Book Review: The Doomsday Machine

By Alex Cox

Source: Lobster Magazine

Until recently I only knew Daniel Ellsberg as the whistleblower who made the
Pentagon Papers public, and for his peace campaigning over the years. I had
no idea that prior to releasing a trove of documents related to the American
War in Vietnam, Ellsberg had been employed by the US Air Force at the RAND
corporation, as a nuclear war planner.

He had originally intended to reveal his nuclear war materials at the same
time as the Pentagon Papers, even though he knew he might face life
imprisonment for doing so. A bizarre series of events, recounted in The
Doomsday Machine, put them beyond the reach of both the FBI and the author.
There is much in Ellsberg’s book that is bizarre, if not amusing, as he recounts
what he learned about the workings of the nuclear-military-political complex. It
is disconcerting reading.

Ellsberg reveals the officially stated policy – that only the President can
authorise nuclear weapons use – to be a fiction. Based on what he learned
reviewing nuclear armed bases for RAND, there is delegation in the use of
nukes at every level. Local base commanders had discretion – or considered
they had it – to launch their nuclear bombers rather than risk losing them. As
in the film Dr Strangelove, there were envelopes aboard each plane containing
secret nuclear go codes (Strategic Air Command [SAC]’s one-size-fits-all
nuclear launch code was 00000000), but there were no recall orders.

As Ellsburg relates, base commanders and bomber pilots had real
autonomy to use their nukes; yet there was no system in place to stop them,
in the event (for example) of an error of judgment, or a presidential change of
heart. His description of the plans to get nuclear-equipped planes airborne at
US bases in Japan is grimly absurd. Smaller bombers were meant to take off in
neat rows, with other rows of bombers following seconds afterwards. Ellsberg
soon saw the possibility that a single pilot error could cause a catastrophic pileup, and atomic explosions, on the runway. Pilots who made it out, and other
US bases, would see or hear of the explosions and assume that Russian bombs
had landed . . . .

Not that it mattered where the US forces thought the bombs came from.
One of Ellsberg’s assignments was to find areas for flexibility in nuclear
weapons use. When he started working for RAND, the US Air Force had one
plan – SIOP, the Single Integrated Operating Plan – which involved a massive,
concerted nuclear weapons salvo against Russia, China, East Germany, Poland,
Hungary, and the other ‘Iron Curtain’ states. President Kennedy and his
defence chief, Robert McNamara, wanted some other options on the table,
besides instantaneous total destruction of all foreign communists and their
neighbours. Ellsberg tried hard to separate US nuclear war plans against
Russia from US nuclear war plans for China, but it was tough going. The Joint
Chiefs preferred one massive nuclear strike (‘general war’ or ‘central war’) to a
piecemeal one.

All the while, Ellsberg writes, he was morally opposed to the bombing of
cities, with the inevitable unnecessary loss of human life. In a brief aside he
recounts his friendship with Sam Cohen – another RAND specialist who liked to
be thought of as the ‘father of the Neutron Bomb’. 1

SIOP also worried Ellsberg since it was a plan for a first strike: all-out first
use of thousands of nuclear warheads against the Soviet Union and its allies, at
a time when the Russians had merely a handful of working atomic bombs.
RAND and Pentagon estimates of damage from nuclear weapons use never
included fire or firestorms; nor the spread of radiation into allied states; nor
the likely consequences for the climate. The consequences of nuclear weapons
use therefore being vastly underestimated, thousands of additional weapons
were built. In presidential briefings, the Pentagon was confident of prevailing
with a first strike: ‘if worst came to worst . . . a preemptive attack on the
Soviet Union would result in less than ten million deaths in the U.S.’

We now know that even a ‘small’ nuclear war – between India and
Pakistan, say – could have climate impacts which would cause billions of
deaths. ‘General’ or ‘central’ wars would do for just about all of us. Ellsberg
was foiled when he proposed changing US targeting policy so that Moscow
would not be destroyed in a first strike: at a NATO meeting, he was told that
even if SAC agreed to spare Moscow, the French would not. Moscow remained
a prime target for French nukes – and presumably for British ones, as well.

