Twelve O'Clock High (1949)

A hard-as-nails general takes over a bomber unit suffering from low morale and whips them into fighting shape.

Director:

Henry King

Writers:

Sy Bartlett (screenplay), Beirne Lay Jr. (screenplay)

Stars:

Gregory Peck, Hugh Marlowe, Gary Merrill

Won 2 Oscars. Another 3 wins & 3 nominations.

Cast

Complete credited cast:
Gregory Peck	...	General Savage
Hugh Marlowe	...	Lt. Col. Ben Gately
Gary Merrill	...	Col. Davenport
Millard Mitchell	...	General Pritchard
Dean Jagger	...	Major Stovall
Robert Arthur	...	Sgt. McIllhenny
Paul Stewart	...	Maj. 'Doc' Kaiser
John Kellogg	...	Major Cobb
Robert Patten	...	Lt. Bishop (as Bob Patten)
Lee MacGregor	...	Lt. Zimmerman (as Lee Mac Gregor)
Sam Edwards	...	Birdwell
Roger Anderson	...	Interrogation Officer

Storyline

In this story of the early days of daylight bombing raids over Nazi Germany, General Frank Savage must take command of a "hard luck" bomber group. Much of the story deals with his struggle to whip his group into a disciplined fighting unit in spite of heavy losses, and withering attacks by German fighters over their targets. Actual combat footage is used in this tense war drama.

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Plot Keywords:

american abroad | b 17 bomber | reminiscence | military leadership | world war two | 

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Taglines:

A story of twelve men as their women never knew them...

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Genres:

Drama | War

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Certificate:

Not Rated

Details

Country:

USA

Language:

English

Release Date:

1950 (UK)

Also Known As:

Almas en la hoguera

Filming Locations:

Eglin Air Force Base, Fort Walton Beach, Florida, USA

Company Credits

Production Co:

Twentieth Century Fox

Technical Specs

Runtime:

132 min

Sound Mix:

Mono (Western Electric Recording)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

This film is used by the U.S. Navy as an example of leadership styles in its Leadership and Management Training School. The Air Force's College for Enlisted Professional Military Education also uses this film as a education aid in its Noncommissioned Officer Academies. This film is also used as a teaching tool for leadership at the Army Command and General Staff College. The film has also been used for leadership training in civilian non-military seminars.

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Goofs

In the movie credits, the flight surgeon is listed as "Capt. 'Doc' Kaiser". However, from the character's first appearance at the crash-landed B-17 in the opening scene, he wears oak leaves of a major (or a lieutenant colonel, since in a B&W movie we can't initially tell if they are gold or silver). Later, he is always referred to as a major.

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Quotes

General Savage: [after Stovall is caught stowing away on a B-17] Did you get anything?
Major Stovall: My glasses were frosted over some, but I think I got a piece of one.
General Savage: Ours or theirs?

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Crazy Credits

Opening credits prologue: LONDON 1949

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Connections

Featured in The Untold History of the United States: Chapter 3: The Bomb (2012)

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Soundtracks

Army Air Corps
(aka "army Air Force" and "Wild Blue Yonder") (uncredited)
Words and music by Robert Crawford (as Robert MacArthur Crawford)
Whistled by Robert Arthur

User Reviews

one of the finest war films ever made

"Twelve O'Clock High" is my favourite WWII film; perhaps my favourite 'Gregory Peck' film; and perhaps even my favourite 'male' film of all time. If you didn't know it, 'Twelve O'Clock High' was once many men's favourite war film of all time. How many people know about this now-obscure movie or realize the weight of its faded prestige, I wouldn't like to guess. The number certainly decreases with each generation. To discover it on late night television, however, is the reward for the patient seeker of 'quintessentially American' films.

'Twelve O'Clock High' is essentially the best depiction of a particular theatre of World War II--the extremely hazardous, aerial daylight bombing campaign over Germany. This film is the archetype for that entire lineage of war film. But it is memorable for its strong performances rather than well-directed battle scenes. In fact there are no battle scenes except for borrowed aerial combat footage. Yet few other films have the look of a 'big' WWII film better than this one--even though it is shot mostly indoors or in cramped cockpits.

Gregory Peck plays an Air Force commander in England in 1943. His performance here is one of Hollywood's icons. Peck is at his best-- taut, controlled, and powerful; flawless throughout every scene as a sensitive air commander forced to whip and browbeat a demoralized and resentful B-24 squadron back into peak efficiency. Peck runs roughshod over his new outfit, but he has a secret achille's heel--he fears he will grow too fond of the men he commands, the emotional link rendering him as ineffective as his predecessor (played by Gary Merrill).

There are crisp, well-directed scenes where the stiff-necked Peck rides his men with extra fury in order to steel himself against all attachments. Yet as we and Peck learn by the end of the film, it is impossible. Despite Peck's best preventive measures, the squadron continues to suffer heavy casualties, and Peck, no matter how hard he resists, is drawn into an emotional attachment with the young pilots he must order into battle each morning.

All soldiers know that comradery is the sharpest of double-edged swords during combat. You can never predict when you will lose a buddy--thus its a common practice for soldiers to keep their relationships light. This storyline has been treated loosely by a slew of later films, but never as successfully as it is done here. Every aspect of the emotional hazards of this type of wartime bond is fully dissected, and the film is filled with scenes containing extraordinary close-ups where the actor's facial expressions alone reveals the character's bitten-back response. This is especially gripping during the film's many vehement, man-to-man exchanges involving discipline, implied cowardice or dereliction of duty.

In particular there are two wonderful subplots to the film: look for the subtle interplay between Peck and Gary Merrill (the brother officer Peck is forced to replace) with regard to the "filling of someone else's shoes" and an actual pair of flyer's boots that they borrow back and forth between them. Then there is another bit of business between Peck and a recalcitrant executive officer, Hugh O'Brian.

The scenes between Peck and O'Brian, in particular, will almost make you wince, if you have ever in your life been chewed out by anyone or tried to 'measure up' to what you thought was expected of you. The relationships between Peck and the other officers exposes issues about the choices men must make about each other and about their duty in wartime; and lays bare the emotions involved when they are forced to depend on one another; as well as what happens when they are forced to fail one another. Its simply outstanding.

'Twelve O'Clock High' stands quietly in the ranks of the few really great American films, without any ego or hype. If you can still remember how important it can be to feel part of a team, even if it was only on a kickball or dodge-ball field that when you last had that feeling then you will admire this film. Dean Jagger won a Best Supporting Actor for his role as the reservist, and there are fine performances from every other actor as well. Millard Mitchell, an absolutely wonderful character actor, is without peer in a role he played often, that of a salty WWII general. And Peck, as we know, walks away with his role.

If you have ever pondered what the real meaning of over-used words like 'loyalty' and 'devotion' mean then this film is for you. The unfettered treatment of these hard-to-pin-down ideals is what makes it one of the few really great war films, for my money (yes, guys, sorry to say, its better than "The Great Escape").

When you are tired of watching the endless parade of "smart" "slick" and "funny" films, all filled with frivolous, stereotype-mocking characters, rent this one to see the real thing.