Under Fire is a 1983 American political thriller film set during the last days of the Nicaraguan Revolution that ended the Somoza regime in 1979. Directed by Roger Spottiswoode, it stars Nick Nolte, Gene Hackman and Joanna Cassidy. The musical score by Jerry Goldsmith, which featured jazz guitarist Pat Metheny, was nominated for an Oscar for Best Original Score.[1][2] The editing by Mark Conte and John Bloom was nominated for a BAFTA Award for Best Editing. The film was shot in the Mexican states of Chiapas and Oaxaca.
Russell Price is a photojournalist covering a military conflict in Chad, where he runs into Oates, a mercenary who he knows. Russell then returns to his hotel, where he attends a "Bon Voyage" party for his friend Alex Grazier, who is giving up covering foreign conflicts to take a lucrative job as a news anchor in New York. It is revealed that Russell is having an affair with Alex's girlfriend, fellow journalist Claire Stryder. Alex's article about the conflict in Chad is paired with Russell's photography to land a cover story in Time magazine.
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The journalists then travel to Nicaragua to join the international press corps covering a conflict between the government of President Somoza and rebels led by Rafael, an underground figure who has never been photographed. Russell is arrested for no legitimate reason and spends a night in jail. He and Claire meet Marcel Jazy, a French spy who is closely connected to Somoza, who tips them off that they might find Rafael in Len, even though the press corps believes the fighting is shifting to Masaya.
They go to Len and cover an intense rooftop gun battle between rebels and government troops. Russell meets rebels led by Pedro who gives him a baseball to take to Dennis Martinez. After more fighting, Russell again meets Oates, who is now fighting for the Nicaraguan government. Afterwards, Oates shoots Pedro in the back, killing him, but Russell does not reveal Oates' location, in order to avoid picking a side in the conflict.
Claire and Russell attend a press conference where President Somoza announces that Rafael has been killed. They then meet rebels who promise to take them to meet Rafael. Led to a remote rebel stronghold, they realize that Rafael is indeed dead, and the rebels ask Russell to fake a living photo of their leader, believing this will sustain the movement long enough to win a victory. Although conflicted, Claire and Russell agree to help the rebels.
The photo is a success, and Alex comes to Nicaragua to get Russell to arrange an interview with Rafael. Alex learns of Russell's affair with his girlfriend, but does not sever his relationship with the photographer. The two go to find Rafael as the war escalates. They are detained and again meet Oates, who this time is with government troops who are conducting a mass execution. Russell learns from Oates that Jazy has been using him to get photographs of rebel leaders, who are then targeted for assassination.
Alex learns that Rafael is dead and Claire and Russell have violated journalistic ethics. Nevertheless, he agrees to not expose them, and will do a fluff piece on Jazy instead. Russell tries to arrange the interview, but fighting has become even more intense as the government is losing the war. Lost on their way back to the hotel, Alex asks government troops for assistance, but they are paranoid and execute him in the street while Russell takes pictures. Russell then escapes from the troops with the help of a local woman who hides him in her home.
Realizing it will end his regime if it is revealed that government troops killed a famous American journalist, President Somoza reports that rebels killed Alex and troops desperately search for Russell to kill him and destroy the pictures. Russell witnesses rebels killing Jazy. Claire is able to get the negatives back to the hotel, then goes to find Russell.
Russell's photographs are broadcast worldwide and Somoza flees to Miami. With the rebels victorious, Claire and Russell are reunited and leave the country. In the final scene, she asks "Do you think we fell in love with too much?", and he replies "I'd do it again".
Though the film is largely fictional, it was inspired by the murder of ABC reporter Bill Stewart and his translator Juan Espinoza by Nicaraguan National Guard troops on June 20, 1979.[3] ABC cameraman Jack Clark was shooting "incidental" footage, and caught the entire episode on tape. The footage was shown on national television in the United States and became a major international incident, undermining what remained of dictator Anastasio Somoza's support. The US Government had already stopped military aid to Nicaragua and its National Guard in 1978, but the incident was the final straw for the Carter Administration's relationship with Somoza,[4] whose regime fell on July 19.