Over time, Ellsberg writes, the Russians and the Americans built a
‘doomsday machine’ very like the one Terry Southern envisaged in his script
for Stanley Kubrick’s Dr Strangelove. To protect them against surprise attack,
American and Russian nuclear weapons are numerous, widely dispersed, on
hair-trigger alert. In case the civilian or military leadership is killed, or unable
to communicate, the duty to launch those weapons has been delegated to
pretty much anyone capable of doing so. If the computers say a nuclear first
strike is incoming, if seismographs report massive, blast-style earth tremors, if contact with the leadership breaks down . . . someone will still be there to
push the button/insert the key code/flip the switch.

Ellsberg considers the bombing of civilians – whatever the weapons used –
to be a terrorist atrocity, not an act of war. He calls the ongoing nuclear
standoff between NATO and Russia a ‘moral catastrophe’. If you’re interested in
how close our silly species has come to wreaking its own imminent demise,
this is a valuable and fascinating book by a committed activist and excellent
writer.

 

1 I knew Sam Cohen, too, and he considered his Bomb to be a moral weapon, as it killed
fewer people than the Hydrogen Bomb, and left most of the physical infrastructure intact and potentially usable . . . at least once radiation levels dropped. Sam was insane, of course, but most of the people Ellsberg encountered on board the nuclear weapons project appear to have been insane, in the same way.

Alex Cox is a film-maker and writer.
He blogs at <https://alexcoxfilms.wordpress.com>.

Saturday Matinee: Repo Man

By Alex Cox

Source: AlexCoxFilms

HOW DID REPO MAN OCCUR?

After I left UCLA I was hired to write a script for United Artists about the British World War One deserter and agitator, Percy Topliss.  When I delivered the screenplay it was rejected as “too English, too expensive, and too anti-war.”

Shortly thereafter I met the British director, Adrian Lyne.  He had directed one feature, FOXES, and he wanted his next to be about what he felt was the most important issue of the day:  the imminent possibility of a nuclear war.  I scouted Seattle and Vancouver as locations, and wrote him a script called THE HAPPY HOUR.

Adrian read it and went off to direct FLASHDANCE.   And I ran into two old chums from UCLA – Jonathan Wacks and Peter McCarthy.   They had been in the Production programme;  Jon had directed a documentary, Pete a drama.   Now they had a company, and even more impressive, an office in Venice, California, where they were making commercials (“Gene Kelly assures the public the MGM Grand is safe again!”) and public service announcements.    I suggested to them that they should also be feature film producers, and hire me as a director.   They agreed to consider this, but instructed me to come up with a script.

The first one I wrote for them was called THE HOT CLUB (a comedy about nuclear blast veterans and nerve gas thieves set in the early years of the 21st century).   They budgeted and Marie Canton (also ex-UCLA) budgeted it; it turned out to be rather expensive.    So I went off and wrote another screenplay instead: REPO MAN. This was based on my own personal Los Angeles horrors and the tutelage of Mark Lewis, a Los Angeles car repossessor and my neighbour in Venice, CA..  When the screenplay was published, Dick Rude and I interviewed Mark for the introduction:  his take on the repo trade and the movie can be found at pscweb.com/repo/whatever.

To make the package more interesting to investors, I drew four pages of a comic book based on the script and we included them with the screenplay.   I had planned at one stage to do an entire comic book, but it is too much work:  a page a day at the very most, and hard on the eyes.    Michael Nesmith, the former Monkee, saw the script/comic package, became interested, and took it to Bob Rehme at Universal.

WHAT WAS THE RESPONSE TO REPO MAN?

REPO MAN was made as a “negative pickup” by Universal at the time when Bob Rehme was head of the studio.    At the time, the big deal over there was STREETS OF FIRE, and nobody really noticed our film at all.   Which was lucky for us, since Bob Rehme had “green-lighted” a film which was quite unusual by studio standards.   Unfortunately, just before we were completely done, Rehme was ousted from his post, and a new boss came in.   It is, we quickly discovered, the primary task of a new boss  to make an old boss look bad, and so as much of Rehme’s product as possible was quickly junked.   That which was already made, or almost complete – REPO MAN and RUMBLEFISH, for instance – was swiftly consigned to the Chute of No Return.

