O Amante da Morte

War is a wrenching experience. Whether experienced in far off foreign lands on the battlefield or at home in the living room gathered around the radio to hear the latest news, those who experience it are often moved to put their physical and emotional experiences down on paper. Later, others are moved to attempt to turn those writings into motion pictures. The process just doesn't always work perfectly. More often than not the emotions that can be expressed beautifully in words by an excellent writer like John Hersey just cannot be caught on screen.

It is really hard to define exactly what kept "The War Lover" from becoming a first rate film. The production effort was definitely first rate, and the casting was excellent. The framework of this move is all there. It is well filmed, well acted, well directed and well produced. Even the use of the black and white format works. It not only allowed the use of actual combat air footage, but also provided a gritty quality that fits the material nicely. The adaptation of the dialog is good. It may just be that the emotions which Mr. Hersey put into his novel just can't be translated onto the screen, no matter who tries to do it.

I like this movie despite its shortcomings. I occasionally watch it when a nostalgia for the "bad old, good old days" of WW II gets hold of me, usually on a dreary winter evening when it gets dark around 4:30 in the afternoon, and I enjoy it. Watch this one for the realism of its depiction of the air war over Europe from 1942 to 1945.

Aviation author Martin Caiden (his books were the basis for the film "Marooned" and the t.v show "The Six Million Dollar Man") published a book entitled "Everything But The Flak" that detailed the efforts to revive three Navy PB-1 Flying Forts and the ensuing flight adventure of moving them across the Atlantic to England for the making of "The War Lover" which is a "must read" for those interested in the making of this film. He accompanied the flight crews and although his larger-than-life account of their hijinks (rumbling with Soviets in the airport in Greenland, being locked up by Interpol in Portugal on suspicion of smuggling illicit warplanes - after all these three B-17s had active gun turrets) must be taken with a grain of salt, the guy sure could spin a great yarn! The book is probably WAY out of print but is well worth seeking out as it gives some idea of the difficulty of reactivating three WW II bombers years before the warbird revival got underway. Unfortunately, due to import/export duties in England in the early 1960s, Columbia Pictures scrapped two of the three Fortresses after filming was completed and only one has survived, used for promotion of the film before being passed onto other hands.

The movie itself has lots of B-17 action of the planes taxiing around the airfield prior to mission take-off that is frequently edited out for television broadcast to save time for commercials or to fit into a specific airtime envelope. If it airs uncut, notice the patchy paint on the Fortress noses as three airframes portray a much larger squadron, with nose art changed several times.

Mark Sublette, Falls Church, Virginia

Once they arm his B-17 "The Body" with bombs they become Buzz Rickson's (Steve McQueen) and he will allow no abuse to come to them until he reaches target even if it involves disobeying orders. Rickson is a war lover, emotionally dead on the ground, unless competing for his co-pilot's (Robert Wagner) girlfriend, but it is in the air over enemy targets is where he finds his real ecstasy. Arrogant, fearless, cynical, courageous, his crew knows he's short a full deck but it is the fearlessness that they bank on to get them back home.

As in any film it appears (12 OClock High, Catch 22) the B-17 is the star, making its way through the flak in imposing formation, the crew in the chaotic interior trying to jell as they fight off German Messerschmitts. Using actual footage War Lover in the air is an intense watch especially with Rickson at the controls. On the ground things tend to get dull with Wagner and a dull Sally Ann Field playing out a mawkish romance to perhaps distract from the well cast McQueen's psycho hero. But it is McQueen's Rickson and his battered B-17 that give The War Lover the thrust that it has.

Unlike a number of those who have reviewed this film, I have never read John Hersey's novel. (Indeed, I only knew Hersey as the author of "Hiroshima" and did not realise that he was also a novelist). I caught it by chance because it was on television when I took a day off work last week, and decided to watch because it was a Steve McQueen film I had not seen before or even heard of. (McQueen is one of my favourite actors).

