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Despite the near-cataclysm that forms the climax if the film, this subliminally comforting sleight of hand shows that disasters both atomic and biological were avoided. The story is told in flashback, from the point of view of Stone testifying before a Senate committee. In this respect The Andromeda Strain is influenced by Peter Yates’s Bullitt (1968), one of the first dramas to accurately depict medical and police procedures, and anticipates the thematically comparable Close Encounters of the Third Kind (1978) and Arrival (2016). Science as a discipline is shown to be superior to the other arms of crisis management on display – politicians and the military. Importantly, they are depicted as true professionals, neither heroic nor histrionic but determined and rational. Kate Reid’s sardonic, entirely unglamorous Ruth Leavitt is a useful contrast, leaving David Wayne as the mature and laid-back Charles Dutton and James Olsen as eventual action man Mark Hall to complete the quartet. Arthur Hill is particularly impressive as solid project leader Jeremy Stone, shouldering most of the dialogue – which itself is heavy with jargon and exposition – effortlessly and naturally.
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Just as Wildfire is hidden by a quotidian disguise, the principal characters gain significant credibility from the deliberate casting of lesser-known actors. Aurally the film features a range of mechanical noises, effects and announcements and an early electronic score by jazz musician and composer Gil Mellé.
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Visually Wise adopted deep-focus composition and the split-screen technique briefly popular in the wake of Christopher Chapman’s multi-image documentary short A Place to Stand, made for Expo 67. The film thus displays the cinematic techno-fetishism of its era yet is clearly positioned between the Playboy-style architectural fantasies of Joseph Losey’s Modesty Blaise (1966) and Ken Adam’s sets for Bond adventure Diamonds are Forever (1969) and the more subdued technology of The Parallax View (1974) and Three Days of the Condor (1975). These comprise the security clearance for one of the team a secure storage area allocation card for a nurse who supports one of the main characters a foreign national visitor request for a Hungarian scientist who is later seen advocating the concept of bacteriological life on meteorites (the request is stamped DISAPPROVED) the summary court martial record of a Vandenberg Air Force Base sergeant who also appears in the film and a sales receipt for barley seed delivered to the Wildfire cover site. Wise continued this approach by having authentic-looking documents created for the montage that underlays the opening titles. For his book, then, Crichton drew on his own medical training and available technology like spy satellite film recovery capsules, although also included a lengthy bibliography of sources that is convincing but entirely false. Where would I have gotten the information? How much would I know? And in what style would I write it, if it were true?” A specific influence was Len Deighton’s The IPCRESS File of 1962, not least for its inclusion of footnotes both factual and fictitious. Indeed, both book and film are presented as documenting actuality – Crichton was inspired by his editor to consider what the novel “would look like, if the story were true. It can be seen already that the film weaves a rich mix of the real and the fictional. The scientists – a surgeon, a bacteriologist, a pathologist and a microbiologist – must work together using the latest technology but also logic, methodology and experience to solve the mystery, not knowing what form of life they are battling and how it might mutate. Codenamed Wildfire, the complex is as classified as the intercontinental ballistic missile silos scattered across the American Mid-West, has its own nuclear device for emergency sanitisation and is further protected by a large, fenced-in agricultural research station sitting above it.
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The scientists are summoned from around the US by military policemen, armed guards and tapped telephone lines and brought to a secure, state of the art biocontainment facility buried beneath the Nevada desert on land owned by the Atomic Energy Commission. Crichton’s story centres on four scientists battling to detect, characterise and suppress an unknown contagion that kills all but two residents of a small, isolated town after a space probe’s re-entry vehicle makes landfall.