The Hunters (1958)

This film is an adaptation of The Hunters, the first novel by Air Force veteran James Salter in 1957. The film strays from the original story most notably by incorporating a self-destructive fighter pilot. Mr. Salter was not pleased and not consulted. It was directed and produced competently by Dick Powell, with a screenplay by Wendell Mayes. The 108-minute film was distributed by Twentieth Century Fox. Paul Sawtell's powerful music score during the escape of three downed American pilots in Communist occupied territory is worth noting. Without a doubt, the CinemaScope aerial sequences by cinematographer Charles G. Clarke, A.S.C. are the highlight of the movie. Because the well-acted drama is another "war picture" with personal conflicts, studio cockpit "flying", and hitting the speed brake switch during a love tryst going nowhere. A film that might have stood the test of time instead lost money. Not too surprising after viewing the first quarter of the film.

The film stars Robert Mitchum, Robert Wagner, Lee Philips, May Britt, and Richard Egan. Hard to argue with this line-up, though Britt seems a bit anemic. Yet it probably is written into the script, "your character is supposed to be anemic." You can believe that if you want. Mitchum plays an experienced WWII combat ace. On the opposite end of the spectrum is a young lieutenant, a hep-talking, ego-centric new recruit, Wagner. He is quite good in the role and improves the film from his very first scene with his legendary exuberant delivery and good looks. The two do not see eye-to-eye on taking orders. Mitchum wants him out of his flight unit, but the Colonel, Egan, overrides his desire. It turns out to be fortuitous.

Philips is worth singling out with a difficult emotional role as the invented character outside the novel. He plays a promising combat pilot who has only found frustration with his inability to make a mark for himself. His escape is to drown his fears and self-loathing in alcohol consumption. Aware of Mitchum's legendary status, Philips is quite defensive about his lack of confidence (above). But Mitchum has little sympathy for the thirty-year-old and, upon meeting his wife, Britt, senses that she is on the proverbial fence over her husband's evasive maneuvers. Mitch and Britt are joined at the lips on several occasions. Philips suspects as much.

On one hunting mission, Philips is caught trying to outmaneuver a top Communist pilot when his plane is hit. He ejects, landing in a tree badly injured. Mitchum takes out the enemy plane, spots Philips' chute after a few passes, then finds a clearing to do a risky belly landing. His duty is to rescue his fellow pilot. Wagner was given an order to return to the base, but disobeying is second nature. He spots Chinese military vehicles approaching and hits the deck to strafe the convoy. But his plane is hit by anti-aircraft fire while climbing away. He has to bail. The three make a valiant effort to stay alive in Powell's action-filled climax, making good use of the term. A passing UN convoy saves their lives. Mitchum actually had enough fuel to get back to base. By deliberately destroying his aircraft, a court-martial is a likely outcome. Common sense wins, and after a light reprimand, Egan dismisses the incident.

The trio is transferred to a military hospital stateside, where Mitchum recovers from a wounded arm, and Philips improves daily. The latter indicates sincere remorse to Britt and vows to be the husband he had intended to be. She seems skeptical. The unscathed Wagner finishes his scenes humorously and with a genuine respect for "his elders."

Notes: The air combat scenes are exciting as North American F-86 Sabre Jets (above) encounter Chinese/North Korean Mig 15s. Except the Migs are gray Republic F-84 Thunderstreaks with the red Chinese stars appropriately placed. The sequence of a one-on-one dogfight is exciting, as are the beautiful rows of contrails from a multi-ship formation of Sabres at altitude. 

As is so often the case in films where relationships take precedence over aircraft continuity, famous stock footage of a North American F-100 Super Sabre crashing substitutes for a pilot's F-86. Rather than editing in this obvious out-of-place clip, let the onlooking cast convey the inevitable crash in facial horror with the provided script. Not sure Powell saw the rushes.

NIGHT TRAIN TO MUNICH (1940)

This British thriller is directed by Sir Carol Reed and distributed by 20th Century Fox, opening in America at the end of 1940. The screenplay was written by Sidney Gilliat and Frank Launder, based briefly on a Gordon Wellesley short story. The film centers on the Nazis in occupied Prague prior to the Second World War. It stars Margaret Lockwood, Rex Harrison in a dual role, and Paul Henreid. Reprising their railway roles from The Lady Vanishes two years prior, are Naunton Wayne and Basil Radford as the same characters, Caldicott and Charters—insatiable cricket fans. The film's comparison to the 1938 Hitchcock film, at nearly the same length, is rather obvious, though Lockwood plays a different character.

The ninety-five-minute film is full of sophisticated British suspense, starting with the kidnapping of Lockwood on her way to join her father, an invaluable industrial designer, for their escape by plane back to England. She befriends a fellow concentration camp prisoner, Henreid. This sets up the first of two twists in the film as they escape to England in darkness while a German officer cuts the power to the prison's searchlight. How convenient. After settling in, Henreid visits an optometrist who asks him to read an eye test chart. He reads the large letters wrong, twice, to confirm their Nazi contact code. They salute and poke each other in the eye.

Lockwood does not know the whereabouts of her father. She receives a call and is told where to meet her contact, Harrison, posing as a side-show vendor trying to sell his songwriting abilities by singing his tunes. With Harrison's introduction, the film not only improves but cranks up the suspense. It rarely subsides. His rapid-fire speech rolls off his tongue effortlessly. He seems delightfully fond of himself. The second twist is that he, thankfully, is not a singer as Lockwood later chides him about, but an undercover British agent who helped arrange her father's return to England. But Lockwood and her father are duped by Henreid and kidnapped aboard a German U-boat. Her opinion of Henreid is forever altered.

Harrison springs into action posing as a German Major, who convinces the German officials that his “past relationship” with Lockwood will convince her to get her father's co-operation. There are some humorous deliveries between them as the "happy couple" appear set for matrimony. Henreid's suspicions during this charade are realized, and arresting Harrison in Munich is his directive. Caldicott & Charters to the rescue.

While inadvertently listening on a party line, Charters discovers Henreid's plan and contacts Harrison, whom Caldicott finally is convinced it is, in fact, his British friend. They become part of Harrison's altered plan, subduing two Nazi officers (off camera), though feeling quite conspicuous in their uniforms. They become Harrison's escorts to get them, Lockwood, and her father to freedom in Switzerland. Though expertly done for the era, there are numerous miniatures used throughout the film, the mountaintop tramway climax being the last. Trust your suspension of disbelief for the endless supply of bullets from the revolvers of Harrison and Henreid. The escape above a deep chasm peaks the film at the right moment and instantly closes the film. In fact, the film fades to black before the characters exit the scene.

Note: The Australian poster above indicates that Metro-Goldwyn-Mayer released the film as well.