - or perhaps appalls - me more than Lowell's personal involvement.

This is a very moving film. Evil is usually depicted in film in much more immediate and dramatic manifestations than one usually encounters in real life. CS Lewis has made the observation that all evil is ultimately banal. Indeed, true evil often passes before us completely unnoticed as such - in the civil servant who shows a bias for someone of her own race; in the policeman who gets joy out of bullying members of the public; in landlords and banks that use ignorance and intimidation to exact unwarranted concessions from a dispirited public; and so on.

In Silent Running, the last forests on Earth have been shot into space. There is no room for them anymore, but they are being preserved. Anyone of mature years knows how this kind of thing would come about in real life, and how it would end. It would come about because some political group wanted the forest land for some other purpose; and, not having the courage to simply destroy the forests openly -- perhaps not even wanting to do so, initially -- they suggest that this last great ecological heritage be preserved in space against the day when forests are again convenient. They might even weep, saying that the cost didn't matter because the forests were irreplaceable. And it would be done. But: "out of sight, out of mind." It would only be a few years before the expense of maintaining these forests in space would be deemed unjustifiable. And then the order to abandon them would come.

This is the way many societal evils actually come about. Silent Running shows us what depths of depravity are implicit in this common principle of human behavior.

The sorrow conveyed by this film is intensified by the representation of the victims as children. Lowell himself is naïve, thinking that recall and re-establishment of the forests is just around the corner. The drones are diminutive, awkward in their movements, and *trusting*; this last is demonstrated at a couple of points in the film, where it is evident that they are uncertain, look to Lowell for guidance, then go on about their tasks. Don't overlook the watering can. And there is the song, "Rejoice in the Sun," sung by Joan Baez.

We identify with these children. We feel the anguish of their loss as our own.

I venture to say that if you were to show this film to a group of your acquaintances, the ones who wept would prove the best friends. ... Read more

Amazon.com

Brainstorm is a fascinating but frustrating film, simply because it dabbles in greatness but fails to develop the fullest implications of its provocative ideas. It's a visually dazzling film with outstanding special effects; directed by veteran effects creator Douglas Trumbull, of 2001 fame; but too caught up in marvels of hardware and software at the expense of its characters, who remain interesting but dramatically two-dimensional. The story involves the development of a headset recorder that can replay one person's experiences--even their emotional states--into the mind of another. The device obviously invites corporate or military exploitation, and Cliff Robertson plays a ruthless executive determined to tap into its lucrative potential. But when a scientist (Louise Fletcher) records her own death experience with the device, along with incriminating evidence, the technology's inventor (Christopher Walken) must unlock the mysteries of his colleague's suspicious demise and the very nature of death itself. Punctuated by remarkable sequences from the perspective of those who use the mind-expanding headset, Brainstorm dares to reach for ambitious themes and innovative movie experiences, and that alone makes it eminently worthwhile. But with a conclusion that too literally interprets the afterlife experience with conventional angelic imagery, and a disappointingly thin role for Natalie Wood (who died while the film was still in production), the film strives for profundity and settles instead for an inspirational light show. --Jeff Shannon ... Read more

Reviews (17)

Fletcher and Wood at the top of their game
My god has it been 17 years since this film was released in theatres! I saw it as a kid and was absolutely blown away by it. Louise Fletcher deserved at least an Oscar nomination for best supporting actress...she tears through her limited screentime with a ferocity and vivacity that is rarely seen these days. When she's confronting the government types who want to steal the "mind-recording" machine she and fellow scientist Chris Walken have invented, it is truly a great acting moment. Her barking at boss Cliff Robertson to "don't you goddamn me, sweetheart" and then proceeding to almost have a heart attack in the ladies room is a classic cinema moment. Natalie Wood had not finished filming all her scenes before her tragic death, but its hardly noticeable. She had that most incredible, expressive face and director Trumbel chose to hold on that in many key moments. When Walken plays back his memories of her (Wood and Walken's marriage is crumbling), the joy on her face is so real. The music for the film is also amazing...from the haunting opening score to the joyous music that surrounds Walken and Wood on their journey. Fletcher's heart attack, where she records her own death experience, is truly disturbing, and Walken's attempt to play it back (which almost kills him)is also terrifying. A beautiful, brave film. Fletcher needs more work like this. And of course, Natalie Wood is missed greatly.