Roger Ebert of the Chicago Sun-Times awarded the film three and a half out of four stars, praising the performances and declaring it one of the year's best films, saying, "The actors in Under Fire never step wrong. Nolte is great to watch as the seedy photographer with the beer gut. Hackman never really convinced me that he could be an anchorman, but he did a better thing. He convinced me that he thought he could be one. Joanna Cassidy takes a role that could have been dismissed as 'the girl' and fills it out as a fascinating, textured adult. Under Fire surrounds these performances with a vivid sense of place and becomes, somewhat surprisingly, one of the year's best films."[7] Geoff Andrew of Time Out praised the film as "tak[ing] an honourable place alongside classic war-torn romance pictures like Casablanca and To Have and Have Not" and concluded by calling it "a thrilling film, with a head, a heart, and muscle."[8]
Vincent Canby of The New York Times, however, viewed the film less favorably, saying "Under Fire, which was written by Ron Shelton and Clayton Frohman, from a story by Mr. Frohman, means well but it is fatally confused. It's silly enough to use a real, bloody war as the backdrop - the excuse, really - for the raising of the consciousnesses of a couple of mini-characters."[10]
I remember back in the early 1980s Anvil were quite often featured in mags like Kerrang!, but back then, being a lot younger, I was apt to make harsh and completely unbased snap judgements about things and had decided early on that Lips looked like "a bit of a twat" so promptly ignored anything that Anvil put out. I did see the documentary about them, The Story of Anvil, and it did end up with me rooting for the dogged Canadians, but it is only recently however, over the last couple of months in fact, that I have finally checked out any Anvil releases and I guess it's me who is the twat because I have thoroughly enjoyed their first couple of albums (although the debut is lyrically quite embarrassing) and so I have missed out on many years of Anvil enjoyment.
So to album number three, 1983's Forged In Fire and, for me, this is the best one yet. Anvil strike me a little as how Venom may sound if they were better musicians and ditched the horror/satanic imagery - and I mean that as a compliment as I love Venom. Most of the tracks are highly-charged, speed-driven rippers with some really cool riffs and impressive lead work from the unjustifiably maligned (by me) Steve "Lips" Kudlow that owe a fair bit to post-Killing Machine Judas Priest. Opener Forged in Fire includes a Stargazer-like section where Lips let's loose with a soaring solo and the following track, Shadow Zone, has another brilliant extended solo during it's latter section that show exactly how egregiously I had misjudged poor old Lips who, it turns out, is one hell of a metal guitarist.
It's not all a complete love-in from me though and Forged In Fire does contain a couple of clunkers, the worst of which is Never Deceive Me and, to a lesser extent, Make It Up to You, both of which sound like possible attempts at producing tracks for radio play. Butter Bust Jerky has a really odd-sounding chorus too, otherwise it is great with more red-hot soloing from old Lips. The middle section of the album does hit a bit of a plateau, but the closing duo of the searing Motormount and Winged Assassins ensure that the album ends on a high.
Listening now, I love this reissue as I never had the tape, awesome noisy cut ups, Definitely pushing the envelope! Like Leslie mentioned before to me would have been a hell of a show Psychodrama/Skoptzies at Antenna, to bad this never happened!
The GI Joe Motorized Battle Tank! I wonder what might have happened if Reagan and Andropov had gotten together one sunny 1983 afternoon to listen to this tape... It has all the qualities of classic 1980's cassette culture noize -- punk rock ain't got nothin on this stuff.Ā
I just found this, after having not heard it since sitting in my friend Billy Taylor's bedroom in 1983. We got very stoned, and enjoyed this quite a lot. I recall a mixture of terror and laughter. I don't know where Billy bought the tape, but he was always plugged in. He had "Hi How Are You?" from Daniel Johnston, and corresponded with Jad Fair. We drove over to Daytona Beach listening to cassettes Jad had sent him, and then he would try and surf on the weak waves. This is just as chaotic, enjoyable, and real as I remember it 38 years ago. Thanks.
We lived in Orlando, in College Park. We both went to Edgewater High School, and had a band called The Glass Shrimp.Ā
When I sent him the link to the bandcamp page he repliedĀ
"Wow..I just my bootleg copy to Michael pilmer who works for devo. wonder if he posted it. ? Sent it to him 6 months ago. I had that original dub still. Wow..they couldn't make something so heinous now."
That last sentence is high praise, BTW.
So I guess Bill got a dub from someone else in Orlando, or G'ville?
It's getting dark around here so I'm going to light a candle by gushing about a flick that fascinates the heck out of me, 1983's EYES OF FIRE. This one has come up a bunch of times on these pages over the years and every time it does, I declare I'm going to watch it again immediately and then I usually don't. That is because the thought of it stirs up some freaky unease in me and I mean that as a compliment towards its effectiveness. It's been feathering the inside of my mind more than usual lately after seeing THE WITCH so the other night I returned to it again only to find that its spell on me has lessened exactly zero percent over the years. There's something so elemental and mystical about EYES OF FIRE that even on the occasion that it sports garishly dated video effects, it somehow makes them work. And there's something so primal going on that the entire experience of watching it feels like a forgotten memory from another life being unearthed. One thing that I think EYES OF FIRE excels past THE WITCH in, is convincing the viewer of the endless depth and open, uncharted nature of the forest its story nests in. Whereas THE WITCH has a definite (and comparatively comfortable) sense of a home base, EYES OF FIRE makes you feel dazed and lost and scrambling in the middle of nowhere. 152ee80cbc
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