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| Dante's Peak | |
|---|---|
| Directed by | Roger Donaldson |
| Produced by | |
| Written by | Leslie Bohem |
| Starring | |
| Music by | |
| Cinematography | Andrzej Bartkowiak |
| Edited by | |
Production company | |
| Distributed by | Universal Pictures |
Release date | |
Running time | 109 minutes |
| Country | United States |
| Language | English |
| Budget | $116 million[1] |
| Box office | $178.1 million[1] |
Dante's Peak is a 1997 American disasterthriller film directed by Roger Donaldson. Starring Pierce Brosnan, Linda Hamilton, Charles Hallahan, Elizabeth Hoffman, Jamie Renée Smith, Jeremy Foley, and Grant Heslov, the film is set in the fictional town of Dante's Peak where the inhabitants fight to survive a volcanic eruption from a long dormant stratovolcano that has suddenly woken up. The film was released on February 7, 1997, under the production of Universal Pictures and Pacific Western Productions. Despite mostly negative reviews, it was a box office success and has since gained a cult following among disaster film aficionados.
It is the third film collaboration between Gale Anne Hurd and Hamilton, who both previously worked in the firsttwoTerminator films.
Plot[edit]
In 1993, USGSvolcanologist Dr. Harry Dalton and his partner, Marianne, attempt to escape Galeras's eruption in Colombia. In the escape a piece of debris kills Marianne.
Four years later, Harry is assigned by his superior, Dr. Paul Dreyfus, to investigate seismic activity near Dante's Peak, Washington, a town that borders a dormantstratovolcano. Harry arrives at the town and meets with the mayor, Rachel Wando, and her children, Graham and Lauren.
Rachel offers to take Harry with them as they see her former mother-in-law, Ruth, who lives near a lake at the base of the volcano. While exploring, they find dead trees, dead squirrels, and even two people boiled to death by a hot spring. Paul arrives with a USGS team that evening, and they set up base to monitor the volcano. Harry believes the disturbances to be signs of an impending eruption, but Paul disagrees and advises against giving a false alarm. Still, Harry tries to convince Rachel to prepare for a disaster, while developing a relationship with her and the children.
A week passes, but although one of Harry's colleagues, Terry, is injured in an earthquake and avalanche in the summit crater, the volcano shows no signs of serious activity, and the USGS team begins preparing to leave. However, when Harry goes to say goodbye to Rachel, they discover the town's water supply has been contaminated with sulfur dioxide, and the next morning, seismic readings and gas levels rise dramatically. Finally convinced that the volcano will erupt, and with the National Guard unavailable until the next day, Paul gives Harry permission to put the town on alert. Before the group can evacuate the town, the eruption begins. In the ensuing chaos, Harry and Rachel go to retrieve the children, only to find they have gone to get Ruth, who refuses to leave her home. Just as they reach Ruth and the children, a lava flow engulfs Ruth's cabin and destroys the vehicles. The five flee across the lake in a motorboat, but the lake has become acidic due to sulfur-rich gases from the volcano, destroying the motor and eating away at the boat. Ruth jumps out of the boat to help it to shore, but sustains severe chemical burns and dies the next morning with her family and Harry at her side.
The heat from the volcano melts the glaciers on the peak, forming a lahar which collapses a dam on the river leading into town. During a lull in the eruption, Harry and the Wandos take a ranger's truck and set off back to town, where the National Guard is helping evacuate the town. A bridge over the lahar fails, and while the USGS team makes it across, their van and Paul are lost to the flood. Meanwhile, Harry and the Wandos are forced to drive across a lava flow in their path, rescuing Ruth's dog, Roughy, along the way. When they arrive back in the deserted town, they find all escape routes gone. While retrieving a distress radiobeacon, Harry learns the volcano is due for a more violent second eruption. As he races for the town's abandoned mine, the volcano explodes, and they barely make it to the mine before the town is overrun and destroyed by pyroclastic flows. The USGS team, watching the eruption from afar, presume Harry dead.
Harry leads the Wandos to Graham's former clubhouse in the mine, only to realize he left the beacon in the truck. When he goes back for it, the mine collapses, nearly crushing the truck and trapping him inside. Harry eventually manages to activate the beacon after much difficulty.
A few days later, Terry notices the beacon has been activated, and the USGS dispatches search and rescue teams. Harry and the Wandos are freed from the mine, reunited with Harry's team, and airlifted out by helicopter. As the credits roll, the camera pans over the obliterated town before turning to the volcano, now reduced to a caldera.
