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Twelve O'Clock High (Special Edition)
Gregory Peck
(Actor),
Hugh Marlowe
(Actor),
Henry King
(Director, Writer)
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IMDb7.7/10.0
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| Genre | Drama |
| Format | Multiple Formats, Full Screen, Black & White, Special Edition, NTSC |
| Contributor | Roger Anderson, Barbara McLean, Gary Merrill, Paul Stewart, Sy Bartlett, Hugh Marlowe, Robert Patten, Sam Edwards, Millard Mitchell, Dean Jagger, Darryl F. Zanuck, Beirne Lay Jr., Henry King, Robert Arthur, Leon Shamroy, John Kellogg, Lee MacGregor, Gregory Peck See more |
| Language | English |
| Runtime | 2 hours and 12 minutes |
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Product Description
Product Description
An Allied flight commander and his successor run daylight bombing raids out of England. Directed by Henry King. Best supporting Oscar for Jagger.
Amazon.com
The wartime memories of surviving World War II bomber squadrons were still crystal clear when this acclaimed drama was released in 1949--one of the first postwar films out of Hollywood to treat the war on emotionally complex terms. Framed by a postwar prologue and epilogue and told as a flashback appreciation of wartime valor and teamwork, the film stars Gregory Peck in one of his finest performances as a callous general who assumes command of a bomber squadron based in England. At first, the new commander has little rapport with the 918th Bomber Group, whose loyalties still belong with their previous commander. As they continue to fly dangerous missions over Germany, however, the group and their new leader develop mutual respect and admiration, until the once-alienated commander feels that his men are part of a family--men whose bravery transcends the rigors of rigid discipline and by-the-book leadership. The film's now-classic climax, in which the general waits patiently for his squad to return to base--painfully aware that they may not return at all--is one of the most subtle yet emotionally intense scenes of any World War II drama. With Peck in the lead and Dean Jagger doing Oscar-winning work in a crucial supporting role, this was one of veteran director Henry King's proudest achievements, and it still packs a strong dramatic punch. --Jeff Shannon
Set Contains:
In this two-disc set, the classic World War II drama Twelve O'Clock High is presented on disc 1 in a pristine full-frame (1.33:1) transfer, with English mono and stereo soundtracks, French and Spanish mono, and optional English and Spanish subtitles. The full-length audio commentary takes a retrospective approach, with film historians Rudy Behlmer, John Burlingame, and Nick Redman sharing the microphone for a thorough discussion of Twelve O'Clock High. Behlmer's expertise focuses on Hollywood studio history, with emphasis on the making of Twelve O'Clock High under the direct supervision of hands-on producer Darryl F. Zanuck. Burlingame is an authority on film music (and in this case the spare, dramatic score by Fox's in-house composer Alfred Newman), and Redman serves primarily as moderator, asking questions and making his own observations about the film's enduring appeal. On disc 2, "Memories of Twelve O'Clock High" is a half-hour documentary about the film and its unique place among World War II films, featuring interviews with film historians Leo Braudy and Rudy Behlmer and authors Donald L. Miller (Masters of the Air: America's Bomber Boys Who Fought the Air War Against Nazi Germany) and Allan T. Duffin (The Twelve O'Clock High Logbook). Their combined expertise places the film into historical context, along with a wealth of anecdotal detail, production history, scene-by-scene analysis and interesting trivia (such as bald Oscar-winning costar Dean Jagger's reluctance to play a role without his toupée).
