Écrit dans le ciel

I went to the DVD premiere screening of THE HIGH AND THE MIGHTY tonight (12 June 2005) at Paramount studios. It was a big red-carpet event, and I saw a number of people associated with the film there, though there are a scant handful of the cast still surviving. Pedro Gonzalez-Gonzalez, William Campbell, and Robert Easton were there, and from bits of applause during the screening, I suspect that a few others were there as well. Of course, all of the major character players are gone: Wayne, Stack, Trevor, Day, Sterling, Harris, Newton, Brian, Kelly, Blackmer, and Qualen. Other than Karen Sharpe and William Schallert, I'm not certain whether anyone yet unmentioned is still alive. Doe Avedon probably is (she was really lovely as the flight attendant).

As some have speculated, there's no way for this film to live up to the hype that has grown up because of its near-forty year unavailability. It's been beautifully restored. The picture quality seems to my uneducated eye to be impeccable, and the sound is really magnificent. And there are some moments of nice performance, particularly by Wayne, Robert Stack, Jan Sterling, and John Qualen. But as much as I would love to say this is a resurrected masterpiece, it simply isn't possible for me to do so honestly. After AIRPLANE!, I'm not sure it's reasonable to expect people to take a Fifties airliner disaster movie seriously. But the level of corn and hokum and treacle and syrup in which the film wallows (especially in the primary sections dealing with the passengers rather than the crew) is simply intolerable in today's world. I'm not referring to the fact that it's a different practical world now, one in which it would be ludicrous to show a passenger pulling a gun on another passenger on an airliner of today. I'm referring rather to the simple unbelievability of the human behavior exhibited. I'm willing to accept a passenger getting aboard a trans-Pacific airliner with a gun in his pocket in 1954. I'm not willing to accept him pulling that gun, threatening other passengers with it, having it taken from him, and later having it handed back to him just because he says, "I'm all right now, I've calmed down." Phil Harris, fifty at the time and looking sixty, plays a 38-year-old, and 43-year-old Ann Doran plays his 30-year-old wife. Laraine Day berates her husband and demands a divorce, and good ol' Phil says to the husband, "You think you got problems?" and proceeds to tell him about how rain and crummy hotels ruined his vacation, and the husband (John Howard) thus sees his own life in a new perspective. Every cliché imaginable comes into play, and rarely is there a moment that can be easily swallowed, even with Herculean efforts to place oneself mentally in the zeitgeist of the film.

Only in the cockpit are things comparatively realistic and believable, and even there big pills must be swallowed. One of the reasons John Wayne comes off so well in this film is he has relatively little to say. It's probably the lowest line-count of any of Wayne's leading roles, and thus unsaddled with the maudlinities and sappiness of the dialog the passengers are stuck with, he comes off better than anyone in the picture. Spencer Tracy was supposed to play Wayne's role but turned it down (according to various stories) either because he thought the script was lousy or he didn't want to work for taskmaster William Wellman. I'm betting on the former reason.

There are still things to like in THE HIGH AND THE MIGHTY (Dimitri Tiomkin's Oscar-winning score among them), but an awful lot of people have been waiting forty years to see this "masterwork" again, and an awful lot of them are going to be either seriously disappointed or forced to convince themselves that it's not as bad as it seems.

