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On the Beach

On the Beach

Science Fiction · Drama · Romance · 1959

In 1964, atomic war wipes out humanity in the northern hemisphere; one American submarine finds temporary safe haven in Australia, where life-as-usual covers growing despair. In denial about the loss of his wife and children in the holocaust, American Captain Towers meets careworn but gorgeous Moira Davidson, who begins to fall for him. The sub returns after reconnaissance a month (or less) before the end; will Towers and Moira find comfort with each other?

Movie details

On the Beach

“The Biggest Story of Our Time!”

1959 Science Fiction · Drama · Romance 2h 14m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

In 1964, atomic war wipes out humanity in the northern hemisphere; one American submarine finds temporary safe haven in Australia, where life-as-usual covers growing despair. In denial about the loss of his wife and children in the holocaust, American Captain Towers meets careworn but gorgeous Moira Davidson, who begins to fall for him. The sub returns after reconnaissance a month (or less) before the end; will Towers and Moira find comfort with each other?

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over On the Beach?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Stanley Kramer

Written by

John Paxton

Gregory Peck

Gregory Peck

Dwight Towers

Ava Gardner

Ava Gardner

Moira Davidson

Fred Astaire

Fred Astaire

Julian Osborn

Anthony Perkins

Anthony Perkins

Lt. Peter Holmes

Donna Anderson

Donna Anderson

Mary Holmes

Guy Doleman

Guy Doleman

Lt. Cmdr. Farrel

John Meillon

John Meillon

Ralph Swain

Court is in session

Put On the Beach on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.