"World War II and the American Home Front" (7:30) is a featurette about domestic war-support activities during the period dramatized in Twelve O'Clock High, with war veteran and Stalag 17 coauthor Donald Bevan providing historical context and commentary. "Inspiring a Character: General Frank A. Armstrong" (7:25) is an inspiring, unabashedly patriotic tribute to the life and distinguished military service of Gen. Armstrong, wing commander of the 8th Air Force Bomber Command (the unit led by Gregory Peck in Twelve O'Clock High). "The Pilots of the Eight Air Force" featurette (12:20) profiles the heroic bomber crews of the 8th Air Force as depicted in Twelve O'Clock High--the largest aerial strike force in World War II, based in England and responsible for many of the war's most pivotal air raids over enemy German territory. Closing out the disc is an interactive pressbook (allowing viewers to click-and-enlarge a few pages of typical late 1940s newsprint publicity materials for Twelve O'Clock High) and a poster gallery of three reproductions of the film's poster and lobby cards. --Jeff Shannon
Product details
- Aspect Ratio : 1.33:1
- Is Discontinued By Manufacturer : No
- MPAA rating : Unrated (Not Rated)
- Product Dimensions : 0.6 x 5.3 x 7.5 inches; 2.72 Ounces
- Item model number : 2244055
- Director : Henry King
- Media Format : Multiple Formats, Full Screen, Black & White, Special Edition, NTSC
- Run time : 2 hours and 12 minutes
- Release date : June 5, 2007
- Actors : Gregory Peck, Hugh Marlowe, Gary Merrill, Millard Mitchell, Dean Jagger
- Dubbed: : French, Spanish
- Subtitles: : English, Spanish
- Producers : Darryl F. Zanuck
- Language : English (Dolby Digital 2.0 Mono), Unqualified
- Studio : 20th Century Fox
- ASIN : B000O78L0U
- Writers : Beirne Lay Jr., Henry King, Sy Bartlett
- Number of discs : 2
- Best Sellers Rank: #35,775 in Movies & TV (See Top 100 in Movies & TV)
- #663 in Military & War (Movies & TV)
- #7,431 in Drama DVDs
- Customer Reviews:
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Reviewed in the United States 🇺🇸 on September 11, 2022
Great war movie lots of good vintage airplanes. I probably seen the movie 40 times but never get tired of it!!
Reviewed in the United States 🇺🇸 on August 1, 2022
What a thrill to watch actual footage from the war, (as they did in the air combat movies then, using actual dog-fight footage.) And there is no better person to play the role but Gregory Peck. We had a Canadian Uncle who fought in both WWI & WWII & received the highest honors, and two cousins who were ace fighters for USA. One of those also famous. So so see this film of the Greatest Generation, is a real treat.
Reviewed in the United States 🇺🇸 on June 8, 2022
2Oth Century Fox Studios released on Blu-ray this classic, Academy Award winning (Best Supporting Actor for Dean Jagger) 1949 based on fact WWII film directed by Henry King about the #918 Bomb Group who operated highly dangerous and risky air bombing raids out of England over Germany in the years 1942 - 1943, as depicted in this film. Gregory Peck plays the no-nonsense Brigadier General who assumes command, replacing his friend (played by Gary Merrill) who was seen to falter by overidentifying with his crews, which also will become a problem for him.
Originally released on a barebones DVD by Fox Studios in 2001, this edition is a big upgrade, looking fine in HD, and now including an audio commentary with historians Rudy Behlmer, Jon Burlingame, and Nick Redman, plus 4 new featurettes about the film and the real-life circumstances surrounding it. Excellent picture is among the best of its type ever made.
Originally released on a barebones DVD by Fox Studios in 2001, this edition is a big upgrade, looking fine in HD, and now including an audio commentary with historians Rudy Behlmer, Jon Burlingame, and Nick Redman, plus 4 new featurettes about the film and the real-life circumstances surrounding it. Excellent picture is among the best of its type ever made.
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Reviewed in the United States 🇺🇸 on April 28, 2017
TWELVE O’CLOCK HIGH [1949 / 2013] [Blu-ray] [UK Release] A Story of Twelve Men As Their Women Never Knew Them! The World Stands Still At . . . Twelve O’Clock High!
One of the "most honest and powerful war pictures” (Life) of all time, this “thrilling, dramatic thunderbolt” (The Hollywood Reporter) “soars right up into the bright blue yonder” (Los Angeles Times). Blending “thrilling action” with “personal drama brought to heroic heights” (The New York Times), this winner of two Academy Awards® stars Gregory Peck in “the best performance of his career” (Look), a role which earned him a Best Actor Oscar® Nomination.
At the height of World War II, the 918 Bomber Group suffers devastating losses and Brigadier General Frank Savage [Gregory Peck] is sent to take command. Because of his strong discipline his men resent him, and although Brigadier General Frank Savage remains impersonal under heavy attack and unrelenting firefights, he becomes personally involved in his troops’ well-being – a dangerous position for any leader – especially in the middle of a war!
