Category: Reviews

  • Top notch ‘Blue Thunder’ gets treated well in new DVD

    'Blue Thunder' helicopter flies over Los Angeles
    ‘Blue Thunder’ helicopter flies over Los Angeles

    There something fun about going back to movies that you remember from your childhood and revisiting them as an adult. I’ve been fascinated by some 80s action flicks in the last few months, I suppose mostly through nostalgia more than anything else. It’s funny how over the top so many of them are, and whileBlue Thunder is better than most, its ending is a little much.

    The story has Roy Scheider at the peak of his fame, this time playing a burned out helicopter pilot with the Los Angeles Police Department’s air unit. This is a familiar site to most people who either live in or have seen moves featuring the west coast city, but at the time it was relatively new. The helicopters assist police officers on the ground to track down criminals and monitor the city. Scheider’s Officer Frank Murphy is one of the best, but suffers from post-traumatic stress from Vietnam (this movie was made in 1983).

    Murphy, along with his rookie partner, Officer Richard Lymangood (Daniel Stern), are tasked with testing out an experimental helicopter developed by the military to be used during riot control. It features the latest in spy technology, including highly sensitive microphones, video equipment, as well as a whisper mode that allows it to fly in near silence. Oh, and it also sports some heavy fire power. But Murphy soon discovers that the recent death of a city official may be tied to a government cover-up (which includes Murphy’s nemesis played by Malcolm McDowell) that would lead this helicopter being covertly used over the streets of Los Angeles.

    There actually isn’t very much action throughout Blue Thunder. Instead you have a thriller that eventually has Murphy steal the experimental helicopter and fly through Los Angeles, as he attempts to out maneuver fighter planes, missiles and more. For the most part, this is a smartly done flick. It has a tight script and moves rather quickly. It isn’t until the film gets into the aerial action that things start to fall apart.

    After Murphy snatches Blue Thunder, the military sends jets in to knock him out of the sky. However, they wind up destroy buildings and endangering civilians. It’s simply impossible to believe that the military could possibly be that stupid, or would actually authorize that kind of action. Blue Thunder ultimately becomes another 1980s action flick, which isn’t necessary bad, but the film’s climactic sequence could have been a little smarter.

    Still, what I enjoyed was the realism of these section of the film. Today, this stuff would be done with computer effects, which no matter how pretty they look never feel real. But in the case of Blue Thunder, the helicopter was actually real. It may not really have been as fancy as the movie suggested, but it existed. And the sequences that had it flying through Los Angeles were real, too. The explosions and so forth were a mixture of antiquated special effects work, but the benefited from being actual, tangible things. As such, they look and feel more real than the computer created explosions and characters you see today.

    This new special edition DVD of Blue Thunder includes commentary by the film’s director, John Badham, editor Frank Morriss and the film’s motion control supervisor, Hoyt Yeatman. This commentary was interesting, but a little dry at times. There is also a three-part making of featurette, which features some new interviews with people like Scheider and Badham, and screenwriter Dan O’Bannon, along with a documentary about the helicopter, Blue Thunder, and how it was built. There are also storyboard galleries and the film’s original trailer, along with a 1983 promotional featurette.

  • ‘Sliver’ may be sexier in unrated version, but isn’t much better

    Sharon Stone stars in 'Sliver'
    Sharon Stone stars in ‘Sliver’

    I suppose it’s related to the impending release of Sharon Stone’s return to the character that made her famous, Basic Instinct 2, that prompted the release of this DVD, but I can say right now they should have just left well enough alone. Watching Sliver was a reminder of the excess that Hollywood had gone to with its brief fascination with erotic thrillers — a fascination led largely by screenwriter Joe Eszterhas.

    Although I’d only seen bits and pieces of Sliver in the past, I was curious enough to take a look at this unrated version of the film. The rise and fall of Eszterhas is a classic true Hollywood story, so I figured I’d sacrifice an hour and a half of my life to see one of his films. It’s not considered his best, but how exactly do you top such works of art like Basic Instinct and Showgirls?