It's not as bad as you think...
Brianstorm, the final film in the storied career of Natalie Wood, is actually good in spots. Sure, it's been maligned by some people and revered by others. Christopher Walken gives a good performance along with Louise Fletcher and Cliff Robertson. Originally released in 1983, the movie actually gives a glimpse into the future AS WE KNOW IT!

The headgear in the movie is something we haven't seen in the software stores, but it certainly could happen. Computers weren't as prolific at that time, and the writers probably didn't know that they were making a cult classic.

It's too bad Natalie Wood passed away during the filming of this movie. You can tell which scenes were filmed when she was alive and which ones were done with a stand in. If you've seen the movie, you'll appreciate the availability of this on DVD.

One small note. This can be VERY interesting when seen on a computer screen (when you're up close) and could be irritating to the eyes. It could also stimulate other parts of the brain, as well. END

Cold Hard Reality
Brainstorm is good movie, that unfortunately, due to the tragic end of its leading lady, had to be reworked. It's because of that, I think the film will forever be underated.

Two scientists, Michael (Chistopher Walken) and Karen Brace (Natalie Wood, in her last film) are developing a virtual reality system that sends sensory inputs into the brain and can record sights, sounds, feelings, and even dreams. The military attempts to take over the project, with the help of ruthless businessman, Alex Terson (Cliff Robertson). When a senior team member, Dr. Lilian Reynolds (Louise Fletcher), dies under mysterious circumstances, the evidence points to Brace. Soon, Brace is on the run, trying to clear his name

Noted for his effects work in 2001 A Space Odyssey, Blade Runner, and Star Trek: The Motion Picture, Douglas Trumball, steps behind the camera as director. The film benefits visually from his expertise, as you might expect, but as is so often the case within the genre, the story should be the star...aided by a solid cast. Brainstorm has those traits. Walken delivers another fine performance as a tragic hero. Of course he also knows how to play a bad guy too. For this film though, Roberton is given that charge, and he delightfully chews the scenery, rising to the occaision. Through no fault of the filmmakers, Trumball had to paste together an alternate ending and it shows. What might have been...

The DVD's only extra is film's theatrical trailer. Viewers can watch the film in either the full-screen, or, widescreen formats.

Brainstorm is worth a look and is better than most folks think

Marriage counseling through technology
Before virtual reality and before "The Matrix," there was the 1983 film "Brainstorm." O.K., this movie may not compare favorably with "The Matrix," but it does involve some of the same tangential themes that that film deals with. The comparisons with virtual reality are apt, though viewers tend to overlook this aspect of the movie. People usually associate the film, if they even talk about it today, with Natalie Wood. The actress died shortly before the film wrapped in a highly publicized boating accident, thereby cutting short a lengthy film career and giving this motion picture a stigma it still carries today. A viewing of "Brainstorm" shows the film is more than Natalie Wood; it is a compelling story about innovative technology and its potential for misuse by powerful forces. Not a particularly unique movie plot, to be sure, but "Brainstorm" is still an intriguing film largely due to its solid cast and amazing special effects. The movie holds up well twenty years after its conception, which is saying a lot considering how far film effects have come during that time.

A team of brilliant scientists headed up by Lillian Reynolds (Louise Fletcher) and Michael Brace (Christopher Walken) have finally made an enormous breakthrough in their research. After years of frustrating tests and wrangles over budgetary concerns, an amazing new virtual reality system has been born. The machines these scientists created can record the sensory perceptions of one human being and replay them for another person. Reynolds and her team can capture everything--sight, taste, touch, hearing, smell, even emotion--and record it on tape. The implications of this discovery should become apparent almost immediately. Communications, entertainment, medicine: every aspect of human endeavor will irrevocably change once this device hits the marketplace. Of course, a few other shadier applications also apply with the device, particularly military systems and mind control. Reynolds, Brace, and Brace's estranged wife Karen soon find themselves at loggerheads with the boss of the company funding the research, the sympathetic yet uncompromising Alex Terson (Cliff Robertson). The United States military leans heavily on Terson concerning the project's development, threatening to remove funding if Reynolds denies the wonks at the Pentagon access to her research.

