The Poseidon Adventure

Not rated yet!
Director
Ronald Neame
Runtime
1 h 57 min
Release Date
1 December 1972
Genres
Action, Adventure, Drama
Overview
The Poseidon Adventure was one of the first Catastrophe films and began the Disaster Film genre. Director Neame tells the story of a group of people that must fight for their lives aboard a sinking ship. Based on the novel by Paul Gallico.
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PJ Media Staff3
PJ Media



(Reviewers' Site/Bio)

  • 10 Tough Leadership Lessons from Great Movies
    Lifestyle var dataLayer = window.dataLayer = window.dataLayer || []; dataLayer.push({ 'videoName': 'Twelve O'Clock High Theatrical Movie Trailer (1949)', 'videoType': 'Curated' }); No matter what the dream, to make it come true takes leadership. Luckily, Hollywood can help. Here are 10 films that teach important lessons for leading in tough times.10. How to Turn Failing into WinningTwelve O’Clock High (1949) is set in the early days of the American daylight bombing raids over Nazi Germany. The Allied bombers are getting clobbered. Meet Gen. Frank Savage (Gregory Peck), who has just been put into command of a bomber wing that is falling apart. To make matters worse, the previous commander was well loved by all.  Savage has to earn their respect, instill the unit with vision and purpose, and turn his beleaguered bombers into a war-winning machine. Because the film is a realistic portrayal of the dynamics of turning around a failing organization, the U.S. Navy and Air Force still use it in leadership training. class="pages"> https://pjmedia.com/lifestyle/2014/7/29/10-tough-leadership-lessons-from-great-movies/ previous Page 1 of 10 next   ]]>
    ...
    (Review Source)
  • Of Roadshows and Rollercosters
    (”The Poseidon Adventure” is briefly mentioned in this.)
    Ed Driscoll The late Gene Siskel once said that the test of a good movie is whether it is more interesting than simply watching a documentary about its cast having lunch. Does that same basic concept work in print form? A pair of recent articles on two less-than-successful films from Universal made during Hollywood's fallow post-Easy Riders pre-Star Wars period are far more enjoyable than the actual films they're describing.First up, The Digital Bits DVD and Blu-Ray review site looks at the 45th anniversary of Bob Fosse and Shirley MacLaine's 1969 musical Sweet Charity, with an emphasis on its roadshow engagements -- which is a reminder of what was lost, for better or worse, with the coming of Jaws, Star Wars, and the modern film distribution method:Two months after sneak-preview screenings in Phoenix and Chicago, Sweet Charity had its world premiere in Boston on February 11, 1969 (several weeks ahead of opening in New York and Los Angeles). Although the Boston engagement played the Saxon (and is identified as such in the engagements listing below), the premiere event was held simultaneously at the Saxon and Music Hall.The roadshow engagements of Sweet Charity were big-city exclusives that preceded general-release exhibition. Out of hundreds of films released domestically during 1969, Sweet Charity was among only seven given deluxe roadshow treatment. Much like a stage show, they featured reserved seating, an advanced admission price, were shown an average of only ten times per week, and included an overture, intermission, entr’acte and exit music. Many of the roadshow presentations of Sweet Charity were screened in a 70-millimeter (blow-up) print with six-track stereophonic sound and were promoted as “70mm/Panavision with Full Dimensional Sound.” Souvenir program booklets were sold, as well.What follows is a (work in progress) list of Sweet Charity‘s domestic theatrical “hard ticket” roadshow engagements, arranged chronologically by date of premiere. The duration of the engagements has been included for some entries to illustrate how unsuccessful the film was compared to most 1960s era roadshow releases, especially in comparison to Funny Girl and The Sound of Music.* * * * * * * *Coate:  Would the roadshow exhibition concept work today?Hall:  No, because audiences now expect instant access, to which the slow, staggered, exclusive release pattern is antithetical.  Studios also desire rapid release because of the threat of piracy.Holston: I doubt it.  It is now possible to purchase tickets in advance for the initial showings of some films, but those tickets are not for specific seats and you don’t get deluxe programs and overtures and intermissions.  Ever since Billy Jack and Jaws, people are used to seeing a new film immediately somewhere in their vicinity.  Instant gratification.  Today no one’s going to drive into a city to see a movie that won’t come to the suburbs for months or a year — if it’s successful.  That’s what happened with the likes of West Side Story, Cleopatra and The Sound of Music.  Plus, there are hardly any huge art deco movie theaters left in inner cities.  As I researched my book I realized that roadshows and movie palaces existed symbiotically.  The roadshow depended on palatial theaters—and big premieres.  Not to mention concentration of people in cities.  Suburbs, cars, and mall theaters helped kill the “experience.”Kennedy:  I don’t think so.  Roadshows played hard to get, beginning in big cities on single screens.  Today we know most all movie will be available in many forms via the home markets, TV, streaming, etc.  Roadshows were based on limited opportunity to see them before they disappeared into the vaults.  