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.

BENEATH THE 12-MILE REEF (1953)

20th Century Fox distributed this one-hundred-two-minute, big-budget film, the third motion picture made in CinemaScope. This fad was a stand-out element of the film. It alone may account for its box office success, though its two young co-stars probably contributed. The widescreen format enhances some nice underwater sequences by the film's cinematographer, Edward Cronjagerand, and his occasional sunset or sunrise near Tarpon Springs, Florida. But on terra firma, it is a routine romantic drama centered around family heritage amid ‘the most dangerous of all occupations, sponge diving.’ Not firefighters. Not police officers. Not bomb disposal personnel. Intertwined is an ethnic war between Greek culture and sponge pirates, the Conch fishermen. 

As the credits open, the composer of the film may stump you, but the music becomes unmistakably Bernard Herrmann. The harp played a role in a number of his scores, and it is used appropriately during some underwater sequences. There is one scene, however, where the score is nearly overkill as symbols crash and French horns soar as we watch two lowly fishing boats creep out into the gulf during a calm sunrise. But without a doubt, Herrmann’s score enhances the film.

Swashbuckling Gilbert Roland, with shirt unbuttoned forming a V, is in command of the film in its early going, making it more fun. His swagger and confidence are indelibly imprinted on his son, Robert Wagner, who, oddly, along with his on-screen sister, is the only Greek in the film without a hint of an accent. But Wagner’s curly studio permanent is pure family lineage. Completing the trio of spongers is the heavily accented J. Carrol Naish with some humorous lines.

The twenty-three-year-old Wagner catapulted to fame during these years and shared top billing with Roland and Terry Moore. There is little doubt that the two young stars have a destiny. One could rightfully assume they anchored off-screen as well. Moore had a ten-year advance on Wagner’s career, though only a year separated their births. Eventually, Wagner’s popularity overwhelmed Moore’s, but both were celebrities rather than acting powerhouses. Wagner does alright in this role, especially in the first half. They both pretend to be in their late teens, with Moore giggling a lot in the early going. Like a number of others in Hollywood, she seems aware that the cameras are rolling and works hard to make a screen impression after hearing the words, “Action!” from the director, Robert Webb. I am sure their equally young fans were not aware of these occasional shallow performances.

Richard Boone, looking vibrant and fit, plays Moore’s father and the “Conch Master” over his crew. They do not want any Greeks diving in “their waters.” After Roland gathered his day’s worth of sponges, Boone’s crew, on Peter Graves’ lead, intercepts and steals their take. Roland laughs off the theft, knowing he will get revenge on Boone. They come to an understanding. Graves is navigating to marry Moore, but becomes a squeaky third wheel beside the cocky Wagner. Graves is jealous of the young punk and gives him a beating as a warning shot over his brow.

On his final pre-scuba gear dive, Roland succumbs to a deadly case of the bends. Wagner confidently soldiers on. During another sponging, Roland’s family boat accidentally goes up in flames. Graves tries to put the fire out with no success. Angry Wagner then steals the Conch boat and, with the help of Moore, adapts it for more sponge baths...uh...diving. They are a bit giddy, like in an Andy Hardy film where Rooney and Garland pull together a neighborhood show as a fundraiser. On Wagner's first diving experience, he encounters a large octopus. Posters of the day over-emphasize this as the film's major element. It is a very believable, however, with Wagner surviving with only a couple of hickeys. 

The climactic ending brings sudden character turnabouts. Moving in on their stolen boat for another sponge robbery is the conch crew. Boone, previously level-headed and showing sympathy for Roland’s short script, now wants his daughter back, "stolen" by Wagner. Yet to everyone's surprise, including the audience, they have already gotten married. Somewhere. Once alongside, Graves jumps on board, going at it with Wagner again as they go overboard. A lot of splashing later, the young punk ends up saving Graves from drowning in a seaweed entanglement. Back on deck, Boone is hesitant to accept Wagner, but Graves reminds him that he just saved his life. Oh, yeah. To dissolve Boone's displeasure, Wagner confidently exudes, "Look who you got for a son-in-law. I'm a very beautiful young man!" The Greek-Conch hatred dissolves instantly into laughter and acceptance. Sponge Conch, LLC is formed.

Note: Harry Carey, Jr., a frequent co-star on Boone’s popular television western series, plays one of his sons here. Boone’s show, on more than one occasion, also featured two other characters from this film, Jay Novello and Jacques Aubuchon. The studio assigned the brief, uncredited opening narration to the unknown Roy Harold Scherer, Jr., aka Rock Hudson.