FILM REVIEW: Threads (1984)

Directed by Mick Jackson

* * * 1/2

The unyielding perseverance of humanity – our greatest blessing as a species? Or perhaps the heaviest burden of all? I am unsure, and I would prefer not to speculate much more. To argue otherwise would paint me unpleasantly pessimistic. I would love to believe that no matter what hammer-blow of a tragedy strikes us next, we will get through it. That said, Mick Jackson’s Threads presents one hell of an argument otherwise. From start to finish, this is one of the most agonizing movies I’ve ever experienced.

Threads was produced by the BBC and aired on British TV in 1984, subsequently aired in the United States the following year (Ted Turner fronted his own money to ensure an uncensored, uninterrupted broadcast in the States). In spite of the tremendous impact of its time, Threads fell into somewhat of an obscurity for two and a half decades with no home video availability in the States (save for a shabby VHS tape). Over the last few years, I have taken note of a resurgence in popularity – probably due to its 30^th anniversary back in 2014. Here we are now in 2018, and a brand-new 2K restoration on Blu-Ray is available for purchase, courtesy of Severin Films.

The fear of incoming war steadily intrudes into daily existence as tensions mount. TVs and radios remain exclusively tuned to the news. It is soon reported that the unthinkable occurs: two nuclear devices are detonated in the Middle East. Panic ensues. Supermarkets are flooded with customers but not enough food to go around. Citizens begin packing their belongings and head for the countryside. Those who remain in Sheffield are subjected to the eerily monotone Protect & Survive programs, a series of PSAs that detail tips for surviving a nuclear strike and its aftermath. It is some of the most unbearable slow-burn terror ever put on screen.

And then it happens. It actually happens. The bombs fall. Shrieks of terror permeate the air. A middle-age couple rush to construct a makeshift shelter. A woman wets herself upon seeing the mushroom cloud in the distance (one of the most devastating images I’ve ever seen in a movie). Eventually, 80 megatons fall on the UK, and Sheffield is obliterated. I would give anything to say that Threads ends here, but there are survivors. I’m not sure whether to follow that with ‘fortunately’ or ‘unfortunately’.

Even if one knows exactly what they’re getting into with Threads, it will not take long to forget that this is a film about nuclear annihilation. The characters are everyday working class people, and they are presented in such a way – it is almost disconcerting in just how unremarkable they are. There is no need for a compelling character-driven narrative here.

There is somewhat of a protagonist in Ruth (Karen Meagher). While Meagher is exceptional, I don’t feel much point in going too much into her story. The people who populate Threads only serve as a means of bearing witness to the various perspectives of such an unimaginable catastrophe. It doesn’t matter what kind of people will suffer – what matters is that people will suffer. Period.

Threads takes us into a world where survival is the equivalent of trudging through hell, where death is something to be eagerly awaited. When I say that this film takes us into this world, it really takes us in. It is well-known Threads was written by Barry Hines, the man responsible for writing Kes, perhaps the quintessential British realist “Kitchen Sink” drama.

The “Kitchen Sink” attitude, as well as the aesthetic, are carried over into Threads. It is shot in grainy hand-held with an urgency that leads the viewer to believe that the action on screen is actually happening. There are also a lot of moments filmed in tight close-ups and enclosed spaces. Even among the wasteland, a sense of claustrophobia perpetuates.

The film goes on and on, observing humanity’s survival up to 13 years after the attack. At this point, the population reaches minimal levels, and society has been reduced to a medieval-like existence. The generation born after the bomb are pretty much Neanderthals, lacking in any kind of emotion and communicating in caveman-like dialect. Here is a scenario so inconceivable to us, and Threads makes it completely believable.

Adding to the merciless realism of Threads is the use of input from various scientists in the field of nuclear research (one such consultant was the late Carl Sagan). The film periodically cuts to black and will display text that briefly and objectively states what is happening and what is going to happen – FALLOUT IMMINENT: FIRE-FIGHTING AND RESCUE ATTEMPTS UNLIKELY. LIKELY EPIDEMICS: CHOLERA, DYSENTERY, TYPHOID. It is actually one of the most unique and frightening techniques I’ve seen. Once in a while, a narrator throws his two cents in as well. I think a narrator is a little unnecessary, but it is not distracting.

Threads is not 100% perfect. Many a time, a scene will fade in only to fade out just seconds later, making the pacing choppy at times. Being a television production, of course the budget is limited, and there are times when the budget shows – the result is less than flattering. In particular, there are these establishing shots of a house, and I swear all we are shown is a painting with some post-production smoke added. Other than that, though, the film thrives in spite of its budget. It actually looks fantastic and convincing.

Needless to say that Threads is a product of its time, but does that make it outdated? Absolutely not. Regardless of world affairs, as long as nuclear weapons exist, Threads will remain relevant. Personally, I hope to see a world where Threads will be outdated. Until that day (if it comes), Threads should be mandatory viewing for all.