Pete Sandich and buddy Al Yackey are daredevil aerial forest-fire fighters. Pete finds True Love with Dorinda but won't give up the job. When he takes one risk too many, Dorinda faces deep grief and cannot easily put her life back together. Written by
During production, Steven Spielberg confided that while making Jaws (1975), he and Richard Dreyfuss had traded quips from A Guy Named Joe (1943), which they both wanted to remake. As an "inside joke," a clip from the film is included in a scene in Poltergeist (1982), which Spielberg had produced. Dreyfuss had seen the 1943 melodrama "at least 35 times." For Spielberg, who recalled seeing it as a child late at night, "it was one of the films that inspired him to become a movie director," creating an emotional connection to the times that his father, a wartime air force veteran had lived through. The two friends quoted individual shots from the film to each other and when the opportunity arose, years later, were resolved to recreate the wartime fantasy. See more »
When Al Yackey is in the jeep, talking after inhaling helium, he's holding the balloon and driving with his right hand. The next scene shows Pete and Dorinda talking in front of the jeep and Al driving right-handed without the balloon. See more »
...so he sees this building on fire and then just outside of town is this reservoir, so what he does is...
He takes a plane, he goes over the reservoir, fills it with water, dumps it, puts the fire out.
No! He missed. He hit the post office next door. Knocked it on its ass! It took him three tries. The town was awash; the groceries were burned. It was fire, flood and famine. If he could have managed plague, it would have been the four horsemen of the apocalypse in one PBY. I mean he was unique.
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It has been a while since I have seen this 'Always.' The years, I should say, have done this film justice.
A noted cinephile, I know when to eat my words, and this is one is for the books. Sincere. Honest. Touching. Obviously sparked with a late-eighties, Spielbergian hyper-real, cinematic extensions and flair, these elements do not bog the film downs as, say, with '1941' or 'The Color Purple.' And why should we expect modern filmmakers to be like those of the forties or fifties? Modern filmmakers are just that -- modern.
Holly Hunter is a walking dream and she has talent in droves. I have long had a crush on her and her funny mouth. She is simply enchanting and steals the show. Goodman, for once, is kept under control. Dreyfuss, with the thankless role of revisiting his past and commenting on the future, is the weakest link but only just. Sumptuously photographed by deftly edited, this story of unrequited love is as universal as mothers and babies. If it doesn't bring tears to your eyes, shame on you. The best advice to view this film is to forget it is a Spielberg film. Enjoy it for the love story that it is and sink into its voluptuous and charged charm.
We should all hope we become angels in the mist, able to return to Earth to right all the wrongs of the world.
This may be one Spielberg's most romantic films, next to A.I., which is a supremely magnificent film and, also, equally dismissed when it first arrived on the scene.
I urge all to give this film a second chance.
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