FILM FACT: Awards and Nominations: 1950 Academy Awards®: Win: Best Actor in a Supporting Role for Dean Jagger. Win: Best Sound, Recording. Nomination: Best Picture. Nomination: Best Actor in a Leading Role for Gregory Peck. 1950 National Board of Review: Win: Top Ten Films. 1950 New York Film Critics Circle Awards: Win: Best Actor for Gregory Peck.
Cast: Gregory Peck, Hugh Marlowe, Gary Merrill, Millard Mitchell, Dean Jagger, Robert Arthur, Paul Stewart, John Kellogg, Robert Patten, Lee MacGregor, Sam Edwards, Roger Anderson, Robert Blunt (uncredited), William Bryant (uncredited), Steve Clark (uncredited), Russ Conway (uncredited), Campbell Copelin (uncredited), Leslie Denison (uncredited), Lawrence Dobkin (uncredited), George Edwards (uncredited), Robert Fisher (uncredited), Stanley Fraser (uncredited), Bert Freed (uncredited), Greg Gallagher (uncredited), Don Gaudagno (uncredited), Don Giovanni (uncredited), Don Gordon (uncredited), Don Hicks (uncredited), Ray Hyke (uncredited), Barry Jones (uncredited), Harry Lauter (uncredited), Joyce Mackenzie (uncredited), Mike Mahoney (uncredited), John McKee (uncredited), Peter Ortiz (uncredited), Paul Picerni (uncredited), Nelson Scott (uncredited), William Short (uncredited), John Shulick (uncredited), Bob Tidwell (uncredited), Kenneth Tobey (uncredited), Guy Way (uncredited), Patrick Whyte (uncredited) and John Zilly (uncredited)
Director: Henry King
Producer: Darryl F. Zanuck
Screenplay: Beirne Lay Jr. (screenplay/novel), Sy Bartlett (screenplay/novel) and Henry King (uncredited)
Composer: Alfred Newman
Cinematography: Leon Shamroy, A.S.C. (Director and Photography)
Video Resolution: 1080p [Black-and-White]
Aspect Ratio: 1.33:1
Audio: English: 5.1 DTS-HD Master Audio, English: 1.0 LPCM Mono Audio, Spanish: 1.0 LPCM Mono Audio and French: 1.0 LPCM Mono Audio
Subtitles: English SDH and Spanish
Running Time: 132 minutes
Region: All Regions
Number of discs: 1
Studio: 20th Century Fox Home Entertainment
Andrew’s Blu-ray Review: ‘TWELVE O’CLOCK HIGH’ is a 1949 film about the United States Army's Eighth Air Force crews who flew daylight bombing missions against Germany and occupied France during World War II. The film was adapted by Beirne Lay Jr., Sy Bartlett and Henry King (uncredited) and from the 1948 novel “Twelve O'Clock High” by Beirne Lay Jr. and Sy Bartlett. It was directed by Henry King and starred Gregory Peck as Brigadier General Frank Savage, Gary Merrill as Colonel Keith Davenport, Millard Mitchell as General Patrick Pritchard, Dean Jagger as Major Stovall and later on as Lieutenant Colonel Harvey Stovall, Hugh Marlowe as Lieutenant Colonel Ben Gately, and Robert Arthur as Sergeant McIllhenny.
‘TWELVE O’CLOCK HIGH’ is Henry King’s superlative WWII drama was one of the first Hollywood films to probe realistically the psychological pressure and emotional toll of occupying high-command positions. The film examines the physical and emotional anxieties caused by giving the “maximum effort” day after day. The scenario is based on a novel by Sy Bartlett and Beirne Lay, Jr., who served in WWII under Air Force Brigadier General Frank Savage, where we see Gregory Peck in top form as usual, and the officer who directed the 1942 U.S. precision daylight bombings on German industry. The writers had witnessed first-hand the effects of chronic fatigue and trauma as fliers out on risky, often deadly missions.
