Chosen Survivors

Chosen Survivors (1974)

They Were Chosen To Live. But They Were Destined To Die!

Sutton Roley · 99 min · Horror, Science Fiction

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About the film

Directed by
Sutton Roley
Released
May 24, 1974
Certification
PG
Country
Mexico, United States of America
Starring
Jackie Cooper, Alex Cord, Richard Jaeckel, Bradford Dillman, Pedro Armendáriz Jr.
More credits
Language
English
Origin
US, MX
Studios
Alpine Productions, Metromedia Producers Corporation
Written by
Harry Spalding, Joe Reb Moffly
Produced by
Charles W. Fries
Cinematography
Gabriel Torres
Music
Fred Karlin
Also starring
Diana Muldaur, Lincoln Kilpatrick, Gwenn Mitchell, Barbara Babcock, Cristina Moreno

A computer selects eleven people at random. They are sedated, loaded onto helicopters, and deposited into a state-of-the-art nuclear bunker two miles beneath the desert. They are told the world above has ended. They are told they are humanity's last hope. They are not told about the bats.

CHOSEN SURVIVORS (1974) is a Mexican-American co-production directed by Sutton Roley, a veteran television director whose credits included Lost in Space and whose sensibility was perfectly suited to a film that is essentially a very expensive bottle episode about the collapse of social order and vampire bats.

It was shot at Churubusco Studios in Mexico City, distributed by Columbia Pictures, and takes its premise with complete seriousness, which is either its greatest strength or its central absurdity depending on your tolerance for that kind of thing.

The cast is a murderers' row of 1970s character actors - Jackie Cooper, Bradford Dillman, Richard Jaeckel, Diana Muldaur - all playing the kind of people a government computer might reasonably select to repopulate the earth, and all discovering in real time that the shelter has a bat problem.

Real bats were caught daily for production and used for a single day of filming. This detail has not improved the film's reputation among animal welfare advocates, but it does explain why the bat attacks have a certain unnerving authenticity.

The film also has a twist at the two-thirds mark that reframes everything preceding it - and which, in a more ambitious production, might have been devastating. Here it lands somewhere between clever and deeply strange, which is roughly where the whole film lives.

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