Cast[edit]
- Pierce Brosnan as Harry Dalton
- Linda Hamilton as Rachel Wando
- Charles Hallahan as Paul Dreyfus
- Grant Heslov as Greg
- Elizabeth Hoffman as Ruth
- Jeremy Foley as Graham Wando
- Jamie Renée Smith as Lauren Wando
- Arabella Field as Nancy
- Tzi Ma as Stan
- Brian Reddy as Les Worrell
- Kirk Trutner as Terry Furlong
- Carol Androsky as Mary Kelly
- Bill Bolender as Sheriff Turner
- Lee Garlington as Dr. Jane Fox
- Tim Haldeman as Elliot Blair
- Peter Jason as Norman Gates
- Christopher Murray as Pilot
- Susie Spear as Karen Narlington
- Walker Brandt as Marianne
Production[edit]
Principal photography began on May 6, 1996. The film was shot on location in Wallace, Idaho.
Exterior shots of the Point Dume Post Office in Malibu, California, were used as the USGS's David A. Johnston Cascades Volcano Observatory headquarters in Vancouver, Washington. The facility was named in honor of David A. Johnston, a young scientist who had precisely predicted the volatility of the May 18, 1980, Mount St. Helens eruption and perished during the event.[2]
The scene involving the geological robot and the trapped scientist was shot inside the crater of Mount St. Helens, as evidenced by a brief appearance of Mount Adams, a dormant 12,776-foot (3,894 m) peak 35 miles (56 km) east of Mount St. Helens, as the film focuses on the scientists. The scene itself was actually filmed on the tarmac of Van Nuys Airport, while the Mount Adams image was composited in later. Production was completed on August 31, 1996.
Extensive special effects surrounding certain aspects of the film, such as the lava and pyroclastic flows, were created by Digital Domain, Banned from the Ranch Entertainment, and CIS Hollywood.[3] The computer-generated imagery was mostly coordinated and supervised by Patrick McClung, Roy Arbogast, Lori J. Nelson, Richard Stutsman, and Dean Miller.[3] Although the film uses considerable amounts of CGI, the volcanic ash in the film was created using cellulose insulation manufactured by Regal Industries in Crothersville, Indiana. Between visuals, miniatures, and animation, over 300 technicians were directly involved in the production aspects of the special effects.[3]
Despite the complexity of its visual effects, Dante's Peak was not nominated for an Academy Award for Best Visual Effects that year, as it faced stiff competition from The Lost World: Jurassic Park, Starship Troopers, and Titanic, the eventual winner of the award.
Locations[edit]
- Wallace, Idaho (the fictional town)[4]
- Mirror Lake, 4 miles (6.4 km) southeast of Sagle, Idaho (Grandma Ruth's lakeside house)
- Baker Hot Springs, Mount Baker National Forest, Washington
- Mount St. Helens National Volcanic Monument, Washington (establishing shots)[4]
- Point Dume Post Office, Malibu, California (USGS's headquarter)[4]
Music[edit]
| Dante's Peak: Original Motion Picture Soundtrack | |
|---|---|
| Soundtrack album by | |
| Released | February 4, 1997 |
| Label | Varèse Sarabande |
The original score was co-composed by John Frizzell and James Newton Howard. Howard wrote the main theme (heard during the opening titles) and a number of cues, while Frizzell wrote the bulk of the score.
Thirty minutes of the score was released by Varèse Sarabande; the short album length being due to high orchestra fees at the time of release. An expanded bootleg exists that contains almost the entire score.
The contents of the CD release can also be found on the region 1 DVD, and Blu-ray on an alternate audio track during the 'Creating a Volcano' documentary.
The 'Main Titles' cue is also featured on Varèse's The Towering Inferno and Other Disaster Classics compilation album.
| No. | Title | Length |
|---|---|---|
| 1. | 'Main Titles' | 5:30 |
| 2. | 'The Close Call' | 1:49 |
| 3. | 'Trapped in the Crater' | 5:03 |
| 4. | 'On the Porch' | 2:31 |
| 5. | 'The Evacuation Begins' | 4:12 |
| 6. | 'The Helicopter Crash' | 1:28 |
| 7. | 'Escaping the Burning House' | 2:32 |
| 8. | 'Sinking on Acid Lake' | 2:37 |
| 9. | 'Stuck in the Lava' | 1:44 |
| 10. | 'The Rescue' | 3:05 |
| Total length: | 30:22 | |
Reception[edit]
Box office[edit]
The film was released on February 7, 1997 in 2,657 theatres. It debuted at #2 at the box office behind the special edition re-release of Star Wars; it took in $18 million in its opening weekend.[5] After eight weeks in theatres, it had grossed $67.1 million in the United States and $111.0 million overseas, for a total of $178 million worldwide.[1]
Film critic's reception[edit]
Although it was a bigger financial success than Volcano (released two months later), Dante's Peak Everything hand of fate 1 and 2, inc soundtracks and dlc for mac. received mostly negative reviews compared to the generally mixed reviews of its rival. Rotten Tomatoes gave the film a 26% rating based on 31 reviews,[6] compared to a 50% rating from 46 reviews for Volcano. The consensus states: 'Dante's Peak works when things are on fire, but everything else from dialogue to characters is scathingly bad.'[7]
Geologists' reception and Educational purpose[edit]
The film attracted geologists to create dedicated 'information page' to reach out to students interested in science, including the U.S. Geological Survey (USGS)[8] and the University of Maryland.[9] The fact-checking on USGS's information page concluded 'in many but not all respects, the movie's depiction of eruptive hazards hits close to the mark'.[8] On the other hand, two professors at the Lewis-Clark State College panned the movie for understating the negative effects of a possible false alarm.[10]
The film is also a popular film viewing and discussion in science classes in the United States.[11]
See also[edit]
References[edit]
- ^ abc'Dante's Peak (1997) - Box Office Mojo'. boxofficemojo.com. Retrieved 27 May 2015.