Running throughout these titanic battles about the ethics of a virtual reality system and the increasingly authoritarian tactics taken by the military is the relationship between Michael and Karen Brace. The couple split up over Michael's inability to balance his work with his personal life, a fact that Karen resents since her husband has neglected her and their son. Moreover, there is some sort of vaguely hinted at relationship between Reynolds and Michael Brace, a relationship that should hardly come as a surprise since the two have worked so closely together over the past decade or so. When Lillian Reynolds, a rabid chain smoker, records her death from a massive heart attack as it happens, Brace becomes fascinated with exploring this amazing death sequence caught on tape. The government decides Michael is too unstable to continue working on the project, thus banning him from the building and removing his security clearance from the company computers. When you muck around with a genius, however, you must make sure you have all the angles covered. Brace enlists the help of his tech savvy wife and a few other friends from the company and hacks into the company's mainframe in order to access the tape. What follows is an amazing special effects odyssey of sight and sound as Brace learns what happens when we die. In the process of playing the tape and risking his own life, Michael and Karen heal their problematic relationship.

The best elements in "Brainstorm" are the outstanding performances from the cast fused with amazing special effects. Natalie Wood, although somewhat wasted in a smaller role, stops the heart every time she appears on screen with her amazing beauty and solid acting. Christopher Walken does what Christopher Walken does best: act slightly weird by alternating between subdued silence and loud rage. Cliff Robertson and Louise Fletcher both excel in their respective roles, especially Fletcher, who as the temperamental Lillian Reynolds is both believable and amusing. Check out the scene when she dies from her heart attack yet takes the time to attach herself to her wondrous recording device. This is, I think, exactly what a true scientist dedicated to exploring every mystery would do in a similar circumstance. As good a job as the actors do, the special effects sometimes eclipse them. Apparently, the guy in charge of this film worked on Kubrick's "2001," and boy does it show. The final scenes in "Brainstorm" evoke memories of Keir Dullea's psychedelic trip at the end of "2001," except here they look better. It would be a great experience to see this film in a movie theater.

"Brainstorm" is a beautiful, thought provoking film I never tire of watching. The scenes between Walken and Wood are wonderful, especially when they use the reality device for their own personal explorations. In this way, the movie moves beyond a mere science fiction potboiler into realms of romance and psychological drama. Sadly, the DVD edition lacks the sort of extras a film of this caliber deserves. You would think a film this prescient would inspire the folks at Warner to pull out all the stops for the disc release. Well, anyone remotely familiar with Warner DVDs knows the company couldn't give a darn about what their discs contain. Too bad. I will still watch "Brainstorm" from time to time, but I secretly yearn for a special edition release in the near future--one with a commentary from Fletcher and Walken at the very least, along with some notes about the special effects in the film. If you like sci-fi, this is a must see experience.

Rating Brainstorm on what it should have been
Not too many people have seen Showscan movies. For some reason, they were released in (I think) selected Chucky Cheese's pizza shops.

Some friends and I drove 2 hours across Missouri to see Showscan and it was the most realistic picture we had ever seen.

Showscan was a 65mm film presented at 60 frames per second (fps). Studies had shown this to be the frame repetition rate at which the brain would integrate the frames seamlessly and accept it as true motion. Most movies are 24 fps, although each frame is shown multiple times to reduce flicker.

But you can tell that it's not real. US TV, which operates at 60 fields per second approximates the Showscan presentation. The difference between this and normal films is obvious - most people can tell a video source from a film source. They may not know why the video seems to have more presence, but the frame rate is the answer.

Brainstorm was originally produced to use Showscan projectors for the times when people were experiencing "reality" with their headsets. This would have clearly stood out from the rest of the film, and would have seemed much more real.