The opening scene is haunting and memorable, setting the tone for the rest of the tale. Major Harvey Stovall [Dean Jagger], a bald, bespectacled man, wanders through post-war England, arriving at a former American air base, a neglected site overgrown with weeds. Looking into the wide sky, he begins to recall as bomber squadrons return from the missions in Germany. When the saga begins, the 918th Bomber Group is under the command of Colonel Keith Davenport [Gary Merrill], a likable leader who behaves like a friend to his men. Indeed, it’s Davenport’s sympathy with his young men, which ultimately causes his breakdown and downfall. Overly concerned with their physical and mental welfare, after a succession of dangerous bombing missions, Colonel Keith Davenport seems unable to meet the demands of his superiors, General Pritchard [Millard Mitchell] and Brigadier General Frank Savage.
Relieved of his duties, Colonel Keith Davenport is replaced by Brigadier General Frank Savage, a ruthless leader whose single-minded goal is to whip his boys back into shape. To that extent, he cuts back on three-day passes, closes the local bar, demands to be saluted, and requires that his soldiers be suitably uniformed and properly behaved at all time. As a result, despair settles in and most of the pilots ask for transfer. Only exception is the young pilot Lt. Bishop [Bob Patten], a sensitive, slightly confused man who tries to rally the men. Moved by the show of unity, Brigadier General Frank Savage is forced to become increasingly friendly, which leads to greater identification with them than his despised predecessor.
Brigadier General Frank Savage’s character is modelled on the actual nervous breakdown of Air Corps Major General Frank A. Armstrong, who’s depicted as a flesh-and-blood man burdened by phobias, fears, and inadequacies. Gregory Peck gives a flawless portrayal of Brigadier General Frank Savage. But the film’s pivotal performance is Dean Jagger’s Major Harvey Stovall. An introspective, older military man, Major Harvey Stovall is a friend and assistant to both Colonel Keith Davenport and Brigadier General Frank Savage and having lived through WWI, he holds together the 918th Bomber Group.
The rather, nostalgic tone of the narration in the prologue is juxtaposed with a flashback of chaos, describing American bombers returning from a mission. Base commander Colonel Keith Davenport gets out of his plane in a state of anxiety to immediately take stock of injuries and losses among his men. “What do we do with his arm” asks one man of another injured crew member. “Our stinking luck,” is Colonel Keith Davenport’s response for having experienced the worst losses of his air group.
Gregory Peck was eager but nervous to play Brigadier General Frank Savage since Gregory Peck had not served in the War due to 4-F classification, meaning that in the United States' Selective Service System, identifying a person as unfit for military service after formal examination by the Entrance Processing Command. But Gregory Peck gives one of his most intelligent and commanding performances, for which he deservedly earned his fourth Oscar® nomination. In an early scene it depicts Brigadier General Frank Savage’s final moment of calm before storming onto the base. Stopping by a river, he lights a cigarette to relax his nerves and prepare for the demanding job before driving on.
Dean Jagger won a Supporting Oscar as Brigadier General Frank Savage’s right hand man, a “re-tread” doing a desk job that brings his civilian skills acquired as a lawyer. The entire male supporting cast is excellent, including Hugh Marlowe and Gary Merrill, Paul Stewart as the base doctor who asks for a working definition of “maximum effort,” and Millard Mitchell as the Major General who detects the same cracks in Brigadier General Frank Savage’s that had earlier defeated his predecessor.
‘TWELVE O’CLOCK HIGH’ displays excellent cinematography camerawork by the Oscar-winner Leon Shamroy, including the depiction of a most horrifying aerial attack sequence. Some of the movie was shot at Elgin Field in Florida, and the state’s Ozark Field stands in for the scenes of the overgrown field in the prologue and epilogue. The Motion Picture is humbly dedicated to those Americans, both living and deceased, whose gallant effort made possible daylight precision bombing. They were the only Americans fighting in Europe in the fall of 1942. They stood alone, against the enemy and against doubts from home and abroad. This is their story. The air battle scenes in this Motion Picture were taken from authentic combat footage by members of the United States Air Force and German Luftwaffe archives, some of which have never before seen by viewers.
