On Nov. 4, 1983, Paramount unveiled the 90-minute apocalypse drama Testament in theaters. The film went on to earn a nomination at the 56th Academy Awards in the best actress category for Jane Alexanders role in the nuclear cautionary tale. The Hollywood Reporters original review of the movie is below:

Of all the movies that have been made about the possible consequences of a nuclear holocaust, Testament is at once the most human and, perhaps because of that, the most terrifying. In a calm, underplayed manner, it turns the unthinkable into the commonplace. A nuclear device has been exploded, presumably somewhere in the Northeast. By whom or why is not the issue; it may all have simply been a horrendous mistake. But brief, garbled television reports indicate that major cities from coast to coast have been wiped out, and a flash is even momentarily visible in the small California town of Hamlin. Based on Carol Amens story The Last Testament, John Sacret Youngs screenplay focuses on the Wetherly family and their friends middle-class, average folk who attend church, work with the PTA, play with the kids when theres time, and have only an occasional thought about the future. Then, on the fatal day, Tom (William Devane) is called to San Francisco on business and Carol (Jane Alexander) is left alone to look after their three children, and to watch the slow, agonizing disintegration of her community. At first there is looting, and angry demands for police protection by the citizenry. Some pack up their worldly goods and move away but with no clear idea of where they are going, or what theyll find when they get there.

As the death toll mounts, however, apathy sets in apathy about every thing except the survival of ones own immediate family. And here Lynne Littman, who both directed and coproduced (with Jonathan Bernstein) this soul-wrenching film, displays her greatest strength. She obviously identifies with Alexander, the patient, understanding, loving mother who must watch as her own children weaken and die from the effects of radiation. With typical understatement, she creates a heartbreaking moment when Alexander, combing her hair, finds that its beginning to fall out. Somehow, Littman makes us realize that the womans concern is not for her self, but for whether she will survive long enough to care for her small brood. Meanwhile, her oldest son (Ross Harris) pedals his fathers bike through the neighborhood, bringing succor where he can and helping an elderly neighbor (Leon Ames) to keep in touch with what remains of the outside world via ham radio.

Through it all, Alexander is a tower of strength, not only as her role was written and directed, but in the dignity and humanity she exudes as an actress. She quite literally dominates the film, and suffuses it with her own warmth and understanding. Devane, in his relatively brief appearance, establishes securely the ties that bind this little family together. Of the large supporting cast, Lilia Skala is especially effective as an aged teacher who tries to keep up her communitys flagging morale by staging a childrens production of The Pied Piper of Hamlin, with its pointed message at the end that the children are waiting to return until the world deserves them.

I realize that there is manipulation here. We are all concerned about the children as we face the uncertainties of a world that could self-destruct without warning. Its all too easy to sympathize with a mother whose kids are dying by inches, and with older people whose code dictates gallantry right up to the last breath. We want to believe that life is too precious to be snuffed out at the capricious, or even malicious, touch of a button. Testament is a film that lends a human dimension to Dr. Helen Caldicotts impassioned speeches for sanity in this nuclear age.

While it would be patently absurd for anyone to object to being manipulated toward such a worthy end, I must confess that I left this film wondering not only what good it could do, but what good I could do. Unlike Caldicott, it gives no prescription, presents no call to action. It left me emotionally affected, but also with an overwhelming sense of helplessness. I suffered with the Wetherlys, and all the good people of Hamlin; but the films ultimate affirmation of the value of life seemed weak and unconvincing, as if Littman felt obliged to be more positive.

And still I feel indebted to Paramount for having the courage to take on this difficult, certainly controversial, independent production, which scored a major success at the recent Telluride Film Festival. I also feel obliged to Littman for daring to tackle a subject that is hardly guaranteed to lure long lines to the box offices of the nation, and to James Horner for a gentle, modest, lyric score that often suggests folk music. Production credits are all first rate, including Steven Posters pastel-shaded photography and Suzanne Pettits sensitive editing. But Testaments prime asset is the power and persuasiveness of Jane Alexanders performance. Its one that will surely be remembered at Academy Award time especially if the film survives till then. Arthur Knight, originally published on Oct. 31, 1983.

Listen to an It Happened In Hollywood interview with star Jane Alexander and director Lynne Littman below:

The Hollywood Reporters Testament review on Oct. 31, 1983.