Opening a huge movie on a handful of screens and withholding it from a larger audience for weeks or months has become too risky.  When roadshows were not well received, word of mouth killed them.  Now with thousands of screens showing the same “blockbuster” in its opening weekend, audiences are lured in before negative word of mouth spreads.  Maybe that’s changing, too.  Nowadays audiences text and tweet “this movie sucks” far and wide before its first matinee is over.Wikipedia notes that Sweet Charity "cost $20 million to make, but made only $8 million at the box office, which nearly sank Universal Pictures."As books such as Peter Biskind's Easy Riders Raging Bulls, and The Studio by John Gregory Dunne documented, Hollywood studios tried to constantly repeat the blockbuster success of the Sound of Music throughout the rest of the 1960s, with ever-diminishing results. During that period a group of Young Turks infiltrated the system and influenced by both the French Nouvelle Vague, and their own experiences on Roger Corman's B-movies, began producing deliberately cruder and more violent fare, such as Bonnie and Clyde and Easy Rider, eventually to the point where Steven Spielberg's Jaws, George Lucas' Star Wars and their combined effort, Raiders of the Lost Ark were B-movies and '30s-style Republic Serials done on a grand scale, with state of the art special effects.Found via Kathy Shaidle, this Turner Classic Movies article on Universal's 1977 film disaster film Rollercoaster makes two key observations: the first is that Rollercoaster is the exact same plot as Universal's previous disaster film, The Hindenberg. (Same writers, too -- Richard Levinson and William Link, who created the Columbo TV series for Universal.) The other observation is that Universal's disaster films were the last redoubt of the Hollywood studio system that began in the 1920s and '30s:The disaster films of the 1970s marked the death rattle of the Hollywood studio system and served as the establishment's rebuttal to the youthful excesses and longueurs of the New Hollywood. While Robert Altman, Hal Ashby, Martin Scorsese, Francis Ford Coppola, and Peter Bogdanovich were breaking the rules, journeymen such as Ronald Neame, John Guillermin, Mark Robson, and Jack Smight were put to work making The Poseidon Adventure (1972), The Towering Inferno (1974), Earthquake (1974), and Airport 1975 (1974). Disaster pictures were not only a response to such personal, indulgent films as Harold and Maude (1971), The Last Picture Show (1971), and McCabe and Mrs. Miller (1971) but served as reminders of how the studio system worked best, as a well-oiled machine, with a capable director communicating with equal dexterity between his actors and technical staff, while honoring the dictums and caprices of the front office. Special effects and big box craftsmanship to one side, the allure of the disaster cycle lay in its revolving cast of aging Hollywood A-listers - Charlton Heston, Paul Newman, Steve McQueen, Shelley Winters, Gloria Swanson, James Stewart, William Holden, Joseph Cotten, Dana Andrews - whose onscreen deaths (or the threat thereof) added instant production value.Another of these selfless efficiency directors was James Goldstone, whose seminal work was in episodic television. (In 1966, Goldstone helmed the second pilot for Gene Roddenberry's Star Trek, the one that sold.) The son of an entertainment attorney and talent agent (whose clients included Elizabeth Taylor and James Thurber), Goldstone directed few feature films, and his presence in a credit crawl invariably meant the producers wanted to save money by employing someone who could deliver the goods while creating as little trouble as possible.The Hollywood studios had enough troubles in the late 1960s and pre-Star Wars 1970s, to the point where to some in the movie industry, it very likely looked as if the genre wouldn't survive. (MGM effectively went out of business during that period.) I think they can be forgiven for wanting to work with craftsmen "who could deliver the goods while creating as little trouble as possible." class="pages"> https://pjmedia.com/eddriscoll/2014/2/17/of-roadshows-and-rollercosters/ ]]>
    ...
    (Review Source)
  • 5 Blockbuster Franchises That Should Learn from Dawn of the Planet of the Apes
    (”The Poseidon Adventure” is briefly mentioned in this.)
    Lifestyle var dataLayer = window.dataLayer = window.dataLayer || []; dataLayer.push({ 'videoName': 'Dawn of the Planet of the Apes | Official Trailer [HD] | 20th Century FOX', 'videoType': 'Curated' }); Dawn of the Planet of the Apes is a darkly thrilling second episode of version 3.0 of the Planet of the Apes saga, a brooding tale about a desperate band of humans who survived a catastrophic plague. They live near a band of wary forest apes who just want to be left alone but are skilled with weapons and are harboring a bad-tempered would-be leader who is itching to start a war. Thanks to excellent special effects, a suspenseful storyline and bold, frightening action scenes, a 46-year-old series is now as fresh as if it had been dreamed up yesterday.Here’s what some of the less successful blockbuster franchises that have overstayed their welcome could learn by waking up to Dawn. class="pages"> https://pjmedia.com/lifestyle/2014/7/11/5-blockbuster-franchises-that-should-learn-from-dawn-of-the-planet-of-the-apes/ previous Page 1 of 6 next   ]]>
    ...
    (Review Source)