‘TWELVE O’CLOCK HIGH’ was one of the first major films about World War II to forgo a propagandistic approach and instead present the horrors of the conflict and particularly the psychological toll of warfare on its participants, in a realistic light. The film was routinely praised for its accurate portrayal of the experience of heavy bomber pilots during the war. ‘TWELVE O’CLOCK HIGH’ remains a powerful war film, its impact heightened by a complete absence of a film musical score, apart from over the credits, and the use of authentic footage of aerial combat scenes are also notable for using actual footage of combat missions shot by Allied and Luftwaffe (German air force) cameras and once again this American war film, released in 1949, that was noted for its ground-breaking depiction of the psychological effects of war on soldiers in general.
Blu-ray Video Quality – 20th Century Fox Home Entertainment has once again brought you a stunning 1080p encoded black-and-white image that really enhances the excellent 1.33:1 aspect ratio, but what a shame it was not filmed in a widescreen ratio. There is also excellent news that there is a considerable improvement in clarity and sharpness that really makes watching this film a total enjoyment. The overall black levels are much richer with this new upgraded Blu-ray presentation than on the inferior DVD release. Also outstanding is the good contrast and the bulk of the film sports excellent differentiation in the grey scale, and Leon Shamroy's cinematography looks decidedly much clearer than it has in previous home video presentations.
Blu-ray Audio Quality – 20th Century Fox Home Entertainment has really done this audio presentation proud, especially giving us a brilliant 5.1 DTS-HD Master Audio full enhanced sound experience, which is very unusual for a film with a 1.33:1 aspect ratio. Unfortunately when it comes to the battle sequences it never really fulfils us with the surround sounds when it comes to the explosions and penetrating gunfire, but you do get some hint of the use of the back speakers when the bombers take off. It is really more aimed more towards the dialogue aspect of the film, and now and again you get mostly limited to discrete ambient environmental effects in a subtle way, than the overwhelming sounds of battle scenes that might have been, and these are placed quite artfully throughout the sound field as the film progresses. But I was quite impressed with the Alfred Newman's beautiful composed music score that really enhances the film, especially heard only in the opening and closing sequences of the film that really sounds totally magnificent for a Second World War score. So overall it is a very enjoyable sound experience.
Blu-ray Special Features and Extras:
Audio Commentary with Historians Rudy Behlmer, Jon Burlingame and Nick Redman: Here we are welcomed to this very special audio commentary and first to introduce themselves is Nick Redman, next to him is Rudy Belhmer and Jon Burlingame, and all are here to talk about the film ‘TWELVE O’CLOCK HIGH,’ and all three think this is one the greatest World War Two film of all time, as well as the armed service, who say it is a very accurate in portraying the bombing pilots. But I must say we get a truly wonderful audio commentary which is also totally informative and is never boring, as these three gentlemen complement each other magnificently. Rudy Behlmer is of course one of the premiere 20th Century Fox historians around, and Nick Redman who started up his own Twilight Time niche Blu-ray label, which has since starting the label has been releasing some really interesting 20th Century Fox titles. Jon Burlingame and Nick Redman are at the forefront of soundtrack restorations, including a number of notable 20th Century Fox Compact Disc releases. Rudy Behlmer, Jon Burlingame and Nick Redman discuss just about everything there is to discuss about this film, including the production, casting and the context of its involvement with post-World War II in America. As the film starts to get going, they all think it is a very interesting war film that was only made a few years after the end of the Second World War, as it really sets the scenario on what it is like to set up leader of the bombing squadron, and where it goes into great detail on what it is like to become a leader, as it does portray in this film. They talk about the significant of the Toby Jug in the shop window and how the RAF pilots used it to indicate when a raid was due, and eventually the American pilots embraced the same tactic.. They talk in detail about the Alfred Newman film score that you only hear at the start of the film and at the end of the film, especially when the credits appear, which in both cases they really feel it adds to the ambience of the film, where less is more. When you see the real B17 bomber landing on its belly because the landing gear was not working, this was done by a famous American movie stunt pilot named Paul Mantz (2nd August, 1903 – 8 the July, 1965) and was purposely made to do that landing because the B17 bomber was on its last legs and also only had a minimum amount of aviation fuel because of the danger it could of blown up. An interesting fact we hear about this film is that it is shown regularly at Executive Man Management classes, which might sound strange, but it is entirely makes sense, because the plot scenario to do with discipline in the face of adversity. We