Perhaps only Doug T. saw the project in the 24/60 fps version. I know I didn't. However, from my experience with Showscan, I can state without reservation that this would have been one hell of a film as originally conceived. The "reality" changes would have more than made up for any other problems with acting or scripting. The "WOW" factor would have overridden all other criticism.

As for the dialog and acting being a little clunky - well, have you ever seen early stereo or 3D movies? They tended to concentrate on exploring the technology instead of the picture. Perhaps Showscan could have evolved to the state that 3D did with Hitchcock's "Dial M for Murder." Or perhaps not.

In any event, this would be an excellent roadshow movie (like the restored version of "Lawrence of Arabia") to show what the movie should have been.

And perhaps on a future DVD we'll have the helmet versions of reality replaced with 60 fields per second video. The difference should be obvious.

Thanks, Doug, for trying to pull this off. If you ever want to invite me to see your master copy with Showscan, I'll be out in California in an instant!

Rick ... Read more

Reviews (17)

Fletcher and Wood at the top of their game
My god has it been 17 years since this film was released in theatres! I saw it as a kid and was absolutely blown away by it. Louise Fletcher deserved at least an Oscar nomination for best supporting actress...she tears through her limited screentime with a ferocity and vivacity that is rarely seen these days. When she's confronting the government types who want to steal the "mind-recording" machine she and fellow scientist Chris Walken have invented, it is truly a great acting moment. Her barking at boss Cliff Robertson to "don't you goddamn me, sweetheart" and then proceeding to almost have a heart attack in the ladies room is a classic cinema moment. Natalie Wood had not finished filming all her scenes before her tragic death, but its hardly noticeable. She had that most incredible, expressive face and director Trumbel chose to hold on that in many key moments. When Walken plays back his memories of her (Wood and Walken's marriage is crumbling), the joy on her face is so real. The music for the film is also amazing...from the haunting opening score to the joyous music that surrounds Walken and Wood on their journey. Fletcher's heart attack, where she records her own death experience, is truly disturbing, and Walken's attempt to play it back (which almost kills him)is also terrifying. A beautiful, brave film. Fletcher needs more work like this. And of course, Natalie Wood is missed greatly.

It's not as bad as you think...
Brianstorm, the final film in the storied career of Natalie Wood, is actually good in spots. Sure, it's been maligned by some people and revered by others. Christopher Walken gives a good performance along with Louise Fletcher and Cliff Robertson. Originally released in 1983, the movie actually gives a glimpse into the future AS WE KNOW IT!

The headgear in the movie is something we haven't seen in the software stores, but it certainly could happen. Computers weren't as prolific at that time, and the writers probably didn't know that they were making a cult classic.

It's too bad Natalie Wood passed away during the filming of this movie. You can tell which scenes were filmed when she was alive and which ones were done with a stand in. If you've seen the movie, you'll appreciate the availability of this on DVD.

One small note. This can be VERY interesting when seen on a computer screen (when you're up close) and could be irritating to the eyes. It could also stimulate other parts of the brain, as well. END

Cold Hard Reality
Brainstorm is good movie, that unfortunately, due to the tragic end of its leading lady, had to be reworked. It's because of that, I think the film will forever be underated.

Two scientists, Michael (Chistopher Walken) and Karen Brace (Natalie Wood, in her last film) are developing a virtual reality system that sends sensory inputs into the brain and can record sights, sounds, feelings, and even dreams. The military attempts to take over the project, with the help of ruthless businessman, Alex Terson (Cliff Robertson). When a senior team member, Dr. Lilian Reynolds (Louise Fletcher), dies under mysterious circumstances, the evidence points to Brace. Soon, Brace is on the run, trying to clear his name

Noted for his effects work in 2001 A Space Odyssey, Blade Runner, and Star Trek: The Motion Picture, Douglas Trumball, steps behind the camera as director. The film benefits visually from his expertise, as you might expect, but as is so often the case within the genre, the story should be the star...aided by a solid cast. Brainstorm has those traits. Walken delivers another fine performance as a tragic hero. Of course he also knows how to play a bad guy too. For this film though, Roberton is given that charge, and he delightfully chews the scenery, rising to the occaision. Through no fault of the filmmakers, Trumball had to paste together an alternate ending and it shows. What might have been...

