In 1839, the revolt of Mende captives aboard a Spanish owned ship causes a major controversy in the United States when the ship is captured off the coast of Long Island. The courts must decide whether the Mende are slaves or legally free.
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
When flying to save the fire-jumpers in trouble, the branch that damages the wheel well causing the pressure drop creates the sound effect of a tie-fighter from Star Wars. See more »
When Dorinda rides her bike onto the airstrip to tell Pete that she loves him before he takes off, she jumps off her bicycle in front of the port engine and it isn't running. She climbs up on the plane to the cockpit scene but when she climbs down to her bicycle the engine is running and Pete is still on his feet in the cockpit so he couldn't have started the engine that fast. It was the reason she couldn't hear him saying "I love you". See more »
[being serenaded by the other pilots after a botched exercise]
This is first place, right?
[Al comes roaring up in a jeep, covered in fire retardant; the crowd falls silent]
Cute. Now we know how ready you are. We're gonna be coming into fire season soon, and if we get a big one - a real big one - they're gonna be calling guys from all over the place. They're gonna be calling veterans, first-timers, guys from all over the country if they have to. And when they call me, they're gonna say, 'Al, ...
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On the Blu Ray release, at the very end of the end credits, there is a warning. It reads, in quotation marks: "Caution: Inhaling of helium from balloons is dangerous, and can cause serious injury or death." See more »
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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