    Stone headlines this film as book editor Carly Norris, her first film to follow the leg-spreading success of Basic Instinct. This time around she’s more of an innocent beauty caught up in a passionate relationship with a mysterious young man, Zeke (William Baldwin). She meets him after moving into a fancy apartment building in Manhattan, but soon discovers that the apartment’s former occupant had committed suicide and looked a lot like her. When it is suggested that the woman may have actually been murdered, Carly begins to suspect everyone, including a cocky writer (Tom Berenger) and her lover, Zeke.

    The film itself suffered from a few rewrites, including several different endings, but it’s the over-the-top sexuality of the film that gets a tad old. There isn’t very much nudity, just a flash or two from Stone, so don’t look for much in this “unrated” version. The ending, at least the one they eventually settled on, is also pretty lame. Regardless of whether or not Eszterhas liked the final version of Sliver, the film has clear markers of his touch, most notably with the undersexed co-worker, Judy (Colleen Camp), who repeatedly barrages Carly with direct inquires about her sex life.

    Sliver is really more bizarre than interesting. When Carly discovers that Zeke has wired each apartment with cameras, she simply accepts it. Why? Because she’s horny and he’s good in bed. I suppose that’s not the worst reason in the world, but at the same time it’s pretty pathetic. There are no likeable or even sympathetic people to be found here, another Eszterhas trait. This film was really an attempt to capitalize on Stone’s image as a sexy vixen, but the schtick ended up getting old rather quickly. Of course, times changed during the 1990s and these kinds of sexually charged films quickly grew out of favor in Hollywood.

    Aside from being “unrated”, which really doesn’t mean much, this DVD surprisingly include no extras. I mean, none. Not a trailer or even a single lame making-of featurette. I was a little surprised by that, but at the same time, why would Paramount bother spending any more money for a film that wasn’t much of a success in the first place. Sliver is really only interesting as being one of the last in Hollywood’s brief flirtation with erotic thrillers. And while I have nothing against erotic, most of these films weren’t terribly interesting beyond their sexual natures.Sliver is a good example of that.

  • ‘Godzilla’ has flaws, but it’s NOT as bad as you may have been told

    The giant lizard gets the CGI treatment in 1998's 'Godzilla'
    The giant lizard gets the CGI treatment in 1998’s ‘Godzilla’

    I am most likely one of a handful of people who actually enjoyed Godzilla, the Roland Emmerich/Dean Devlin creation from 1998. Yes, I enjoyed it. It’s fun, with some good action sequences. It entertained me. I’m not sure what more I was supposed to get from a movie about a giant lizard.

    Like most kids of my generation, I grew up watching Godzilla movies on Sunday afternoons. I loved them. At the same time, we’re talking about a series of movies featuring a guy in a rubber suit. You can’t take these movies too seriously. The same has to be said about Godzilla. It’s a popcorn movie whose single purpose is to entertain. It’s not deep, it’s not meaningful, it simply tries to give you a good time.

    The story basically works as follows: Mutated by the nuclear tests performed by the French, a giant lizard that becomes known as Godzilla comes to New York City and wreaks havoc. The military struggles to stop him with the help of biologist Niko Tatopoulos (Matthew Broderick), while French secret service agent Philippe Roaché (Jean Reno) looks to contain his country’s involvement in the creature’s unintentional creation.

    Okay, I’m not saying it’s perfect. It hits some notes that work, and on some levels does justice to the original Godzilla character. At the same time, Emmerich and Devlin had to be practically forced to remember that Godzilla has been featured in dozens of films and has a loyal following. Ultimately they made a massive disaster flick featuring a giant lizard. Plus, the concept of the baby lizards worked against the film, because it smelled too much like a rip off of Jurassic Park.

    With that said, I still like this flick. I laughed at its humor, and enjoyed the great chase sequence at the end. Reno as Roaché is the single best character in the entire film, easily making the whole viewing experience worth while. Hank Azaria is also terrific, and Broderick does a fine job in a rare leading role in a big budget action flick.

    Could the film have been better? Of course, that goes without saying. Godzilladoesn’t take itself too seriously, and on some levels it fails to take itself seriously enough. You could have worked some real drama into this story. You could have let it be more of an homage to the original Godzilla films, and perhaps even let it be an out-and-out monster flick. But even having written that, I still am entertained by it.

