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I haven't seen it for a very long time, but i thought there was a definite plot going through it. Though maybe I'm misremembering. I do remember it terrifying me. Genuinely disturbing.
@ Mr. Xebec and Mr. Moonlit: Not so much a plot as following the unfolding catastrophe and the consequences on the living (and soon not to be living). Terrifying film that makes Mr. Meyer's effort look like a pleasant garden party in comparison. Bone chilling!
I would also add, that as the title suggests, we are shown the disintegration of the threads that bind society and eventually, the new and very tenuous rebuilding of those said threads.
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Been meaning to catch up with this again after seeing it on broadcast in '84. Still got the Radio Times cover issue somewhere. A harrowing experience but typically realistically told by writer Barry Hines who lived only 15 mins walking distance from me in Hoyland Common. In fact I saw the blue plaque on his former house for the first time as I passed only a week ago.
One of my nearest pubs is The Knave and Kestrel, named in Hines' honour, after his novel 'A Kestrel For A Knave', made more famous by the locally filmed Kes.
Definitely worth seeing.
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I saw Threads the other night after reading this...uh...thread. It's on Amazon Prime. It was gutting. I woke up the next day utterly depressed. Even with a minimal budget, it conveyed the horror of nuclear devastation convincingly and tragically. Even showing people burning alive (although one person looked like E.T. on fire).
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Posted: |
Jul 22, 2020 - 1:35 AM
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By: |
Graham Watt
(Member)
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I haven't seen THREADS since we had to study it back in '84 as part of a degree course (when the government used to give grants for essentials such as beer). It was shocking indeed. I'll never forget that shot of the milk bottle left on the doorstep, exploding with the heat.
I get the feeling that THREADS may hit harder with British audiences. It's just a theory, but there was a kind of Ken Loachy realism to it, and a lot of that was down to the unglamorous filming locations and details such as milkmen. This was like towns where we grew up when we was kids.
On the other hand, THE DAY AFTER seemed to have a kind of glossy veneer to it, probably just because it was filmed in a different country, where it was sunny and people had big houses and wide cars. So it was still, in a weird way, a sort of "escapism" for us dour British folks.
That was part of the summary of my 2000-word essay. (B+) Thanks, taxpayers.
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I haven't seen THREADS since we had to study it back in '84 as part of a degree course (when the government used to give grants for essentials such as beer). It was shocking indeed. I'll never forget that shot of the milk bottle left on the doorstep, exploding with the heat.
I get the feeling that THREADS may hit harder with British audiences. It's just a theory, but there was a kind of Ken Loachy realism to it, and a lot of that was down to the unglamorous filming locations and details such as milkmen. This was like towns where we grew up when we was kids.
On the other hand, THE DAY AFTER seemed to have a kind of glossy veneer to it, probably just because it was filmed in a different country, where it was sunny and people had big houses and wide cars. So it was still, in a weird way, a sort of "escapism" for us dour British folks.
That was part of the summary of my 2000-word essay. (B+) Thanks, taxpayers.
The Ken Loachy realism is due to the script by Loach collaborator Barry Hines. They worked together on the film Kes, based on Hines' novel A Kestrel For A Knave, and plays for the BBC such as The Price of Coal and The Gamekeeper. All the productions are set in Yorkshire and have that semi documentary feel.
https://en.wikipedia.org/wiki/Barry_Hines
Quite interesting to see that Hines was approched by Disney for Kes but he refused to change the downbeat ending.
https://en.wikipedia.org/wiki/Threads_(1984_film)
Didn't know about the director approved widescreen version of Threads., and the fact that the special edition Blu ray has the uncut version, which has prompted me to order this.
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Posted: |
Jul 22, 2020 - 4:03 PM
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By: |
Moonlit
(Member)
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I haven't seen THREADS since we had to study it back in '84 as part of a degree course (when the government used to give grants for essentials such as beer). It was shocking indeed. I'll never forget that shot of the milk bottle left on the doorstep, exploding with the heat.
I get the feeling that THREADS may hit harder with British audiences. It's just a theory, but there was a kind of Ken Loachy realism to it, and a lot of that was down to the unglamorous filming locations and details such as milkmen. This was like towns where we grew up when we was kids.
On the other hand, THE DAY AFTER seemed to have a kind of glossy veneer to it, probably just because it was filmed in a different country, where it was sunny and people had big houses and wide cars. So it was still, in a weird way, a sort of "escapism" for us dour British folks.
That was part of the summary of my 2000-word essay. (B+) Thanks, taxpayers.
The Ken Loachy realism is due to the script by Loach collaborator Barry Hines. They worked together on the film Kes, based on Hines' novel A Kestrel For A Knave, and plays for the BBC such as The Price of Coal and The Gamekeeper. All the productions are set in Yorkshire and have that semi documentary feel.
https://en.wikipedia.org/wiki/Barry_Hines
Quite interesting to see that Hines was approched by Disney for Kes but he refused to change the downbeat ending.
https://en.wikipedia.org/wiki/Threads_(1984_film)
Didn't know about the director approved widescreen version of Threads., and the fact that the special edition Blu ray has the uncut version, which has prompted me to order this.
Good info. Much appreciated. 
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