Several younger reviewers, posing as critics, have projected their post-1994 angst onto "The High and the Mighty". They have tried to make its virtues into defects I suggest because they have failed to understand the normative, non-surreal self-responsibility requirements that individuals in the 1950s tacitly accepted as their price for exercising U.S. rights under regulation. They also do not understand apparently that this flight was being undertaken as a very-long flight, and barely seven years after the end of WWII. One complained that there was talk of disaster from the beginning; I found none except some fear on the part of one neurotic passenger. And there is something else that needs to be said about the film. It was directed by William Wellman, aviation's greatest champion in Hollywood history. That may be one reason why the resulting film is in my judgment the most realistic portrayal of a 1950s airport, airplane crew, airplane flight and airplane disaster-near disaster film in history--to this day... I flew on prop planes in 1950; this is the real thing. As for the emotional belief that it is "corny', its script telegraphs some of its punches concerning passengers' ideas, but only the surreal philosophy of statist-postmodernist thinkers could see in this beautifully- thought-out film as anything but what most viewers believe it to be--the very entertaining fictional account of a distrusted loner saving an entire planeload of interesting passengers from a physical disaster to whose impending happening each reacts in his own individual way. The film opens at Honolulu Airport as flight 420 is being readied for takeoff. A succession of passengers come to the desk manned by an airline official and the flight's stewardess; so the viewer is thus cleverly allowed to discover a good bit about each one at the same time as do the refreshingly judgmental pair of officers. At the same time, we are told the story of nice-guy Dan Roman, played by John Wayne; he was the pilot of a plane that once ran into wind shear; the rear of that plane was destroyed; on impact.; he survived the death of his wife and son to fly again. The list of those aboard is long and fascinating. In addition to cynical young crewman William Campbell, uxorious navigator Wally Brown, up-tight young Robert Stack and Wayne, we meet Sidney Blackmer, overwrought and insistent; ebullient Phil Harris and his wife Ann Doran, sensible and prolific Johna Qualen, intelligent Claire Trevor, Jan Sterling as an aging beauty queen worried about meeting her new mail-contact fiancée, handsome couple John Smith and Karen Sharpe as newlyweds, Paul Fix who is elderly and unflappable, Dorothy Chen, John Howard, flight-fearing Robert Newton and his loyal wife lovely Julie Bishop, secret-keeping Paul Kelly and dynamic David Brian, and a little boy, among others. The story develops as the great airplane shudders in mid-air; gradually a crisis develops with an engine losing power. Then it is hit by a bullet, and a fire disables it and must be extinguished. The exact number of gallons of high-octane fuel aboard then becomes critical. The threat of a disaster is told in five parts--the inception; examinations and worsenings; the potential of having to ditch is faced; Wayne forces Stack to try for the coast instead of ditching; and the final climax plays out as the onshore wind gives them their last chance to make one try at the runway--with ultimately only 30 gallons of fuel left. As the potential problem develops, the passengers and crew must deal with the film's plot-theme--"taking charge of one's own life"; one man pulls a gun on the man he suspects of having made love to his wife; others have to be stopped from screaming, others face issues long put aside, others express regrets, hopes or fears; others demand or ask for information; and the crew face their own problems as well. Uniting the whole taut drama is the towering experience, calm and underplaying by Wayne and the thin-voice maturity, intelligence and normalcy of Doe Avedon as the chief stewardess. The other unusual feature of the film is Wellman's use of extended flashbacks for a number of persons, which is a feature that indicates to viewers information as well as passage of time. Here it is used in several innovative ways-to indicate character, to reinforce dramatic points and to strengthen the presentation of values such as a nuclear scientist's reasons for quitting his job, etc. The script for the novel was written by the author of the original novel "The High and the Mighty", aviation fiction expert Ernest K. Gann. The cinematography was done by Archie J. Stout, and the music which uses Wayne whistling the main theme among other presentations was done by Dimitri Tiomkin, co-author of the famous and popular title song, which was a hit both with and without lyrics. Among the solid cast also one should note Regis Toomey, Laraine Day, Douglas Kennedy, and Gonzales Gonzales. Among the main characters, Wayne, David Brian, Sindey Blackmer, Claire Trevor, John Howard, Julie Bishop, Robert Newton, Phil Harris, John Qualen and Robert Stack all do standout work. The scene where luggage is jettisoned to lighten the plane, the gradual revelation of the aircraft's problems, the dialogue sequences and the entire atmosphere of the film--as well as the gripping climactic approach to San Francisco--are all memorable.achievements in my view. Watch for Wayne's explanation that they will probably have to ditch, addressed to all the passengers. This is a nearly-great and unarguably a deservedly popular film.

This is a predecessor in the "Airport" series that achieved splendor in the 70s and 80s . It's exciting and entertaining but overlong , full clichés and stereotypes with passable acting by all star cast . The 2-year best seller written by Ernest K Gann blasts to the screen with every kind of love , thrills , and intrigue . During the initial scenes in Hawaii, characters are shown showing passports prior to boarding the airplane (this is because at the time the movie was filmed, Hawaii was not yet an actual state) . As when a commercial airliner develops engine problems on a trans-Pacific voyage , then a pilot called captain Sullivan (Robert Stack ; producer John Wayne chose Robert Cummings as his co-star for the role ; Director William A. Wellman, however, overrode his producer and chose Stack for the part) loses his nerve but co-pilot named Dan Roman (John Wayne) gets to bring the plane in safely . Meanwhile , the passengers are helped by a flight attendant named Lydia Rice (Laraine Day) but suffer every range of problems and remember by means of flashbacks , such as May Holst (Claire Trevor) , Clara Joseph (Ann Doran) , Jose Locota (John Qualen) , Frank Briscoe (Paul Fix) , Gustave Pardee (Robert Newton), Ed Joseph (Phil Harris) and Sally McKee (Jan Sterling, reportedly shaved her eyebrows for her role in the film and they never grew back) , among others . The airplane heading to San Francisco from Hawaii has a dangerous journey .

The picture contains drama , suspense , moderate tension and is quite entertaining although with some flaws and gaps . Plastic acting and stock characters detailing a hectic flight . The film is detailing hectic flighty piloted by a nervous pilot and the relationship among passengers . All clichéd and stock roles with regurgitation of all usual stereotypical situations from disaster films . John Wayne's role was first offered to Spencer Tracy. However, Tracy, a liberal Democrat who fiercely opposed the blacklisting of alleged "subversives" in Hollywood that was rampant at the time, wanted nothing to do with Wayne, an arch-conservative Republican who strongly supported blacklisting and whose Batjac company was producing the film, and turned the part down. Filmmaker Wellman was an expert pilot , as during his World War I service as an aviator and shooting various pictures about aviation theme such as ¨Wings¨, ¨The young eagles¨, ¨Central airport¨ , ¨Island in the Sky¨ and ¨Lafayette Escadrille¨ . In the 1950s Wellman's best later films starred John Wayne, including this influential aviation picture for which he achieved his third and last best director Oscar nomination . Colourful cinematography ,and final film of veteran cinematographer Archie Stout ; furthermore cameraman helper William Clothier , being John Wayne's first film in CinemaScope. Emotive as well as unforgettable musical score by Dimitri Tiomkin , the lyrics to the famed title song are only heard at the very end, are sung by a large choral group.