    This new “monster edition” includes three new extras: a collection of Godzilla’s best fight scenes; production art; and three episodes from the Godzilla animated series. The fight scenes featurette is really an advertisement for the Godzilla films on DVD, featuring action sequences from movies like Godzilla vs. MecaGodzilla. The three episodes from the animated series are “What Dreams May Come”, “Monster Wars Part 1”, and “Where is Thy Sting?”. The animation is pretty good, but I’ll leave it up to you regarding the stories (again, the inclusion of these episodes is to advertise the release of the series on DVD). The other extras were on the original DVD release, and include a commentary by the special effects team, the “Heroes” music video from the Wallflowers, as well as a promotional featurette and production stills.

  • ‘Chicken Little’ is an underappreciated Disney delight

    Zach Braff provides his voice as the title character in 'Chicken Little'
    Zach Braff provides his voice as the title character in ‘Chicken Little’

    One of the best tests I can devise for animated films now is whether or not my son is willing to sit through it. It’s not scientific, but it’s the best kind of gauge I have at my disposal — besides my own perspectives.

    When I popped the DVD in, as usual, my son was resistant. He is always a little wary of trying new movies. Not really sure why, exactly, but I suppose that’s par for the course with children. They’re always hesitant when it comes to something new. They like the familiar. Either way, Chicken Little was only on for a few minutes and he was hooked. So hooked, in fact, that he was dancing to the music at the very end.

    He loved it, and I did, too.

    Chicken Little offers a rather elaborate spin on the familiar tale. In it, Chicken Little (voiced by Zach Braff), is the town laughing stock after claiming that the sky was falling. However, we know that the sky did in fact fall (sort of), only what exactly hit him was a mystery. His father (Gary Marshall) rather coldly sides with the town folk, apologetically explaining away the incident as nothing more than an acorn striking his small child on the head.

    Little then spends the next year struggling to find a way to win his father’s respect. He’s finally offered that opportunity at a little league game. Riding high on a victory he made possible, Little finally believes that his past is behind him.

    That is, until the sky falls again. And this time, he discovers that it isn’t exactly the sky that fell, but a piece of an alien space craft.

    The story moves at a hyper-rapid pace, and feels slightly disjointed at times, but remains thoroughly entertaining. Chicken Little is sympathetic, largely because he’s stuck with a rather jerky father. The parent in me had a problem with the relationship between father and son in the film, as it seemed rather cold for an animated family flick, but it proved effectively emotional at the climax. I also found all the side characters very funny, most especially Runt and Fish. Runt was ridiculously funny, thanks in part to the talents of Steve Zahn. Fish, who doesn’t really speak but makes bubble sounds, is also perfectly comedic. He may appear like the naïve fool of the group, but is actually the smartest. It would also be wrong of me not to mention the brief yet notable scenes featuring the late Don Knotts as the town’s mayor, Turkey Lurkey.

    Of course, it is impossible to discuss a computer animated feature without making note of the animation itself. And in this case… I’m not that impressed. There is a style to it that I liked. The texture was nice, with some great design and color. On a technical level however, maybe it was just me, but I noticed some artifacting in some of the more elaborate scenes. Runt for example seemed to have to breaks in his body. It may have just been my eyes playing tricks, who knows, or perhaps a fault in the DVD production itself. As Disney’s first — and most likely only now that they own Pixar — computer animated feature film produced in-house, I was a little surprised.

    Still, that’s largely just nitpicking. I really don’t care about those little things, as long as the film is entertaining. And Chicken Little is very entertaining. The clever spin on the story provided by Steve Bencich and Ron Friedman was terrific. I most especially loved the manner in which they provided an explanation for how the sky could fall, and the scenes with the aliens were funny and effective.

    The DVD includes some nice extras, including deleted scenes and alternate openings, one of which explores the film’s initial concept that had Chicken Little as a girl. There’s also a “making of” featurette that explores the story’s development, as well as a trivia game related to the movie, music videos and sing alongs.