The DVD's only extra is film's theatrical trailer. Viewers can watch the film in either the full-screen, or, widescreen formats.

Brainstorm is worth a look and is better than most folks think

Marriage counseling through technology
Before virtual reality and before "The Matrix," there was the 1983 film "Brainstorm." O.K., this movie may not compare favorably with "The Matrix," but it does involve some of the same tangential themes that that film deals with. The comparisons with virtual reality are apt, though viewers tend to overlook this aspect of the movie. People usually associate the film, if they even talk about it today, with Natalie Wood. The actress died shortly before the film wrapped in a highly publicized boating accident, thereby cutting short a lengthy film career and giving this motion picture a stigma it still carries today. A viewing of "Brainstorm" shows the film is more than Natalie Wood; it is a compelling story about innovative technology and its potential for misuse by powerful forces. Not a particularly unique movie plot, to be sure, but "Brainstorm" is still an intriguing film largely due to its solid cast and amazing special effects. The movie holds up well twenty years after its conception, which is saying a lot considering how far film effects have come during that time.

A team of brilliant scientists headed up by Lillian Reynolds (Louise Fletcher) and Michael Brace (Christopher Walken) have finally made an enormous breakthrough in their research. After years of frustrating tests and wrangles over budgetary concerns, an amazing new virtual reality system has been born. The machines these scientists created can record the sensory perceptions of one human being and replay them for another person. Reynolds and her team can capture everything--sight, taste, touch, hearing, smell, even emotion--and record it on tape. The implications of this discovery should become apparent almost immediately. Communications, entertainment, medicine: every aspect of human endeavor will irrevocably change once this device hits the marketplace. Of course, a few other shadier applications also apply with the device, particularly military systems and mind control. Reynolds, Brace, and Brace's estranged wife Karen soon find themselves at loggerheads with the boss of the company funding the research, the sympathetic yet uncompromising Alex Terson (Cliff Robertson). The United States military leans heavily on Terson concerning the project's development, threatening to remove funding if Reynolds denies the wonks at the Pentagon access to her research.

Running throughout these titanic battles about the ethics of a virtual reality system and the increasingly authoritarian tactics taken by the military is the relationship between Michael and Karen Brace. The couple split up over Michael's inability to balance his work with his personal life, a fact that Karen resents since her husband has neglected her and their son. Moreover, there is some sort of vaguely hinted at relationship between Reynolds and Michael Brace, a relationship that should hardly come as a surprise since the two have worked so closely together over the past decade or so. When Lillian Reynolds, a rabid chain smoker, records her death from a massive heart attack as it happens, Brace becomes fascinated with exploring this amazing death sequence caught on tape. The government decides Michael is too unstable to continue working on the project, thus banning him from the building and removing his security clearance from the company computers. When you muck around with a genius, however, you must make sure you have all the angles covered. Brace enlists the help of his tech savvy wife and a few other friends from the company and hacks into the company's mainframe in order to access the tape. What follows is an amazing special effects odyssey of sight and sound as Brace learns what happens when we die. In the process of playing the tape and risking his own life, Michael and Karen heal their problematic relationship.

The best elements in "Brainstorm" are the outstanding performances from the cast fused with amazing special effects. Natalie Wood, although somewhat wasted in a smaller role, stops the heart every time she appears on screen with her amazing beauty and solid acting. Christopher Walken does what Christopher Walken does best: act slightly weird by alternating between subdued silence and loud rage. Cliff Robertson and Louise Fletcher both excel in their respective roles, especially Fletcher, who as the temperamental Lillian Reynolds is both believable and amusing. Check out the scene when she dies from her heart attack yet takes the time to attach herself to her wondrous recording device. This is, I think, exactly what a true scientist dedicated to exploring every mystery would do in a similar circumstance. As good a job as the actors do, the special effects sometimes eclipse them. Apparently, the guy in charge of this film worked on Kubrick's "2001," and boy does it show. The final scenes in "Brainstorm" evoke memories of Keir Dullea's psychedelic trip at the end of "2001," except here they look better. It would be a great experience to see this film in a movie theater.