Mark Steyn2
Fox News



(Reviewers' Site/Bio)

  • Voyage to Disaster
    We have a cornucopia of entertainment for you this weekend at SteynOnline. Later tonight we'll be presenting our Mother's Day audio special. Also among our audio extravaganzas to mark the first anniversary of The Mark Steyn Club is a selection of
    ...
    (Review Source)
  • The Day After Tomorrow 2
    (”The Poseidon Adventure” is briefly mentioned in this.)
    SteynOnline is spending this weekend, like many North Americans, in the deep freeze, with a reprise of my audio performance of Jack London's chilling masterpiece To Build a Fire. John Frey, a first-week founding member of The Mark Steyn Club, comments:
    ...
    (Review Source)

Murray N. Rothbard (a.k.a. Mr. First Nighter)1
The Mises Institute



(Reviewers' Site/Bio)

  • Arts and Movies - Vol. 5.5, May 1973

    Deliverance. dir. by John Boorman, written by James Dickey. With Burt Reynolds and Jon Voight. Several libertarians have touted James Dickey’s Deliverance as one of the great libertarian novels of our time, and the recently revived New Banner (Feb. 4-18) has devoted over three full pages to a hagiographical celebration of the movie. I haven’t read the novel, but the central fact of the movie, written by Dickey himself, is that it is overwhelmingly boring. It is an attempted adventure movie so poisoned by the search for Significance that the adventure is only a few high spots in a morass of tedium. Boorman has adopted the oldest trick in the business: if you want a movie to seem Profound when you have nothing much to say, then draw out the action, make the camera dwell endlessly on each scene, and focus on the face of each actor as he struggles painfully to emit some inarticulate banality. In other words, if you make the film dull enough, it will trail clouds of Profundity for our gullible moviegoers — especially the gullible critics. Although this time it was not so much the critics but some of our libertarians and other intellectuals who were taken in.

    Read More...

The Weekly Substandard Podcast1
The Weekly Standard



(Reviewers' Site/Bio)

  • The Substandard on Skyscraper, Disaster Flicks, and Baseball Cards
    (”The Poseidon Adventure” is briefly mentioned in this.)

    In this latest episode, the Substandard discusses the Rock's latest actioner, Skyscraper, and the disaster flick genre (The Poseidon Adventure > Beyond the Poseidon Adventure). JVL buys a ton of baseball cards. Sonny reappraises The Dark Knight III: The Master Race. And Vic reappraises Neve Campbell. Plus two film reviews!

    The Weekly Substandard is sponsored by Casper. Casper is a sleep brand that makes expertly designed products to help you get your best rest, one night at a time. After all, you spend one third of your life sleeping, so you should be comfortable. Get $50 toward select mattresses by visiting Casper.com/SUBSTANDARD and using promo code SUBSTANDARD at checkout. Terms and conditions apply. 

     

    ...
    (Review Source)

Andrew Anglin1
Daily Stormer



(Reviewers' Site/Bio)

⚠️ EDGY 🔥 CONTENT 🔥 WARNING 🔥 (NSFW?) ⚠️

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  • The Wild Bunch: The Götterdämmerung of Westerns
    (”The Poseidon Adventure” is briefly mentioned in this.)
    Silas Reynolds | It's one of the very best.
    ...
    (Review Source)

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