  • ‘Ten Commandments’ is still a wonderful classic 50 years later

    Charlton Heston is Moses in 'The Ten Commandments'
    Charlton Heston is Moses in ‘The Ten Commandments’

    I’m not a religious person, but there is something grand about so many of the sweeping religious epics from the 1950s. The Ten Commandments is a film I’ve probably seen dozens of times, often during the holidays, yet I don’t think I’ve ever actually seen it all the way through in one sitting. That made it all the more epic to watch it unfold in this new, 50th Anniversary edition DVD.

    Although he’s been somewhat dismissed in the last few years, Charlton Heston was a powerful actor who so often played larger-than-life characters. And he seemed to love it. He was practically born to play Moses, a role he devoured, even beneath the overdone beard and wig. Modern audiences may have difficulty relating to the style of the film, with its bombastic acting and casual pace, yet it’s a perfect example of the grand filmmaking style of its time.

    I would think that most people would know what this film is about, but to keep it simple, The Ten Commandments tells the story of Moses (Heston). Found in the river and raised as an Egyptian prince, he discovers that he is really a Hebrew and defies the oppressive rule of his “brother” to lead the Jews to the promised land. But that is not the only film found in this collection, something I didn’t quite realize before getting it in the mail few days ago. This 50th Anniversary three-disc DVD set also includes the very interesting original silent film Ten Commandments from 1923. Both films were produced by Cecile B. DeMille, and while the 1956 version was considered something of a “remake”, the stories are quite different.

    While the 1956 version focuses entirely on Moses’ life, the original 1923 silent film spans only Moses’ efforts to free his people before fast forwarding to present day, circa 1920s. Once there, it’s an allegorical tale about two brothers that applies the Ten Commandments to modern day life. I was blown away by this, because while I knew of the original 1923 film, I had no idea it had the “present day” storyline. It gets a tad heavy handed, but its quite interesting. The performances are strong, not so melodramatic, which is often the case with silent movies. And the way the first half is reflected and commented upon in the second is quite brilliant.

    Both films are presented with stunning quality. The colors are sharp and vibrant in the 1956 version, and the 1923 film features amazing contrast and clarity. Each are grand in their scope in ways that would never — and perhaps could never — be accomplished today. When you see hundreds of people marching through the desert sands, they are not computer generated fakes. Those are real people being herded about, and there’s a realism to it that is simply lost with today’s special effects.

    The three-disc DVD set is not overloaded with extras, and that’s just fine. What it does have is perfect, featuring a simple audio commentary (one for each film), a six-part documentary on the making of the 1956 film, as well as trailers and a news reel from the 1956 Commandments’ premiere in New York City. The commentaries are done by Katherine Orrison, who has written several books on Cecile B. DeMille. Her insights are terrific, even though she speaks very quickly, as if not wanting a single moment to pass without comment.

  • Excellent ‘Stalag 17’ is beautiful in ‘Special Collector’s Edition’

    William Holden becomes the most hated man in 'Stalag 17'
    William Holden becomes the most hated man in ‘Stalag 17’

    I grew up on reruns of Hogan’s Heroes. It wasn’t a series that I was all that crazy about, but it was on regularly in syndication. My brother was more of a fan that me. But it wasn’t until years later that I learned it was based on a stage play that was turned into a movie of the same name. It was called Stalag 17. I would easily count it as one of my favorite films, and it made me a fan of William Holden.

    This new special edition DVD of Stalag is quite good. The picture and audio are terrific, and the extras are simple yet just perfect. You get information about the making of the film, but you’re also offered some insight into the true story behind the infamous prisoner of war camp.

    For the ill-informed, Stalag 17 stars Holden as Sefton, a slick and bitter American POW. He lives well, considering, cutting deals with the German guards and keeping out of trouble. He watches as his fellow prisoners repeatedly plot and scheme to escape, often taking bets on whether any of them will make it out alive. When the most recent escape attempt goes wrong, the other prisoners grow suspicious. Soon all eyes turn to Sefton, who is quickly branded a traitor. But he has his own suspicions as to who the real spy may be.

    Holden is brilliant as Sefton, a role I find it hard to imagine anyone else playing. An easily likeable realist who makes his way through the system. But, like Rick from Casablanca, there’s a true patriot and hero beneath that rough exterior.

