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Van and Lyle are joined once again by historian Paul Adlerstein to revisit Under Fire, Roger Spottiswoode’s gripping and often overlooked drama about the final days of the Somoza dictatorship in Nicaragua. The film follows three American journalists (Nick Nolte, Joanna Cassidy, and Gene Hackman) as they navigate the moral terrain of reporting on a revolution in real time. What looks at first like a conventional political thriller unfolds into something more complicated: A story about solidarity and betrayal, the ethics of witnessing, and the impossible pressures revolutionaries face when the entire world is watching.

We trace the film’s ambivalent but unmistakably anti-imperialist edge—the way Under Fire indicts U.S. policy without turning the Sandinistas into caricatures—and talk through the moments where its politics strain against its Hollywood framing. Paul walks us through the historical context of Somoza’s downfall and the Sandinista movement, while we dig into the film’s extraordinary craft: Jerry Goldsmith’s score (one of his best), the whistling motif in the church-tower firefight, the almost Carpenter-like chase sequence with the TV news van, and the unnerving tonal shifts as journalists move from observers to participants in the struggle.

The conversation also turns to Under Fire’s prescience. How its critique of Cold War binaries (“the world isn’t East and West anymore… it’s North and South”) feels even sharper today, and how its depiction of journalists wrestling with complicity, responsibility, and power resonates in an era where war reporting, propaganda, and revolutionary movements remain entangled.

Further Reading

Paul’s website

No Globalization Without Representation, by Paul Adlerstein

Blood of Brothers: Life and War in Nicaragua by Stephen Kinzer

National Security Archive, Nicaragua Collection

Sandino’s Daughters: Testimonies of Nicaraguan Women in Struggle by Margaret Randall

Under the Shadow by The Real News Network and NACLA

Teaser from the Episode

Under Fire Trailer