San Francisco Police Lieutenant Virgil Tibbs is called in to investigate when a liberal street preacher and political candidate is accused of murdering a prostitute. Tibbs is also battling ... See full summary »
Five people heist the Camp Pendleton payroll, kidnap a pilot and his daughter, who are forced to fly them to Mexico. Enroute a double cross has one of the thieves parachute with the loot ... See full summary »
Michael David Simms,
When Confederate soldier Matt Weaver returns to town after the Civil War, he finds that his home has been sold by town boss Sam Brewster. Brewster hires gunfighter Jules Gaspard d'Estaing ... See full summary »
Naive Ezekial Cobb, brought up by his missionary father in China returns to America to seek a wife. Corrupt politicians enlist him to run for mayor as a dummy candidate with no chance of ... 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>
The film includes clips from the actual newsreel footage of the airship's explosion and fire. The recording played just before the closing credits is the actual eye-witness account of news reporter Herbert Morrison, describing the Hindenburg disaster. See more »
When the FBI men come to interview Mrs Raesch about her letter to the German ambassador the caption reads that they arrive at her home at 6:45 AM. However during the interview inside her home a wall clock in the back ground reads 1:50 PM. PM since it is clearly daylight outside. 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 »
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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