    Although it covers a bleak topic, Stalag 17 has a biting sense of humor. It by no means minimizes the hardships American prisoners of war endured, but finds humor in it none the less. Characters like Animal and Sergeant Shultz offer some of the film’s best moments, making it okay to laugh.

    As for the DVD’s extras, its fitted with some of the most basic things, but that’s all a good DVD needs in my opinion. In this case, you get a commentary featuring actors Richard Erdman (Hoffy) and Gil Stratton (Clarence Harvey Cook), and one of the co-writers of the original play, Donald Bevan. They discuss the film and their experiences in the war, but sometimes it gets a little unclear sometimes who is speaking since their voices are all similar (a common problem with commentaries featuring multiple people).

    There are two featurettes, one is a behind-the-scenes extra, “Stalag 17: From Reality to Screen”. There are interviews with surviving cast members and some interesting anecdotes about the film. I really enjoyed the second featurette, “The Real Heroes of Stalag XVIIB”, which included interviews with the real men who were imprisoned in the POW camp that inspired the play. It’s touching and provides real-life insights into life in a prisoner of war camp during World War II. The DVD also includes a photo gallery.

  • Daniel Day-Lewis is brilliant in ‘My Left Foot’

    Daniel Day-Lewis in 'My Left Foot'
    Daniel Day-Lewis in ‘My Left Foot’

    In 1989 the United States was introduced to Irish cinema with My Left Foot, starring Daniel Day Lewis and directed by Jim Sheridan (no relation, although I met him once in a bar in the Village here in NewYork City). Lewis walked away with the Oscar for Best Actor that year, surprising many. His co-star, Brenda Fricker, also took home the Best Supporting Actress Oscar that year.

    I remember being surprised by the film when I first saw it in theaters that year. My mother had dragged me to it, because being 14 and stubborn, I had no interest in a film that didn’t have aliens, explosions, humor or nudity. But like many times in my life, I left the film feeling moved. My Left Foot is inspiring and touching, moving and emotional, and serves as a prime example that anything is possible.

    My Left Foot tells the story of Christy Brown, an Irishman born with cerebral palsy, who became a celebrated artist and writer despite his condition. At a young age he discovered that he was able to properly control his left foot, and soon learned how to write and draw with it.

    One aspect of this film that I found fascinating was how his friends and family treated him so well, often ignoring his physical limitations. This is highlighted during a game of football, where Brown serves as goalie. But no matter how much he is included, he is also often excluded from other things, such as with girls.

    What makes My Left Foot so powerful is the dedicated performance by Lewis. He so immersed himself in the role, often remaining in his chair even during lunch, that is doesn’t even seem as if he is acting. Such a flawless performance is rare, and Lewis showed that he was a powerful talent.

    But what helps his performance is the way it blends seamlessly with Hugh O’Connor, who played the younger Christy Brown. The young actor expresses Brown’s struggle wonderfully, and the manner in which his work compliments Lewis’ only serves to strengthen both actors.

    This collector’s edition DVD features digitally remastered picture and sound which I found to be terrific, with vivid colors and sharp contrast. The special features could have been a little meatier, but are interesting all the same. There’s a brief discussion of the real Christy Brown, as well as a behind the scenes featurette. But neither Lewis or Sheridan are featured in either, which I thought was kind of odd. A good commentary, perhaps by the two of them, would have really made this DVD truly “special”.

  • In ‘The High and the Mighty’ John Wayne takes a long flight to nowhere

    John Wayne stars with William Campbell in 'The High and the Mighty'
    John Wayne stars with William Campbell in ‘The High and the Mighty’

    This was the second of the John Wayne films I had elected to review recently, and while The High and the Mighty was more familiar to people than Island in the Sky, I think it pales in comparison.

    The High and the Mighty is very much like an Irwin Allen disaster flick, but nothing much happens. It’s largely a series of conversations, only a few of them interesting, as each person on the plane deals with the possibly of dying.