- ^Topinka, Lyn (2009-12-08). 'Establishing the David A. Johnston Cascades Volcano Observatory'. United States Geological Survey. Retrieved 2010-04-03.
- ^ abc'Dante's Peak (1997) - Cast and Credits - Yahoo! Movies'.
- ^ abc'Dante's Peak'. Movie-locations.com.
- ^'Weekend Box Office Results for February 7-9, 1997 - Box Office Mojo'. boxofficemojo.com. Retrieved 27 May 2015.
- ^'Dante's Peak'. rottentomatoes.com. 7 February 1997. Retrieved 27 May 2015.
- ^'Volcano'. rottentomatoes.com. 25 April 1997. Retrieved 27 May 2015.
- ^ ab'DANTE'S PEAK FAQ'S (frequently asked questions)'. U.S. Geological Survey's Volcano Hazards Program. 1997-02-10. Archived from the original on 1998-12-02.
- ^Candela, Phil; Piccoli, Phil (1997–1998). 'A Geological Guidebook to Dante's Peak'. Department of Geology, University of Maryland at College Park. Archived from the original on 1998-06-23.
- ^'Experts Say 'Dante's Peak' Has Hero, Bad Guy Mixed Up'. The Spokesman-Review. February 10, 1997. Retrieved October 21, 2019.
- ^'Dante's Peak: Discussion Topics'. Pennsauken Public Schools, New Jersey, U.S.A. Archived from the original on 2007-10-20.
External links[edit]
| Wikiquote has quotations related to: Dante's Peak |
- Volcanoes in Historical and Popular Culture 'In The Movies' - Dante's Peak at U.S. Geological Survey website.
- Dante's Peak on IMDb
- Dante's Peak at Rotten Tomatoes
- Dante's Peak at AllMovie
- Dante's Peak at Box Office Mojo
- Dante's Peak at the TCM Movie Database
- Dante's Peak at the American Film Institute Catalog
A Rift in the Illusion
By Carl Bozeman
Few of us ever escape the chains of our reality and see beyond the forms before us.
We mire in our knowledge and all the things we gather to us, forming a shell that hardens with time.
For me I have seen past it only a few times and always in the strangest of ways.
He came to me so subtly and he was hardened by a life of struggle and hardship that was so developed that his own mind no longer doubted the truth of anything he said.
His was a life of total fantasy and yet it was through this hardness and fantasy that I would see far beyond this earthly view. He was the catalyst for a rift that broke through all my illusions and perhaps, his own.
I think he knew it himself but any expression of it had to pass through the shell of his imagination of which little if anything was believable. It would be his secret, but not without first finding a way to peer out into horizons which are rarely known but always there.
We all walk alone through this life even though we are surrounded by others on every side. They, too, harbor the depths of loneliness and fear we all feel but neatly tuck away inside us.
We wear our masks and wrap ourselves tightly in the things that best cover us from exposure to a brighter light. It is the nature of humans. Beasts of the field who walk stoically into life afraid to show how truly scared and alone they are.
We are taught to survive no matter the cost. Spare no one or thing in preserving that which you are. The strong survive and the cost to the weak is of no consequence.
This we must do and yet in some there arises the awesome awareness that it is not just the “man” that is important, but that life, all of life, is.
For some, the rift allows just enough light to shine through that we sense something greater than mere survival. We turn to the light and see that we can survive without the “need” to survive.
We no longer need to run to or from life gathering as we go.
Santas big adventures crack. All we need is to walk with it and life itself becomes the giver.
I saw this rift in a hospital room with a man, my father, whose hardened life would take pause and see something far beyond the things and forms of normal life.
