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By the late 1920's aircraft designer R.J. Mitchell feels he has achieved all he wants with his revolutionary mono-planes winning trophy after trophy. But a holiday in Germany shortly after Hitler assumes power convinces him that it is vital to design a completely new type of fighter plane and that sooner or later Britain's very survival may depend on what he comes to call the Spitfire. Written by
Jeremy Perkins <firstname.lastname@example.org>
The "Merlin" is actually a kind of European Falcon; Rolls-Royce named a great many of their aircraft engines after birds of prey. See more »
During the air race in Italy, the Supermarine flown by Niven is an open cockpit while in the air. After the race as Howard is standing by the plane it is shown with an open forward hinged canopy cover. See more »
'The First of the Few' shows Leslie Howard at his most reflective, almost to the point of diffidence. His only show of assertiveness is when he informs the haughty bigwigs of 'Supermarine'that he will design aeroplanes HIS way, despite David Horne's salutary warning that he will 'come an almighty cropper'. Howard plays R.J. Mitchell, legendary designer of the Spitfire, the revolutionary fighter plane that was to take centre stage in the Battle of Britain.
Throughout the film it is Howard himself who takes centre stage and never really leaves it, his star quality and charisma embracing all manner of scenes, from cheeky one - liners, 'you're not a bird, but you can fly', as a retort to Tonie Edgar - Bruce's mercurial Lady Houston, or modestly basking in the reflected glory of yet another Schneider Trophy triumph (the annual seaplane contest between Great Britain, USA and Italy which has now passed into folklore). Perhaps he is even more compelling in the touching solo scenes, with little or no dialogue, where, to William Walton's evocative music, he is found by his colleagues overworking himself deep into the night, trying to design the Spitfire before the imminent spread of Germanic imperialism, or, later on, close to death, scanning the skies for a sign of David Niven leading the way on the famous fighter plane.
An impressive cast of character actors give him great support, including Roland Culver as the supportive and insightful head of Supermarine, Anne Firth as a petite but highly efficient secretary, and future film maker Filippo Del Giudice as a foppish, hilarious Bertorelli, the high ranking Italian official who relays the message from 'Il duce' Mussolini, to the effect that the winning British Schneider Trophy entry could only have achieved such a feat 'in our glorious Italian sky'.
Howard's introverted Mitchell is in contrast to David Niven's jaunty, red blooded senior pilot, who demonstrates in this film just why he will go on to be the top British star in Hollywood, his easy acting style and unbridled optimism making Crisp a lovable character without ever seeming arrogant. Perhaps his inexplicable crash in one of the Schneider Trophy contests has the effect of 'bringing him down to earth', both literally and in character.
The only downside of the film is an oddly mechanical performance from Rosamund John, as Mitchell's wife. Obviously she could not come over as a dominant figure to Howard's subtle Mitchell, but the attempt to make her appear even more introverted than the star produces an uncharacteristically robotic outcome from this fine actress.
Both Mitchell and Howard were soon to pass beyond earthly constraints into immortality, the latter disappearing in mysterious circumstances, ironically, in a plane, over Portugal, in June, 1943. There is no finer epitaph to both of them, than 'The First of the Few', Mitchell as the genius aeroplane designer, and Howard as the first English actor (albeit of Hungarian parents) to make it big in Hollywood. In this respect, Niven may be regarded as 'the second of the few'. A gem of a film, whose great star never shone more brightly than here.
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