Flammen über Fernost

I've had this movie on my 10 Best List for many, many years.

This story of healing from loss through love is immensely powerful. It's exquisitely photographed; it looks much more art film than Hollywood. The direction is solid, and the pacing near perfect. Peck holds his own among a field of scene-stealing character actors. His performance gives us a clue as to what he was like on the stage. His good looks don't distract you; he's utterly convincing as a pilot who's lost the love of his life and no longer cares whether he lives or dies. In the first part of the movie his character is not a good guy, and it's believable. Hard to do when you look like Gregory Peck.

Love conquers all, of course. The story turns on his love for a woman. But, as the movie progresses, we find that he loves his crew too, even "old Blore." The young navigator worships him, and the admiration is returned full force. Their relationship is a key element of the story, as important as the romance between Peck and the Burmese girl.

This is one of those rare movies where men openly love each other--not in a gay sense--in a human sense. It's a love based on respect. This is something missing from almost all heterosexual movies. Probably because most men don't seem to be able to easily distinguish between sex, attraction, affection, and love. It all gets mixed up together, and homophobia damps down any positive emotions between men that isn't associated with some sport. Wartime seems to provoke these feelings too, evidently, but it's rare for a picture to show manly affection, except as a joke. It's just one aspect of this film, but one that shouldn't be overlooked.

I can only hope this movie gets rediscovered and recognized for the fine, fine film that it is.

Peck is a neurotic, suicidal pilot in Burma during WWII. He's transformed by his love for a native girl, which gives him the drive to survive the trek through the harsh burmese wilderness after his plane crashes.

A good,dramatic film with serviceable performances by the cast. Especially by Brenda De Banzie as a missionary.

Purple Plain is an obscure film in Peck's long list of movie credits. I don't know if this British production got much publicity or release stateside, despite Peck's movie star celebrity. Unfortunately, it's never been a TV regular, which is too bad because this tale of renewal and survival is an unusual and gripping one, in spite of the obscurity.

The film opens in the Burmese jungle during WWII. Peck is a battle fatigued flyer on the ragged edge of breakdown. He's about to be relieved because of erratic behavior, all the while he's flashing back on his wife's death in a London air-raid. These are well-done scenes causing us to sympathize with his loss. Nonetheless, he's jeopardizing his comrades with reckless manuevers because the loss has undermined his will-to-live. Thus, we're torn between sympathy and concern, just like the flight station doctor (Bernard Lee).

In an interesting move, Lee overcomes Peck's agonies by reconnecting him socially, in this case with a nearby missionary community. There Peck finds the vital human relationships so importantly missing from his death-dealing combat duties. As a result, his life takes on new meaning and purpose as a result of rejoining a human community where such life-giving affirmations can emerge. On the whole these are well-done scenes, especially the chaos from the Japanese air attack. In the midst of the carnage, Peck's combat flyer finds a new role in helping to bandage up survivors. Herein lies the movie's basic message and it's an important and humane one, conveyed in fairly subtle fashion, though the turn-around occurs more quickly than I would have liked.

Nonetheless, it's interesting that the script avoids the usual officially sanctioned head-doctor therapies. Note that Peck is not sent to be counseled by an air force psychiatrist, nor to join a chest-baring therapy group, nor to have his past puzzled together Freudian style. Of course, the happy solution here remains a "movie" solution where-- as we all know-- anything can be made to magically happen. Still, for a war-movie setting, the simple affirmation that mental health lies through nurturing social relations and not through government sanctioned killing remains no less suggestive because of its movie origins.

The remainder of the film amounts to a survival trek through the wilds of southeast Asia. It's a well-filmed and harrowing struggle against a forbidding landscape where the crash survivors must decide between staying put or hiking out against great odds. But most importantly, it's Peck's chance to regain his humanity by facing up to the odds, not just for his own survival, but for his two comrades as well. The movie's final scene could not have been better conceived. Indeed, no words are necessary. On the whole, this is a subtly and well thought out anti-war film, no less effective because it concerns the fate of one man rather than thousands.Too bad that its humane message remains so generally unseen.

I suppose the reason why I loved the film so much was that I was actually watching the film being made in Sigaria in Ceylon (Now Sri Lanka). I was part of an RAF Police team from RAF Columbo called to investigate the theft of some property from the set of the film. The visit also gave me the opportunity to actually have breakfast with Grgory Peck before the days shooting. I was astounded by the amount of detail that went into the making of the film, and the amount of responsibility put upon Jean, the continuity girl. Gregory Peck was a perfect gentleman, and I was so proud to actually be introduced to him by Brummie Benson, an RAF extra on the film set. To me, the film depicted courage at it's best, and as said by a previous critic , a simple story, with no over blown heroics,a good and believable cast, and a most enjoyable though somewhat predictable conclusion. But, NO bad language..... It's a pity more films of today cannot follow the same pattern. In all a very good example of the Royal Air Force at it's humble best, and a credit to the J.Arthur Rank Studios for its production

This well-produced and often-moving J. Arthur Rank production stars Gregory Peck as a Canadian flyer serving with the British in Burma, suicidally reckless after his wife's death in the Blitz, who finds new reason for living after meeting a beautiful Burmese girl. Then, however, his plane crashes in the wilderness behind Japanese lines and he has to find a way to get back home with his injured crewman and complaining passenger. It's beautifully shot, well-acted, and a powerful story of hope vs. Despair. Apparently, a popular hit in Britain, it doesn't seem to have made much of a mark in the U. S. but deserves to be much better known.