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Title:POLARIS SUBMARINE GOES TO CONDITION 1SQ [Allocated Title]
Film Number:ADM 2121
Other titles:POST-WAR NAVAL OPERATIONS - MISCELLANEOUS [Allocated Series Title]
Summary: A Polaris submarine goes to Condition 1SQ - bringing a missile and launcher to readiness. This is followed by a stock sequence showing a missile being fired.
Description: The Captain orders 'Action Stations. Set Condition 1SQ'. General alarm sounds and all hands go to action stations. Tube Four and its firing unit are readied. Navigation fire control transmission check. Tactical WCO switch (ie the trigger) is removed from its strong-box. Launcher in 1SQ. Captain gives permission to fire - firing initiated - missile denoted - missile assigned - eject system prepared - fire (finally). The launch sequence edits together the static underwater launch of a US A2 with a RN A3 emerging from the sea, and good, if not necessarily appropriate, sound effects. Back in the control room the missile is recorded as on track. Cut to HA shots over the SSBN, now cruising on the surface - forward to the attractive patterns of spray thrown up by the fore-planes, and aft over the closed missile tubes. Voice-over: "And so, training completed, a Polaris submarine goes into active service carrying the deterrent that is our hope of security... It is our guard against nuclear war."
Keywords: ships, British naval - submarine: Resolution Class & [nuclear] (object name)
weapons, United States naval - missile: Polaris & [British] (object name)
training, British naval - weapons: nuclear missiles (object name)
Physical Characteristics: Colour format: Colour
Sound format: Sound
Soundtrack language: English
Title language: None
Subtitle language: None
Technical Details: Format: 35mm
Number of items/reels/tapes: 1
Footage: 447 ft; Running time: 5 mins
Notes: Technical: a very warm print. This is the third of three reels, the first two of which were never transferred to the Museum archive
Summary: the same, badly edited firing sequence can be found under ADM 1907
Remarks: the firing sequence derives a good deal of its drama from the glamorous but arcane language in which it is couched. Like 'Warp Speed', it is never explained