"Brainstorm" is a beautiful, thought provoking film I never tire of watching. The scenes between Walken and Wood are wonderful, especially when they use the reality device for their own personal explorations. In this way, the movie moves beyond a mere science fiction potboiler into realms of romance and psychological drama. Sadly, the DVD edition lacks the sort of extras a film of this caliber deserves. You would think a film this prescient would inspire the folks at Warner to pull out all the stops for the disc release. Well, anyone remotely familiar with Warner DVDs knows the company couldn't give a darn about what their discs contain. Too bad. I will still watch "Brainstorm" from time to time, but I secretly yearn for a special edition release in the near future--one with a commentary from Fletcher and Walken at the very least, along with some notes about the special effects in the film. If you like sci-fi, this is a must see experience.

Rating Brainstorm on what it should have been
Not too many people have seen Showscan movies. For some reason, they were released in (I think) selected Chucky Cheese's pizza shops.

Some friends and I drove 2 hours across Missouri to see Showscan and it was the most realistic picture we had ever seen.

Showscan was a 65mm film presented at 60 frames per second (fps). Studies had shown this to be the frame repetition rate at which the brain would integrate the frames seamlessly and accept it as true motion. Most movies are 24 fps, although each frame is shown multiple times to reduce flicker.

But you can tell that it's not real. US TV, which operates at 60 fields per second approximates the Showscan presentation. The difference between this and normal films is obvious - most people can tell a video source from a film source. They may not know why the video seems to have more presence, but the frame rate is the answer.

Brainstorm was originally produced to use Showscan projectors for the times when people were experiencing "reality" with their headsets. This would have clearly stood out from the rest of the film, and would have seemed much more real.

Perhaps only Doug T. saw the project in the 24/60 fps version. I know I didn't. However, from my experience with Showscan, I can state without reservation that this would have been one hell of a film as originally conceived. The "reality" changes would have more than made up for any other problems with acting or scripting. The "WOW" factor would have overridden all other criticism.

As for the dialog and acting being a little clunky - well, have you ever seen early stereo or 3D movies? They tended to concentrate on exploring the technology instead of the picture. Perhaps Showscan could have evolved to the state that 3D did with Hitchcock's "Dial M for Murder." Or perhaps not.

In any event, this would be an excellent roadshow movie (like the restored version of "Lawrence of Arabia") to show what the movie should have been.

And perhaps on a future DVD we'll have the helmet versions of reality replaced with 60 fields per second video. The difference should be obvious.

Thanks, Doug, for trying to pull this off. If you ever want to invite me to see your master copy with Showscan, I'll be out in California in an instant!

Rick ... Read more

Reviews (69)

Doesn't Play Well In Time
I liked this movie when it was first released to the theatres in the 1970s. I thought a revisit on DVD would bring back some of those fond memories, but, sadly, the film looks very dated.'

Forget the premise - it's pure enviro-fiction. Think about it for a minute: the planet earth has no more forests, trees, deserts - no wilderness left. We had to put all our critical environments in pods and orbit Jupiter with them (why Jupiter? why not orbit Earth?).

This very Asimovian premise falls on its face in light of science: since green plants give us the oxygen we need, a planet devoid of all green plants would be a dead planet - there would be no oxygen-breathing life on it.

OK. Let's say, though, that the radical environmental movement has succeesed in numbing your sense of reason - the film still fails in its scripting, which is needlessly whiny. Bruce Dern gives a rather egalitarian performance as the tree-hugger, which doesn't help to lend credibility to his cause.

Some of the effects still hold up, but overall the film has that shaky, matted look of cheesy 70s sci-fi (even STAR WARS has that look).

The most interesting thing about the DVD is the Special Features, and the documentaries on the making of the film. Once I finished with those, I had nothing more interesting to watch.

Great 1970s dystopic...
Like death and dying, there are several stages in evaluating "Silent Running" as a film. The first stage is whoa! great effects, unusual idea for a film made in the early 1970s. The second stage is the realization that you are being hit with some of the hardest propaganda since "Battleship Potempkin" or "Triumph of the Will". The final stage is nostalgia for such a ground-breaking movie with super special effects.

