No Blade of Grass (1970)

No Blade of Grass is often lumped in with other post-apocalyptic films, but its true nature lies within the realm of post-societal collapse cinema. This distinction sets it apart from more action-oriented films like Mad Max or Land of Doom, and instead aligns it closer to the likes of Threads or The Day After.

The main plot sees a virulent, fast-spreading virus that attacks all species of the grass family, including essential food crops like wheat, rice, and maize. This leads to immediate and widespread global famine. John Custance, a London architect, foresees the imminent collapse of law and order decides to flee the city with his family to his brother isolated, self-sufficient farm in a remote valley in Cumbria.

The poster for this film is undeniably eye-catching, capturing a rugged Nigel Davenport at its peak of an exciting hand painted collage, with his trademark stoicism and rugged demeanor, Davenport brings a sense of gravitas to the role that’s hard to ignore. Unfortunately, the film’s approach to shock value falls short in many instances.

The use of stock footage is often employed to elicit a visceral reaction from the audience, but it frequently crosses into cheap sensationalism rather than genuine emotional impact. By relying too heavily on graphic images of suffering and death, the film sacrifices subtlety for the sake of making a point. This heavy-handed approach can be off-putting, leaving viewers feeling like they’re being beaten over the head with the message.

The core narrative follows John Custance’s (Davenport) perilous journey across the English countryside with his family as he attempts to reach safety in a world gone mad. While this setup has its charms, it’s ultimately hamstrung by some jarring sonic choices. The 1970s-era score is undoubtedly a product of its time, but its brashness and cheesiness can be grating at times, particularly during more intense scenes.

Despite these missteps, the film still manages to deliver on occasion. Davenport shines as the stoic protagonist, and his presence anchors the story with a sense of realism that’s refreshing in an otherwise over-the-top post-apocalyptic world. The opening escape from London is a highlight, as well as the climactic battle at the farm – both of which showcase the film’s ability to deliver genuine tension and excitement.

It’s worth noting that the character of John Custance can be somewhat inconsistent, particularly in his handling of violence within his own family. When confronted with threats to those closest to him, he responds with an unyielding passivity, which is admirable in some respects but also feels disconnected from the emotional toll it would take on a parent and husband. For the most part, Custance’s reactions are understated and measured, which can be jarring when contrasted with the raw emotions of his family members – particularly Roger, whose unsettling presence is amplified by Wendy Richard’s nuanced performance as Clara. The disconnect between Custance’s actions and emotional responses can leave viewers feeling perplexed, and it’s a notable oversight in an otherwise well-crafted narrative.

Having enjoyed Davenport’s performance in Phase IV, I sought out this film. It was particularly interesting to see him star alongside the wonderful Lynne Frederick, who also appeared in Phase IV, playing his daughter here. Frederick, in her debut, delivers a frighteningly realistic performance of shattered youth and is the sole person who must endure this hellscape for the longest time.

Director Cornel Wilde was a seasoned character actor, appearing from the 1950s to the late 1980’s in a string of notable films, including High Sierra, The Greatest Show on Earth, and The 5th Musketeer. Wilde dipped his toes into directing, helming a handful of movies throughout his career. No Blade of Grass would be his penultimate directing outing. 

Ultimately, No Blade of Grass is a passable, if not spectacular, time-waster for those seeking a slight post-apocalyptic-esq fix. While it’s not worth the effort to track down or purchase on physical media, it may appeal to fans of doomsday thrillers who are looking for something more grounded and realistic than the usual Mad Max fare.

In conclusion, while No Blade of Grass has its flaws, Davenport’s performance and the film’s attempt at realism make it a watchable, if forgettable, experience. If you’re in the mood for something that’s more cerebral and less reliant on explosive action sequences, this might be of interest – but don’t expect to be blown away by anything particularly original or groundbreaking.

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