Sem Barreira no Céu

This black and white early 50s movie shows crusty Britain at its stiff upper lip best. It is the story of mans obsession with speed, and a ruthless plane makers ambition to succeed in building a supersonic jet. Richardson plays the tycoon whose dream kills his son and son-in-law, but who finally sees the error of his ways and whose daughter returns to the cold family home with his grandson.

The film is also a vehicle to show the world Britain's proud lead in jet technology. There is a classic sequence in the film where the happy daughter and son-in-law deliver a De Havilland Vampire jet fighter to Egypt. They set off at breakfast time in England and hurtle over the English Channel, the Alps, Ancient Greece and the Pyramids before arriving in at the airfield. Of course we take this for granted now, but 47 years ago this was unheard of. The director contrasts the old ruins and remains of our ancient ancestors with the marvel of the modern age: the jet plane.

The film also introduced THE marvel of the early fifties, the De Havilland Comet jet liner. This beautiful but flawed machine was in service SIX years before any other jet liner and for a while, the world rushed to De Havillands, and Britains door. For two years the worldwide fleet gave the travelling of the future.

In every other way this is an eccentrically English film with creaky old houses, cottages with roses around the door and eccentric engineers. Shout in glorious black and white it conveys a sense of wonder and optimism in the future, whilst being thoroughly old fashioned

British aviation enthusiasts seek to break the sound barrier by dangerously pushing their jets beyond their limits in this solidly crafted drama starring Ralph Richardson. The film has copped a lot of flak over the years for its historical inaccuracies (the Americans were actually the first to break the sound barrier with very different techniques), however, 'The Sound Barrier' works well as a character drama as long as one takes all the pseudoscience on hand with a pinch of salt. The movie is rather slow to warm up, focusing on a formulaic courtship between Richardson's daughter and an up and coming pilot, however, as soon as Richardson enters the scene, it becomes an experience that rarely lets up. It is quite a sight to see Richardson's boyish enthusiasm for the task at hand, waxing poetic about a "whole new world ... in the grasp of man", demonstrating how aerial flight works during dinner and proclaiming that "it's just got to be done". His character also comes with shades of ambiguity; is he at all guilt-ridden over the deaths of those trying to complete the quest or does he see the deaths as acceptable in the name of human progress? Richardson does very well adding such shades to his character and while none of the supporting players come close to equaling him, he is enough alone to carry the film, or at least when on-screen. The film is also blessed by some great spinning shots within mysterious clouds and as one might expect from a film with such a title, the Oscar winning sound mixing here is highly effective.

The opening of the film, when a World War II fighter pilot hit what used to be called "compressibility," was a suspenseful interlude for the audience, particularly since it wasn't explained at the time.

The film was shot in monochrome, and was produced during a time that technology was accelerating, and this was one of the early films outside some of the science-fiction films of the era that was pro-technology. It is interesting that most of the major characters were obsessed with pushing the envelope.

As has been mentioned elsewhere, the "solution" presented to maintaining control of a supersonic aircraft actually is inaccurate. When a reporter asked the person who first actually broke the sound barrier, Gen. Chuck Yaeger, about that "solution," he indicated that doing what was proposed would have ensured the death of the pilot.

The film is well worth watching, if for no other reason than to get a taste of people taking baby steps in the new world of postwar technology.

I first watched THE SOUND BARRIER on TV in 1975, and liked it immensely, finding it both informative and intelligent in its presentation- It keeps the viewer interested to the end, no doubt because David Lean's direction is very good, at times even inspired, and it is helped by extremely competent cinematography and a credible screenplay. Sir Ralph Richardson is superb as JR, a man obsessed with building ever better aircraft in competition with de Havilland and other companies, to the point of driving his son (well played by Denholm Eliott) and his son in law (Nigel Patrick) to their deaths. I also liked John Justin as the pilot who finally breaks the sound barrier. Ann Todd, who was married to David Lean at the time, somehow does not seem right for the part. I would have liked to see Vivien Leigh or Kay Walsh in that part, as both conveyed their emotions more readily and in greater depth. The technical aspects are succintly but clearly presented, and the discussion about the telescope and how what you see there is from 700,000 light years, and more, ago, certainly makes me realize my insignificance, every time I see THE SOUND BARRIER. David Lean had just come from making three masterpieces. BRIEF ENCOUNTER, GREAT EXPECTATIONS and OLIVER TWIST, and this is a transitional film, which already carries some signs of the epic that would emerge with the superlative THE BRIDGE ON THE RIVER KWAI, and be continued with LAWRENCE OF ARABIA, DR ZHIVAGO, RYAN'S DAUGHTER and, just before his death, PASSAGE TO INDIA. Recommended. 7/10

This mid-period David Lean picture is one of his most unusual – a drama woven out of a story of scientific exploration. Not an easy kind of picture to make, but one held together by Lean's refined direction, a great cast and a surprisingly good script by Terence Rattigan.

Although Lean was to make two small-scale pictures between this and Bridge on the River Kwai, this is perhaps more than any other a transition film between his early intimate dramas and the later massive epics he is now best known for. From the start Lean had always tried to photograph the psychological states of his characters, but The Sound Barrier is the first time he tells a bigger story through the personal experiences of individuals. This is the formula that has made Kwai and Lawrence of Arabia so popular and enduring. Like those later pictures, in the Sound Barrier the narrative switches to carry on the story through the eyes of other characters.

A story like this, concerning test pilots, engineering and scientific breakthroughs, will only work if there is a strong drama underlying it – otherwise it's only going to be of interest to techies. Lean seems totally aware of this and emphasises the human story behind the science. He directs with his editor's eye, composing action sequences with series of still shots, then throwing in the occasional sharp camera move to punctuate an emotional moment. He is moving away a little from the rather obvious expressionistic techniques of his earliest films towards a more straightforward yet effective style.

By the early 50s the golden age of British film was over, but there was still a good crop of acting talent on offer, and there are plenty of names to mention in The Sound Barrier. Ralph Richardson plays (as he often did) the overbearing father-in-law, and lends the film a touch of class. Ann Todd, who was Lean's wife and not an exceptional actress, here gives what is probably her best performance – she has the most difficult part in terms of emoting, but she carries it off brilliantly. This is also a great before-they-were-famous film, featuring a young Denholm Elliott (best known as Marcus Brody from the Indiana Jones films) and Leslie Phillips in his pre-Ding Dong days. The real acting treat here though is the rarely-seen John Justin, who failed to achieve stardom not through lack of talent, but through lack of interest on his part. His poignant final scene is one of the strongest in the whole picture.

Of course, it's not just the plot of The Sound Barrier that is a work of fiction – the science is complete nonsense as well, so don't go thinking that pilots really reverse their controls to get through the sound barrier. In many ways, this film reminds me of Dive Bomber, made ten years earlier with Errol Flynn and Fred MacMurray. That's also a test pilot drama, with a fair few plot similarities. One major difference though is that whereas Dive Bomber deliberately and bluntly disposes of any romantic angle, writing the female characters out of the story halfway through, in The Sound Barrier it is the pressures on the wives and sisters that is pushed to the fore. Ultimately, it is the way The Sound Barrier deals with loss and guilt that make it a strong and satisfying film.