We took out an ad in Variety, reprinting a good review we got there (we also got a very bad one – in the weekly edition – but we didn’t reprint that) as a challenge to Universal to get the picture out into the theatres.

The studio’s response was to lean on the head of public relations at Pan American World AIrlines, Dick Barkle, to condemn the film.   Mr Barkle declared himself shocked by REPO MAN, adding, “I hope they don’t show this film in Russia.” It is the world of DILBERT there.

The theatrical life of the film was prolonged by Kelly Neal at Universal, who went out of his way to support both REPO MAN and RUMBLEFISH.   And, even more, the record was a major element in promoting the film;  it was popular with the punk rock community and that got the word around.  And rightly so.  I was an enthusiast, and the film has a major punk influence – in addition to the protagonists Otto, Duke, Debbi, Archie and Kevin, there’s a tailor-made hardcore score by Los Plugz, Circle Jerks, Fear, Suicidal Tendencies, Black Flag, and Juicy Bananas, and a title song by Iggy Pop, who suffers under the sobriquet of The Godfather of Punk. 

DID YOU HAVE ANYTHING TO DO WITH THE TV VERSION?

Yes.    Because the film REPO MAN had so much swearing and a scene of speed-snorting, the studio made their own re-edited video version.   It was very  odd.   In an effort to “explain” the film, someone had gone and shot an insert of the license plate of the Chevy Malibu, and made the Hopi symbol dissolve into the HEAD OF THE DEVIL!

YOU’RE JOKING.

No, this is really true.    It made me wonder, could it be that the Christian Fundamentalists are right, and that the multinationals and Hollywood are controlled by Satanists?   I cannot say.  It seems so, most of the time.  But  perhaps those executives were just confused by the film, and trying to explain, in their own innocent, satanistic way, what it was about.   “Whut the heck is in that trunk?”   “Gee I don’t know.”   “Maybe it’s the… Devil  hisself!”    They were just trying to improve it in their own way, and make it clearer.

WEREN’T YOU HORRIFIED THAT THEY WERE BUTCHERING YOUR FILM?

I was a bit alarmed, yes.   They’d intercut static shots of this license plate with shots of the car moving, and it looked completely cheesy, worse than an Ed Wood film.     But the thing was, they weren’t really bad guys:  they knew what they’d done was a mistake, and now they were looking for the filmmaker to fix it.
They knew they had done wrong.

In the end I removed their strange insertions, and included two funny scenes which hadn’d made it into the theatrical version:    the one with Jac MacInally shaving (where Harry Dean says his name is “I.G.Farben”) and the the one where Harry Dean smashes the phone booth with his baseball bat.

BUT WHAT ABOUT CUTTING OUT ALL THE SWEARING?

And who cares.   By then I’d made SID & NANCY and I was sick of swearing.   It was fun coming up with synonyms for the swear words – “Melon Farmers” was a particular favourite.

Sometimes, for television and aeroplane screening, or for a film to play in prisons or at children’s tea-parties, changes need to be made.    It is always better for the filmmaker to be invited to participate than to be excluded.    Excluding the filmmaker results in what in Liverpool is called a dog’s breakfast.

WHAT WAS REPO MAN ABOUT – REALLY?

Nuclear War.  Of course. What else could it be about?  And the demented society that contemplated the possibility thereof.  Repoing people’s cars and hating alien ideologies were only the tip of the iceberg.  The iceberg itself was the maniac culture  which had elected so-called “leaders” named Reagan and Thatcher, who were  prepared to sacrifice everything — all life on earth — to a gamble based on the longevity of the Soviet military, and the whims of their corporate masters.   J. Frank Parnell – the fictitious inventor of the Neutron Bomb – was the central character for me.  He sets the film in motion, on the road from Los Alamos, and, as portrayed by the late great actor, Fox Harris, is the centrepoint of the film.