Bruce Dern is comfy in his role as a slowly-unraveling sociopath. What many don't realize is that the screenplay was written by a then-young Michael Cimino and Steven Bochco ("The Deer Hunter", "NYPD Blue". What's truly amazing is the use of mechanical (not visual) effects. If you've never been on an aircraft carrier, you'll believe that there is an American Airlines cargo freighter "Valley Forge". The details are wonderful: the corporate logos on the cargo pods, the technical manuals lying around, the overall believability of the wonderful drones, the background radio chatter from the other ships.

It's a shame Douglas Trumbull hasn't been more visible, this was a great effort.

A Bold Attempt with Fatal Touches
I must say I actually applauded Douglas Trumball for making this film, and upon it's release, it made an impact with audiences, but I never cared for it as entertainment or as serious science fiction. Today, the short-lived "ecology movement", green flags and all, is long gone, and this film is now is a seriously dated curio of it's time.

There are some terrific things to be said about this film... and there are some intelligent reviews of it that I agree with... however there are some fatal touches that make this a dated piece, and that make it difficult to watch today.

First of all, Bruce Dern's unappealing character is a stereotypical "hippie". He is a classic "passive-agressive" person... at one moment "loving and peaceful" and the next minute he is angry, pissed off, not in control of his emotions. He is certainly difficult for me to empathize with, since he reminds me of many "do-gooders" I have known who are unpredictable and untrustworthy and have a "hidden agenda" besides "peace and love". Dern plays this part to perfection, but its not something comfortable to watch for 2 hours. I have seen this film 2 or 3 times and each time I just wanted a chance to stuff something in his mouth to shut him up.

Secondly, the soundtrack of Joan Baez singing her folk tunes in space is just too limited for the scope of the visuals and destroys the impact of the powerful message the film tries to convey about "saving the planet". Her passive, slightly off-key and limited-ranged vocals do not marry well to the scenes of space, stars, planets and infinity. It does not work on any level... either then or now.

Finally, the most fatal flaw of this film is that as the plants begin to die... our hero panics and says he has no clue why. Forgetting about the space ship leaving the solar system and the gigantic glass domes leaving solar rays, he suddenly "realizes" that plants need SUN. What kind of ecological genius is this guy?

Well, the robots are clever and cute, the sets are impressive, the early scenes with the "friendly" plants are nice and the special effects are first rate for their day.... and we get to see Saturn's rings in the movies for the first time looking relatively authentic. It's certainly not as bad as a few reviewers have said, and sci-fi fans should see it, but there are far better sci-fi films out there.... and better ones that deal with the rape of our ecosystem.

Douglas Trumbull's Underappreciated SF Classic
On an overtechnologized and defoliated Earth of the future, the ecosystem has been carelessly destroyed by humans and the only remaining wilderness environs are grudgingly looked after by astronauts on massive domed spaceships. The vitamins, minerals, and such required to sustain human life can be easily synthesized in laboratories, so the folks on Earth are becoming increasingly apathetic about the need to sustain the circumgyrating greenhouses. When the inevitable order to scrap the project and destroy the orbiting flora and fauna finally comes through, Freeman Lowell (Bruce Dern), the only astronaut in the project who truly cares about the plants and animals, violently rebels and places upon himself the responsibility of protecting the last vestiges of Earth's non-human life. But just how far will he go to ensure that he's successful in his self-imposed calling?

1972's SILENT RUNNING marks the directorial debut of FX wizard Douglas Trumbull, probably best known for his FX work on Stanley Kubrick's 1968 sci-fi epic 2001: A SPACE ODYSSEY. Though the skeleton was given flesh by writers Deric Washburn , Michael Cimino, and Steven Bochco, the underlying structure of the plot is Trumbull's. In light of his work with Kubrick, it is interesting that Trumbull would come up with an idea such as that for SILENT RUNNING, as it makes it seem as if he felt that the only way he could demonstrate that he is more than just an FX man was to create a film that is the thematic opposite of the one featuring his best known FX work. Kubrik's opus tells a story that celebrates mankind's intellectual evolution and subsequent technological advancements, whereas Trumbull's brainchild embraces the ideals of 1960's counter-culture ecology movement and implies that technological advancement is conducted irresponsibly and consequently pollutes the environment and wrecks the Earth.