This old-fashioned motion picture was professionally directed by William A Wellman . He was called "Wild Bill" during his World War I service as a pilot , a nickname that persisted in Hollywood due to his larger-than-life personality and lifestyle . Wellman was an expert in all kind of genres as Gangster, drama , Film Noir , Western and adept at comedy as he was at macho material , helming the original ¨ A star is born ¨(1937) (for which he won his only Oscar, for best original story) and the biting satire ¨Nothing sacred¨ (1937) , both of which starred Fredric March for producer David O. Selznick . Both movies were dissections of the fame game, as was his satire ¨Roxie Hart¨ (1942), which reportedly was one of Stanley Kubrick's favorite films. During World War Two Wellman continued to make outstanding films, including ¨Ox-Bow incident¨ (1943) and ¨Story of G.I.Joe¨(1945), and after the war he turned out another war classic, ¨Battleground¨ (1949). His final film hearkened back to his World War One service, ¨The Lafayette squadron¨ (1958), which featured the unit in which Wellman had flown . He retired as a director after making the film, reportedly enraged at Warner Bros.' post-production tampering with a movie that meant so much to him .

The High and the Mighty might be called Muzzy Marcellino's movie since it was his wonderful, masterful whistling of the theme that made this movie not just good, but great. It is a pity that his talents were not more appreciated, but then most people think that anyone can whistle a sonorous tune. Far from it! Very few people could whistle in orchestral color and range which is what this man did for Dimitri Tiomkin's wonderful score which well deserved the 1955 Academy Award for "Best Music" and Scoring. Yes, John Wayne did indeed make the film his own and turned in a multi-layered performance, and yes, this is the granddaddy of the 'disaster films,' which has never been surpassed in quality, but its distinction is not the primacy, nor the casting, nor even the story by a professional pilot, but the distinctive music - distinctly rendered - which one may not notice at first, but which imbues this non-epic with the caliber of stardom.

I can remember when I was in high school in the '60s some ten years after the movie was released (I have never seen it since) and Mr. Marcellino was a guest at one of our assemblies and demonstrated his amazing versatility at whistling and even performed the letters of the alphabet as an example of how he had mastered his craft. His range was phenomenal as he portrayed the instruments of the orchestra and then performed the entire Rhapsody in Blue as well as popular works all by whistling without accompaniment, but admitted that the theme for TH&TM was his proudest achievement. The Academy of Motion Picture Arts and Sciences has never recognized the contributions of all musical forms to the success of pictures as gauged from their mention in passing at the annual telecast Oscar ceremonies, but if they had, this singular performance would have been guaranteed a Special Oscar. Truly, once it is heard, neither it nor the film can ever be forgotten, but will haunt one for years to come! This classic film is the fitting epitaph for Messrs. Wayne, Tiomkin, and Marcellino. Would that we all could be remembered for such an achievement.

Has there ever been a more majestic film score? Slightly melancholy and beautifully haunting, Dimitri Tiomkin's Academy Award winning music gives us a grand and expansive auditory experience comparable perhaps to what a soaring eagle must feel, in its own way, as it glides high above a landscape of the mundane and the mediocre.

In the early 50s, people were just getting used to the idea that they could climb aboard a big man-made eagle and soar above cars, buses, and trains. It was a thrilling, but scary, idea, not unlike traveling on the Titanic. And so, with "The High And The Mighty", Hollywood created the first big budget movie that conveyed the idea of risk, in commercial air travel. Throughout the film, the overriding emotion is insecurity, not only among passengers but among the crew as well. Since the film was a cinematic prototype, I can see how its nerve-wracking story would appeal to moviegoers of that era. The film's angelic theme music thus provided inspiration to help viewers overcome their fear of something new and different, something potentially life threatening.

Since the early 50s, air travel has lost its sense of adventure. The film to us seems quaint and dated. What seemed odd to me, for example, was the ticket counter. The pace was leisurely, and the attention was very personal. Then, on board the plane, the stewardess made sure that the passengers got personalized attention. At one point, even the captain, upon request, reassured a nervous passenger. Those were the days.

First time viewers also need to be aware that this film is talky and dreamily melodramatic. The emphasis is on story and acting, not special effects or high-powered action. And then there is that final Act. It is different perhaps from what most of us probably would expect. But again, we must take into account the era in which the film was made.

Fifty years after its release, "The High And The Mighty", as a film, cannot compete with its own theme music. The sweeping orchestration, like music generally, transcends time and spans the generations. By contrast, technology, and mankind's reaction to technology, changes. The film's story thus has a different meaning to us than it did to the original moviegoers. If you can place the film in its proper historic context, you have a better chance of appreciating the film for what it was then, not for what it is now.