Fourteen years later, I had a call from one Sam Cohen, who announced himself the father of the Neutron Bomb.  I imagined  a cross between Jack D. Ripper and Edward Teller in a dark Brentwood apartment, raging because there hadn’t been an intercontinental thermonuclear war…

The following week Sam Cohen and I had lunch in Venice, California.  Sam had lived in LA since 1923 – “Grew up in the Jewish ghetto of East LA – grew up knowing all your locations.”   His daughter saw REPO MAN when it came out in 1984 and took him to see it.  He’s seen the video “a couple of dozen times”.

“It starts off with nostalgia for me…  the map at the beginning, I spent World War Two at Los Alamos, working on the Fat Man device.  My job was to study what the neutrons did.  I know more about neutrons than you would ever want to ask.

“My daughter took me to see this film, and here was this nutcake, our hero, lobotomized, head bobbing.  A cop stops him, opens the trunk, and — voila!  He’s neutronized!”   Sam had no doubt there was a Neutron Bomb in Otto’s trunk.
“It was the quintessential neutron bomb in the trunk… what we call a SADM – a Strategic Area Denial Munition.”  He and the Russian politician General Lebed gave press conferences a couple of years ago to draw attention to the number of ex-Soviet SADMs which had gone missing — hundreds of them, sold on the black market to whoever was buying.  He thinks a SADM may have levelled the Federal Building  in Oklahoma.

Sam’s next destination was Washington, DC.  “I’ve got a grand bash to attend: two friends of mine, aged 87 and 90, both four-star Air Force generals, are having a birthday party.  One of them is General Schraber.  Perhaps you’ve heard of him.   He put together the ICBM program.”

Later he reconsidered, and called me again.   “It wasn’t a Neutron Bomb in the trunk – it was an enormous concentration of nuclear material – it was gamma rays that killed the cop.”

Sam had one more observation, re. his contribution to thermonuclear devastation:  “The Neutron Bomb was the most moral weapon ever devised… it was a weapon for good Christians… a defensive weapon, it spares innocents, keeps war to the warriors, doesn’t damage the economy, has no hideous, crippling, lasting effects as in conventional warfare…  if you survive, a lot of the victims will recover…  no significant level of radiation is produced… it disappears very rapidly.  My friends Graves and Slotin were in just such an accident.  Slotin died horribly;  Graves had a fifty-fifty chance of dying, but recovered, and in a few months was playing handball.”

I asked if he meant his Bomb was intended as a battlefield (“theater” in the vernacular) weapon.  He insisted that was its only possible application:  “The Neutron Bomb totally conformed to the so-called Christian principles of a Just War.   I got a medal from the Pope in Rome, in 1979.”

WILL THERE BE A REPO MAN SEQUEL?

I would be delighted.   But Universal have already released a faux-sequel, “REPO MEN” and don’t seem interested in pursuing the real McCoy. So the sequel will have to wait till March 2019, when the rights to the original script revert to me.

THE RIGHTS TO REPO MAN REVERT TO YOU?

To the screenplay, yes. So if you are a wealthy patron of the fine arts, seeking to see a sequel, or a remake, or a REPO MAN series, just get in touch.

 

Saturday Matinee: Walker

Walker afiche

Following the modest successes of “Repo Man” and “Sid and Nancy”, director Alex Cox took a chance on an Acid Western filmed in Nicaragua about soldier-of-fortune William Walker. Featuring a script by cult screenwriter Rudy Wurlitzer, a great soundtrack by Joe Strummer of the Clash, and an excellent performance by Ed Harris in the title role, “Walker” (1987) is unlike any historical biopic made before or since. The stylistic madness of the film reflects the madness of Walker’s misadventures. A sense of absurdity and inevitability is added to the proceedings through intentional anachronisms. While this may take viewers out of the story, it also makes it impossible to ignore parallels between the colonialist, imperialist attitudes of Walker’s time and U.S foreign policy of the 1980s and today.

While the film failed at the box-office in the U.S., it became the second highest grossing film in Nicaragua at the time. Walker is a rare film that not only has a radical message but its production was a radical political act in itself, having economically supported the Sandinista government.