When a plane crashes on a mountaintop Chris wants to plunder the wreckage. His older brother Zachary has given up mountain guide work but goes along rather than letting his brother risk it alone. The only survivor is a Hindu girl who Chris wants to kill. Zachary fights him off. While Chris steals from the dead passengers, Zachary prepares a sled to take the girl down the mountain.Written by
Ed Stephan <email@example.com>
It's been felt by many, that Tracy and Wagner should've played father-son, instead of brothers. Though men are known to father children (from different wives), decades apart. But still, the film gives no mention/indication that they are half-brothers or anything. See more »
When Zachary and Chris are preparing the climb, Zachary takes the best rope, saying to Chris: "you'll be on the end of my rope; if something goes wrong, I'll be on the end of your rope. Wanna change?" Yet, the day after, we always see Zachary climbing with his rope on the backpack (a plain white one, so presumably the best "silk new one"), while Chris has no rope on his backpack: this means they are climbing using Chris's rope, the "second best one". See more »
In a small village at the base of the Alpine mountains, a greedy young man--tired of living poorly with his elderly brother on a sheep farm--talks his sibling into climbing one of the highest peaks to raid a doomed Indian aircraft of its gold. Engrossing story from Henri Troyat's novel is genuinely beautiful to behold in color-saturated VistaVision. Critics at the time complained about the interspersing of on-location footage with studio shots, as well as the age difference between brothers Spencer Tracy and Robert Wagner. Poor Tracy (already well into his golden years) seems pressed to the breaking point in this physical role, while scowling mercenary Wagner is one-note obstinate throughout. Still, Tracy's work is so fluid, so compassionate and believable, one gets caught up in this saga despite the picture's weaker attributes. Expository early scenes and other minor characters are practically irrelevant, and cinematographer Franz F. Planer captures it all with astute grace. **1/2 from ****
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