The use of black-and-white film in the cinema survived for rather longer in Britain than it did in America, largely because colour television did not arrive in Britain until the end of the sixties, several years after it came to America. I have heard it suggested that "The War Lover" was made in black-and-white to allow the filmmakers to insert actual newsreel footage rather than recreating aerial dogfights as was done in a number of later films. The use of monochrome, however, is also a clue to the filmmakers' intentions. Even in Britain it would have been unusual for an action-adventure film to be made in black-and-white in the early sixties, and "The War Lover", although it is set against the background of the World War Two Allied bombing campaign against Germany, is not really an action picture along the lines of, say, "The Guns of Navarone" or "Where Eagles Dare". The aerial combat scenes, even if they are genuine, are less thrilling than those in later films such as "The Battle of Britain" or "Memphis Belle", or even an earlier one such as "The Dambusters". "The War Lover" is really a character study, a human drama of the sort for which the British cinema was still routinely using black-and-white at this period.

Although the film was made in Britain by a British director, it is about the US Army Air Force rather than the RAF and the two leading roles are played by American actors. McQueen plays bomber pilot Captain Buzz Rickson, the "War Lover" of the title. Rickson is a brilliant pilot but is regarded with suspicion by his superiors because of his arrogant, insubordinate attitude. On one raid against the German submarine base at Kiel he blatantly disregards orders to abandon the mission because of bad weather, leads the aircraft under his command through a gap in the clouds, and succeeds in hitting the target. The men under his command, especially his co-pilot Lieutenant Ed Bolland, have mixed feelings about him.

Bolland, played by Robert Wagner, is the other main character in the drama. Unlike Rickson, he is the conformist, by-the-book, type of officer. He has an idealistic belief in the rightness of the Allied cause, which means that he hates war but loves what he is fighting for. He suspects, however, that Rickson is indifferent to the cause he is fighting for but comes dangerously close to loving war for its own sake. Nevertheless, he chooses to carry on flying with Rickson, whose flying skills he admires, even giving up the chance of promotion when he is offered command of his own plane. (To complicate matters still further, both men are in love with the same girl, Daphne). The difference between the two men's characters is best summed up by the exchange between them when Rickson accuses Bolland of being afraid to die. Bolland admits that he is, but counters that Rickson is afraid to live.

What gives this film its force is not so much the changing fortunes of war but rather the changing dynamics of the triangular relationship between Rickson, Bolland and Daphne. Daphne is played by the lovely Shirley Anne Field, who was one of the rising stars of the British cinema in the late fifties and early sixties but seemed to fade away later. Perhaps this was because the British cinema itself seemed to be fading away in the seventies, and because she never really adapted to Hollywood. Incidentally, her cut-glass accent, which one reviewer took exception to, would have been historically correct for an upper-class young woman in the forties. (I was also interested to see a young Michael Crawford as an American flyer). McQueen is particularly good as Rickson, one of his few unsympathetic roles but also one of his best. (In later films McQueen generally managed to keep the audience's sympathy, even when his character was on the wrong side of the law, as in "The Thomas Crown Affair"). McQueen receives good support from Wagner and Field, and while "The War Lover" may not be a particularly gripping war adventure (except perhaps for its tragic climax), it is certainly gripping when seen as a human drama. 7/10

Although this is one of my McQueen favorites, the movie itself is flawed.

The film does not stand on its own merit. Rather it assumes the viewer has read the original novel, by John Hersey, upon which it was based. Since many of the important aspects of the book are assumed, the film contains gaps and jerks in its sequencing and total focus.

However, if you like period pieces, the uniforms and flight gear are terrific. And except for one really bad special effects sequence (anyone who saw this movie knows I'm talking about the burning parachute which looks like what it is- a burning handkerchief) the aerial sequences, both war footage and interior close up action shots, are detailed and believable.

McQueen clearly captures the character of Buzz Rickson ( Buzz Marrow in the book), an A#1, narcissistic SOB. A great line is: "I risk the crew's life every time I take them off the ground, don't I...sir?" The pause between "don't I" and "sir" tells the whole story. This guy deftly walks the line between being totally professional and totally insubordinate.

All in all, a great flick.