The plot of SILENT RUNNING is a bit slow at times, but the film is never dull or boring. And in the role of the good-intentioned but increasingly psychotic Lowell, Dern turns in one of his most intense and most memorable performances. Due to its anti-technology and pro-environmentalist theme, however, many critics have panned SILENT RUNNING as a '60s throwback in which Trumbull tries to milk emotions from the last vestiges of the pro-ecology hippies, often citing the fact that '60s folk singer Joan Baez performs some of the film's music as proof of their theory. But this is really an unfair evaluation. Environmentalist themes have been a long tradition in science fiction, with a future dystopia used to illustrate what might happen if present society continues being ecologically apathetic. And SILENT RUNNING isn't the only classic SF film from the '70s built around such a theme. Other SF films of the era also express concern about man's effect on nature--NO BLADE OF GRASS (1970), Z.P.G. (1972), SOYLENT GREEN (1973), and PROPHECY (1979) to name just a few. So it's more likely that Trumbull, a science-fiction fan himself, simply chose a traditional SF theme that appealed to his own ideals and tastes.

The DVD from Universal offers a good digital transfer of the film in anamorphic widescreen. Also included are some pretty cool bonus features, not the least of which are the original made-for-tv featurette on the making of the film and an interesting feature commentary with Trumbull and Dern. No true fans of SF will want to miss the opportunity to include this film in their DVD collections.

tell them all they love will die, tell them why, in the sun
I recently purchased this DVD, and viewed the film again after a break of many years.

There is little if anything of a critical nature that I could add to the excellent comments of darkgenius (see below). I did not see the character of Freeman Lowell as quite the fanatic that he did - which surprised me, because that *is* how I remembered him from my previous viewings, many years ago. If we lived in the ecologically monstrous era of the film, yet saw with the vision of a man of today (as Lowell does), I imagine many of us would exhibit more outrage than he does. In fact, I think the indifference of his co-workers astonishes - or perhaps appalls - me more than Lowell's personal involvement.

This is a very moving film. Evil is usually depicted in film in much more immediate and dramatic manifestations than one usually encounters in real life. CS Lewis has made the observation that all evil is ultimately banal. Indeed, true evil often passes before us completely unnoticed as such - in the civil servant who shows a bias for someone of her own race; in the policeman who gets joy out of bullying members of the public; in landlords and banks that use ignorance and intimidation to exact unwarranted concessions from a dispirited public; and so on.

In Silent Running, the last forests on Earth have been shot into space. There is no room for them anymore, but they are being preserved. Anyone of mature years knows how this kind of thing would come about in real life, and how it would end. It would come about because some political group wanted the forest land for some other purpose; and, not having the courage to simply destroy the forests openly -- perhaps not even wanting to do so, initially -- they suggest that this last great ecological heritage be preserved in space against the day when forests are again convenient. They might even weep, saying that the cost didn't matter because the forests were irreplaceable. And it would be done. But: "out of sight, out of mind." It would only be a few years before the expense of maintaining these forests in space would be deemed unjustifiable. And then the order to abandon them would come.

This is the way many societal evils actually come about. Silent Running shows us what depths of depravity are implicit in this common principle of human behavior.

The sorrow conveyed by this film is intensified by the representation of the victims as children. Lowell himself is naïve, thinking that recall and re-establishment of the forests is just around the corner. The drones are diminutive, awkward in their movements, and *trusting*; this last is demonstrated at a couple of points in the film, where it is evident that they are uncertain, look to Lowell for guidance, then go on about their tasks. Don't overlook the watering can. And there is the song, "Rejoice in the Sun," sung by Joan Baez.

We identify with these children. We feel the anguish of their loss as our own.

I venture to say that if you were to show this film to a group of your acquaintances, the ones who wept would prove the best friends. ... Read more