T, as most of his friends, lives in a self-constructed 'house', built on top of an old building in the city. Their one passion is 'combat'. Combat is a dance/streetfight during which the ... See full summary »
American based Federation World Airlines has just acquired a Concorde jet, which will make its inaugural commercial flight from Washington D.C. to Paris and then to Moscow as a goodwill ... See full summary »
An old Jewish shop owner Mr. Shaddick ('Peter Falk') suddenly finds himself responsible for a little black boy named Herman Washington ('Aaron Meek') trying to escape the chaos of Harlem as... See full summary »
This film is a compendium of the facts and fiction of the events leading up to the disaster. For dramatic effect, Sabotage was chosen as the cause, rather than electricity lashing out at a couple of tons of hydrogen. Written by
Charles Holland <email@example.com>
WLS radio announcer Herbert Morrison was present at the scene of the Hindenburg crash, along with his engineer Charlie Nehlsen, and recorded an eyewitness account of the unfolding tragedy. This audio clip can be heard at the end of the film. However, Nehlsen's recorder was running a bit slow, so that when the recording is played back at normal speed, the pitch of Morrison's real speaking voice is raised slightly. Also note that a slight cracking is audible at one point during the recording. This was caused by the shockwave of the explosion reaching the recorder just after Morrison shouts "It's burst into flames!" See more »
In the film, the characters of Ernest Lehmann and Hugo Eckener are portrayed as very wary of the Nazi party. In reality, while Eckener hated the Nazis and spoke against them openly, Lehman was very accommodating to the powers in Berlin in order to advance his career and the fortunes of the Zeppelin Company. In fact, while the movie shows Lehman protesting using the ship in the previous year to drop propaganda leaflets, in reality Lehman was eager and glad to oblige in this undertaking, to the extent that he launched the ship in a dangerous wind condition, bashing in the tail. In real life Eckener lashed out at Lehman for endangering the ship to please the Nazis, resulting in Propaganda Minister Goebbels blacklisting Eckener in the press forever after, despite his being a national (and international) hero. See more »
There's a new voice sweeping the fatherland Loyal Germans understand As they rally round its exciting sound How their hearts expand There's a new voice keeping the fatherland To its ancient noble bounds Helping restless men start to build again Showing where and how? There's a lot to be said for the Fuhrer Why I hardly know where to begin For our pride in Aryan purity security Thank Berlin All the bold youthful steps he is taking Make you feel that something special's in the air What has got to...
[...] See more »
The film opens with the 1936 Universal logo followed by a newsreel prior to the credits. See more »
No film that Pauline Kael despised on principle (in this case the principle that it was directed by Robert Wise) can be all bad, and so it proves with The Hindenburg, which falls somewhere between a countdown-to-catastrophe period political thriller a la Tora! Tora! Tora!, 70s conspiracy movie and by-the-numbers disaster movie. It's as a disaster movie that it fails the most: the destruction of the Hindenburg was simply too quick to make for much of a climax, and playing the famous black and white newsreel footage intercut with unimpressive cutaways to the less than stellar cast at the end feels like a real cheat, especially since it's often clumsily handled. On the plus side it offers a clever screen story from legendary Monday Mystery Movie TV scribes William Levinson and Richard Link that sees George C. Scott's reluctant Luftwaffe Colonel sent by Goebbels on the airship's last voyage to uncover a plot to destroy the ship and thus embarrass the Nazi regime that uses it for their own propaganda. While the real investigations in Germany and America give the film some momentum, unfortunately the search for suspects among this particular sedately paced Airship of Fools is less than urgent: indeed, it's pretty obvious who is behind the plot and how Scott will react when he uncovers him.
That the supporting cast is more solid than glittering doesn't help: Anne Bancroft's aristocratic old flame has little to do but bemoan the way the Nazis have taken over her estate, cheat at cards and smoke the kind of cigarettes you don't get over the counter, but still manages to make more of her part than the script does; Roy Thinnes does well as the Gestapo man hitting on a young Jewish passenger because "I'm anxious to try one before they run out"; Richard Dysart does the good German wondering what's happening to his country routine as one of the owners (who historically was more than happy to cosy up to the Nazis if it was good for business); Charles Durning keeps the glowering to a minimum as the pro-Nazi captain; Gig Young is clearly drunk in a couple of scenes (yes, I know he's playing a drunk, but he slurs even when he's supposed to be sober half the time); while star-that-never-was William Atherton lurks in the rigging moodily before saving the ship from the danger that his own incompetence puts it in the first place. Shame they couldn't have afforded a couple of British actors for Burgess Meredith and Rene Auberjonois' parts. However, it does boast one of Scott's more natural and likeably underplayed performances before his penchant for drunken Long John Silver impersonations took over, managing to keep it all together until things go bang. The production design is excellent, Albert Whitlock's special effects, while dated, are often impressive and there's a lovely score by David Shire that's recently been released as an extremely limited edition CD. And it's hard to write off a film entirely that has one nervous passenger suggest "Next time, let's take the Titanic."
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