    In this Wellman film, John Wayne is Dan Roman, a seasoned pilot who is haunted by a deadly crash that killed everyone on board but him. Now a co-pilot, his flight from Honolulu to San Francisco is endangered by faulty engines after it passes the point of no return. Unable to go back to Hawaii, they must race against time to get to San Francisco. But their fuel levels are dangerously low, and they may have to risk ditching the plane in the ocean — which could likely kill them all.

    Like an Allen film, which wouldn’t actually come around for another decade or so, the airplane is loaded with an array of familiar actors playing all types of characters. The difference here is that you’re less likely to recognize some of these faces, in that most of them are character actors and stars from the 30s and 40s. Aside from Wayne, Robert Stack is an easy stand out, and there are those who would probably easily recognize Robert Newton as Long John Silver from Treasure Island in 1950. AndStar Trek geeks like myself will also spot William Campbell, famous on that series as Trelane in “The Squire of Gothos”.

    I could probably go on about all the actors here, as each of them have lengthy filmographies. Their performances are all flawless, but that doesn’t save this film from being… well, long and rather uneventful. Very little happens here, which is The High and the Mighty’s greatest flaw. Unlike those Allen films, once the drama starts, instead of a series of obstacles presenting themselves as they make their way over the Pacific, very little actually happens aside from a few lengthy and sometimes melodramatic conversations. Each character begins to repent, exposing their flaws and vowing — should they survive — to change and become better people.

    Maybe I’m a product of my generation, but at about two and a half hours, The High and the Mighty needed to offer a little more. The real moments of drama — like when a gun-totting jealous husband attempts to shoot the man he believes is sleeping with his wife — are few and far between. The bulk of this film is made of small moments, and while good, over the two hour plus time span they aren’t enough to make this film easier or enjoyable to sit through.

    Like Island in the Sky, this DVD includes an audio commentary featuring Leonard Maltin and William Wellman, Jr. Joining them on this DVD is Karen Sharpe, Pedro Gonzales-Gonzales, and Vincent Longo. Because of its length, The High and the Mighty’s special features were pushed off onto a second disc. Here you’ll see a series of related featurettes, and it’s a mixed bag. I thought The Batjac Story was interesting, as it details the history of John Wayne’s production company, one of the first started by a movie star that helped produce numerous small films. There’s a great feature on William Wellman, as well as an historical documentary that helps put The High and the Mighty into perspective, “A Place In Film History”.

    Perhaps there are Wayne fans who would enjoy this film, but The High and the Mighty was a mighty too high on length for me to really get into. The story needed more to happen. So much of it is kind of cliché that it’s that much harder to enjoy.

  • Steve Martin’s ‘The Jerk’ is still funny 26 years later

    Steve Martin drags his dog in 'The Jerk'
    Steve Martin drags his dog in ‘The Jerk’

    Watching the first few minutes of The Jerk I came to a funny realization — I’d never seen the movie unedited before. Although the film is nearly as old as I am, viewing this 26th Anniversary Edition was the very first time I’d seen it completely intact, with all the cursing and in a widescreen presentation.

    All my life I thought the dog’s name was actually, “Stupid”.

    Anyway, Steve Martin made his big screen debut with this film, which he developed from one of his stage acts. The story follows a white man named Navin who grew up with a black family, and has never felt like he quite fit in — he has no rhythm, loves Twinkies, and… well, is white.

    But one night he hears some good old fashion “white” music that inspires him to go out and find his place in the world. He bounces around from job to job, working as a gas station attendant and a carnival roadie. During this journey, he meets up with a business man who takes one of inventions and makes it into a successful business. Suddenly, Navin is a millionaire. He marries Marie (Bernadette Peters), the love of his life, and finally finds success.

    Steven Martin and Bernadette Peters star in 'The Jerk'
    Steven Martin and Bernadette Peters star in ‘The Jerk’

    That is, until a lawsuit destroys his company and he loses his money, his girl, and his “loyal” dog.

    The Jerk is a goofy, odd-ball comedy. Martin’s Navin Johnson isn’t really a jerk, but is more like an idiot. A poor man’s version of Forrest Gump. He is nice and honest, but painfully stupid. Most people ultimately take advantage of his innocence, taking his money or giving him meaningless jobs to do. As a result you feel for him. But at the same time, Navin’s downfall is the result of his own stupidity.