Most of my time with him was spent listening to his illusion of the events of his life. Even in my own illusion his life, his illusion, was incomprehensible.
He was an enigma of the highest order. Some might say crazy. Yet he could not be more certain or proud of the life he lived. I envied him. It was, like most of us, the unexamined life. Safe, but edgy. Dramatic but fun. Full in every way, even if it was imaginary.
I resigned myself to never knowing the part of his history that began when I last saw him as a boy and ended when I met him a year ago. A history that would span over fifty years, now buried in the recesses of an imagined life. That part of him is and always will be a mystery. A parenthesis in time with no explanation.
I didn’t know just how short his time would be in that hospital room. Nothing indicated he was about to go.
But I should have known, I guess, because he did a most unusual thing. He lifted his left hand upon which he wore a ring. In the short time that I knew him, I had never seen him without it. He wore it on his ring finger even though he had been divorced and single most of his life.
He removed the ring from his finger and handed it to me with the admonition to “make sure you give this to the boy.”
I asked “Which boy are you talking about?”
He replied earnestly, “You know the boy… Oh, what’s his name…? Oh Carl.”
I asked, “Carl who?”
My father many times would speak directly to me about me which was one of many things about him I found so charming and fun. I often would remind myself that his memories of me must have been of that 7 year old boy he left just as my memories of him were of a younger, more vibrant, beautiful man.
We both retained our earlier images of each other and in one sense, he was talking to that little boy by way of the man he had become.
These were always sweet exchanges.
He responded “You know…. Carl.”
“But I’m Carl,” I replied and he said, “I know.”
He added, “Make sure the boy wears that ring, it’s magic. It will protect him and he will never want of anything. Just make sure he gets it.”
I responded, “Okay, I’ve got it.”
He again reiterated the ring was special and would protect the boy.
I should’ve known he was telling me good-bye and passing along to me something he cherished and wanted his boy to have. It was a tender moment. It was also a profound telling of what was to come that I should have recognized but missed completely.
It was also in this moment that I saw him as he was before his shell had formed. Sweet, kind, gentle. That is what showed through that rift.
Then almost inexplicably, he spoke softly and solemnly. “I’m so sorry for what I did to you kids.” He shook his head and looked as if he would cry. “I’m so, so sorry,” he said again.
I looked at him and he at me and that’s when he cracked wide open. The light shined through and the mask of his life fell away.
I saw him not as man but as God.
There were others there with him but his light reached out and grabbed me, filled me, and then lifted me – and then it was gone as suddenly as it had appeared.
He looked at me and smiled as if he knew just how much he had opened up. Through his smile and with a glint in his eye, he winked and said simply, “That’s enough.” I wanted to shake him but I knew the rift had closed.
That was the last time I saw him alive. He passed quietly, shell and all.
I returned to the hospital after the call came in and as I sat beside his lifeless but still warm body, I filled again, only this time with a rush of emotion and sadness.
He had left again as he had before. It was sudden, unexpected, and without explanation. This time, however, I saw into him in a way I could not as a boy.
As I sat there holding him in that quiet room I saw him flying, as it were, on the wings of eagles soaring free, at last, from the darkness of his mind.
He was at peace and wore the expression on his lifeless face. Looking back just a few hours earlier, his smile said it all and I know, even now, he is not gone.
He, in fact, surrounds me in every way, only now it is pure light without the dreams and fantasy. It is a brilliant light indeed.
Life is sometimes perceived as desolation. A hard journey through a maze of missteps, broken dreams, struggle and sadness.
It is like a maze through which we struggle to get through. In time we become the maze and it becomes us, but all the while we move on.
We choose life in spite of the troubles along the way. That is life’s relentless pull on all of us.
We are life’s creators. We uphold it as we have learned to perceive it. It never is as we think it is even if we see its awesomeness.
Life is always more grand and wonderful then the physical eyes through which we view it.
It took knowing him before I knew this.
I had waited as a boy first, then an adolescent, and then as an adult, for my father to appear.
But when he did, it was unlike anything I imagined it would be. I created my own illusion of what this visitor must be when he did appear and the weight of it pressed down on me inexorably. My illusion of him was a grand one.
When he did appear, he was simple, broken, and feeble but he carried an unseen power that put into question everything I thought I knew and most certainly everything I had imagined.
Reflection Of Mine Game
He was indeed grand but in his way, not mine. The small was made great, the weak strong. He was unafraid of the immensity of the universe and in showing me, I too became unafraid.
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My father stepped across a great abyss and in the grandeur of those last few moments, he simply turned his head toward me and smiled.
The rift between what he was and what he became had been breached.
With a smile and a wink, I looked into eternity and saw again the worth of souls.
Together, for just that moment, we looked out into infinity and his light became one with my own.
I am not the same.
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