Your Chance to Live: Pollution
Defense Civil Preparedness Agency
The 1970's saw the birth of a new era in American civil defense, one which focused less on the possibility of a nuclear attack and more on conventional disturbances like mass power outages and natural disasters. Spearheading this change were the policy makers of a new federal authority, The Defense Civil Preparedness Agency (D.C.P.A.) which was created in 1972 as a successor to The Office of Civil Defense. The tone of the D.C.P.A. was radically different than its more conservative and straight-laced predecessors. Using absurdist art, humor and folk music, the early years of the agency were marked by an effort to use civil defense to present a liberal message about respecting the power of nature. Nowhere is this environmentalist message more visible than in the D.C.P.A.'s first information campaign: Your Chance to Live. In September of 1972 an extensive booklet was published under that title. Over the following two years a series of motion pictures were released with each one corresponding to a chapter in the booklet. Covering disaster situations like hurricanes, floods and forest fires, each film addresses its topic in an offbeat way, often relying on creative narration, dark comedy and folk rock music Even the final installment, which talks about a nuclear attack, does so by self-reflexively following a director as he wrestles with the morals of producing a civil defense film. One film in particular takes this environmental approach further than all the rest. Pollution, released in 1974 as the 11th film in the series is, is set in a world where toxic contamination has killed off all humanity. The narration consists entirely of an ode to Makind's time on Earth.
"Once in his life, a man ought to concentrate his mind on the remembered Earth, to again hear its sounds, to imagine he touches it, to recall the feel of the faintest wind against his face..." Peter Thomas, the prolific voice-actor who provides narration for the entire Your Chance to Live series, uses this contemplative verse to introduce the film. His words open an eerie scene. The camera pans across the abandoned grounds of The Playland Amusement Park before focusing on the ghoulish head of a mannequin jester. A hissing wind is the only soundtrack and trash blows across the pavement. Stalking across the frame, far beyond the shuttered ticket booths, is a figure in a black cloak. As Thomas continues, in verse, to reflect on how pollution choked off life on the planet, aerial shots of strip-mining operations and overflowing garbage barges show the toll of Mankind's lifestyle takes. The film continues to show these consequences in a marshland, the black cloaked figure gazes over trees felled by machines. Sludge pours from pipes into a raging river as trash and oil wash up its banks. Frogs, coated in slime gasp for air. Smokestacks belch smog into the air and a crop duster sprays chemicals over a peaceful farm field before the camera cuts to dead birds twisted and contorted. The hooded figure wanders the streets of an empty shore town. There is a flashback to the crowded streets of 1970's New York City with people jammed up heel to heel on the sidewalks.
Cutting back to an autumn forest with gray skies, the camera focuses a slow zoom on the black cloaked figure. He is an older man with gray beard and a large gold pendant around his neck. Birds chirp lively in the background. The man stands at a stump in front of a tape recorder. When he pushes the stop button, the wildlife noises cease.