A renowned former army scout is hired by ranchers to hunt down rustlers but finds himself on trial for the murder of a boy when he carries out his job too well. Tom Horn finds that the ... See full summary »
Engineer Jake Holman arrives aboard the gunboat U.S.S. San Pablo, assigned to patrol a tributary of the Yangtze in the middle of exploited and revolution-torn 1926 China. His iconoclasm and... See full summary »
Doug Roberts, Architect, returns from a long vacation to find work nearly completed on his skyscraper. He goes to the party that night concerned he's found that his wiring specifications have not been followed and that the building continues to develop short circuits. When the fire begins, Michael O'Halleran is the chief on duty as a series of daring rescues punctuate the terror of a building too tall to have a fire successfully fought from the ground. Written by
John Vogel <firstname.lastname@example.org>
Industry rumors circulated that Jennifer Jones received the part of Lisolette once Olivia de Havilland had turned it down due to the influence of her husband Norton Simon. Simon was a multimillionaire, a hefty stockholder in Fox Studios, and loaned several priceless Picasso paintings to the film for set decoration. See more »
A helicopter lowers O'Hallorhan onto the damaged scenic elevator. In order to set him directly and vertically onto the elevator car (he did not swing to it), the helicopter blades would have to be no more than a foot wide to get that close to the building - or the cable would have to reach to the top of the building to accommodate the width of the helicopter blades, which would be impossible. See more »
The all-star blockbuster THE TOWERING INFERNO proves that you can make a bad film that still manages to be a great movie. Contrary to conventional wisdom, special effects and elaborate stunt work can actually be the star of a movie and provide ample compensation for poor writing, clumsy direction and really amateurish acting.
THE TOWERING INFERNO is, of course, a disaster movie, the methodical destruction of a high-rise skyscraper, along with many of its tenants. It came on the heels of THE POSEIDON ADVENTURE and quite honestly is no match for that film's delicious mix of sappy sentimentality and hammy heroics. But, while its dramatic quality is only marginally superior to hack films like AIRPORT '75 and the atrocious EARTHQUAKE, INFERNO provides a masterful blend of audience manipulation and technical craftsmanship. As Paul Newman pointed out to the press, neither he nor his perpetual professional rival Steve McQueen are the star of the film: the fire is the star. And as appropriate to any star, the fire, in all of its glorious mayhem, is lovingly filmed and given a wide berth to overact with style.
The rest of the cast should be so lucky. The remarkable, once-in-a-lifetime cast (Newman, McQueen, Faye Dunaway, William Holden, Fred Astaire, etc.) behave like troopers, even though they are primarily reduced to being little more than high priced props. Most of the scenes involving actual human interaction seem rushed and the inept line readings of the inane dialogue suggest that no one bothered with retakes, let alone rehearsals. But such moments are little more than filler, marking time between some of the most remarkable actions sequences ever filmed. The helicopter rescue of the derailed scenic elevator is heartstoppingly thrilling, even as you realize that it is absolutely physically impossible. And it is overshadowed by the explosive final showdown with the villainous fire. Hollywood has cinematically destroyed greater amounts of real estate, but seldom with such style.
As art, THE TOWERING INFERNO is a fizzle, but as a cheap carnival thrill show it's pretty hot stuff.
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