    As Steve Martin’s career progressed, movies like The Jerk ultimately became more sophisticated. You can really chart the development of his career in the type of character he plays. On one extreme you have Navin, and on the other you have Harris K. Telemacher in L.A. Story. There are hints of the extreme humor in that film, but it is far more calm than what’s done in The Jerk. The main character is also more sedate, odd in certain respects, but let “wild and crazy”.

    What also made The Jerk so funny was how it managed to make fun of racial stereotypes. The film’s first act is all about poking fun at white people, and I would actually be surprised if such a parody would be done today.

    I would be remiss is mention Bernadette Peters. I honestly think she’s at her sexiest in this film. With the sweet sunflower dresses and wide brimmed hats, she personifies what a young, innocent man may believe to be the perfect woman.

    As for extras, this one has three: A lesson on how to play “Tonight You Belong To Me” on the ukulele; “The Lost Filmstrips of Father Carlos Las Vegas De Cordova”, which is funny at first but goes on a little too long; and production notes which are actually pretty interesting to read (especially when you get to the part that tells of the history of the mansion used in the film).

  • John Wayne sours in ‘Island in the Sky’

    John Wayne (left) headlines 'Island in the Sky'
    John Wayne (left) headlines ‘Island in the Sky’

    In the last few years I’ve developed a real respect for John Wayne films. The stories are often good, and while Wayne generally plays the same character, there are enough slight variations on the theme to keep it interesting.

    What drew me to want to review Island in the Skywas the idea that it had never been released on VHS or DVD. Part of the recent slew of special edition DVDs — fully restored and looking beautiful — that have come out in the last month for Wayne’s movies, the story seemed intriguing. This old black and white from 1953 features an all-star cast, and while it’s probably a little longer than it needed to be, Sky is a strong feature about survival.

    Wayne stars as Dooley, a former military pilot who flies transport planes in the far north. During a particularly cold trip, he is forced to land his plane in uncharted territory. He and his four-man crew land safely, but with limited battery supplies cannot take off again. They struggle against the elements in a wintry wasteland while sending out sporadic messages via Morse code.

    Meanwhile, several other crews desperately search for their fallen comrades. They fly for hours at a time, over snow-covered mountains and lakes which all look alike, with the hope of spotting the downed plane.

    But as Dooley and his crew slowly lose hope, their batteries begin to fade, and the weather is about to get worse.

    What makes Island in the Sky work so well is that all the characters are clearly defined. The pilots, anyway. The focus isn’t just on Wayne and his group, but on those flying the search parties. Their fate, in a way, is tied to Dooley because he is one of them. And one lost pilot only reminds them all of their own mortality. That on any given day, it could be them down on the frozen plains of the north.

    I also liked how Wayne’s Dooley wasn’t perfect. He makes mistakes, humanizing the character in ways that were surprising. I think that’s one of the things that made John Wayne such a star. The Duke’s characters were often flawed, never super soldiers. In Island of the Sky the days spent in the cold with no food begin to wear him down, and Dooley lashes out at one of his crewmen. Like any man, he is affected by his struggle, allowing the character to be relatable and sympathetic.

    James Arness also proved a stand out character for me, even though I was disappointed that he sort of becomes less central as the story progressed. He has the best introduction in the entire movie, but sadly that proves to be his only real moment.

    This special edition DVD is loaded with special features (wow, that sounded too much like a commercial). There’s an audio commentary featuring Leonard Maltin, William Wellman, Jr., Darryl Hickman, James Lydon and Vincent Longo. I’d never listened to a commentary that was not by the filmmakers, so this was kind of interesting. It features a lot of details about the making of the film, but Maltin manages to also provide biographical information and footnotes that are pretty cool.

    There about 10 other featurettes, including a bio on Ernest K. Gann, the film’s writer (who wrote the book as well), a “making of” feature, and another on “The Art of Aerial Cinematography”, which is pretty insightful for movie buffs.

    For Wayne fans, Island in the Sky is a good movie about pilots and survival. It’s one of the Duke’s less remembered movies, but definitely one of his best.