find out that Darryl F. Zanuck was more concerned about the script detail than anything else, and would say on several occasions that even more important that the script, is the idea, and if the idea is right, and he would also say that he would rather have a bad script on a good idea, than a great script on an idea, and also especially the subject matter you choose. But he would also say that the script is all important, because he felt that you know you can have great direction, great performance and great everything, but if the script isn’t right, it all comes to naught. They give great praise towards the professional Cinematography in this film and especially Leon Shamroy who was very famous for a lot of 20th century Fox films and was truly one of the giants of his craft, who also worked extremely well in colour. Jon Burlingame and Nick Redman asks Rudy Behlmer if the film could have been shot in colour, but Rudy insists it has to be in black-and-white, because of the original combat aerial battle scenes were in black-and-white and the stark contrast would not of looked right, whereas Rudy feels this film has a very definite documentary feel to the film. They talk about the brilliant director Henry King, who Darryl F. Zanuck really admired and who felt would produce a really good war film but they also mention about the actor Gregory peck who had never worked with this director before, but the first time the actor met the director, Gregory Peck sensed an immediate affinity, especially the way Henry King handled things and the way he related to people and people always felt comfortable with the director, even if he did not have to rise to the occasion, and especially Darryl F. Zanuck felt that Henry King and Gregory Peck were very good for each other, but most of all we find out that Henry King was also a flyer and had been flying since the 1920s, even though he had never flown for either the army or navy, but he had his own private aircraft and would be known to scout locations with his private plane and would also take along his personal location manager. Rudy Behlmer mentions about the leading lady that is mentioned in the famous novel of the film, and a quote “a love interest,” and she was an RAF Lieutenant in England, and is not the main plot, but more as a romantic aspect with Savage and at the end of the novel walk off into the sunset and Darryl F. Zanuck found out that it had been added into the final draft of the screenplay, and in a memo from Darryl F. Zanuck said, “Get rid of her, as she is has as much use in this film as one of the Keystone cops,” and Darryl F. Zanuck also said, “As far as the leading lady, Major Harvey Stovall [Dean Jagger], serves as that purpose.” When you finally see the massive amount of bombs reigning down on the ball bearing factories and other targets in Germany, once again they point out there is no film score music to enhance the scenes, o underline the dramatic scenes, they instead wanted to enhance the stark reality of the massive amounts of bombs being dropped and of course probably lots of civilians were killed in the process. But in dropping the bombs it really crippled Germany in the process of stopping their war effort. As we get to the end of the film, the three commentators say thank you viewing the film with them and hope you also enjoyed watching the film with them and their comments. Well I also agree with their comments on this wonderful Second World War film that ranks up there with other brilliant war films that would be up at the top of the all-time Top Ten best war films ever produced.
Special Feature: Memories of ‘TWELVE O’CLOCK HIGH’ [2007] [480i] [1.33:1] [29:08] This special feature gets some very interesting talking heads reminiscing about the film's impact on them personally, as well as what the film has meant historically within the broad genre of war films. We find out that Darryl F. Zanuck took eight months to finish the screenplay; also no film studios at the time was initially not very keen or interested in making the film or any of the main stars in the film that was also initially not very interested in appearing in the film. But eventually three scripts were drafted, but Darryl F. Zanuck did a hatched job and eventually whittled it down to one script that even the actors were now very keen to appear in the film. We find out how the film title came about by Sy Bartlett’s wife. They all highly praise the director Henry King, who originally directed silent films and in this film made all the actors feel very comfortable and that is how he got the best out of all the actors, who really loved working with him. They talk about the actor Dean Jagger who normally appeared in films with a toupee, but was encouraged to appear naturally half bald. They go into great detail about the film locations, which were RAF Barford St. John Air Base, Oxfordshire, England, UK, Eglin Air Force Base, Fort Walton Beach, Florida, USA and Ozark Army Airfield, Ozark, Alabama, USA. Because the combined real combat filmed aerial battle scenes that was done by Darryl F. Zanuck favourite film editor Barbara McClean (16th November, 1903 – 28th March, 1996) who had 62 credits to her name and because Barbara McClean did a very professional seamless editing job, the whole thing worked very well. As to the composer of the film score, Darryl F. Zanuck was always keen to use Alfred Newman, as he was renowned for his very dramatic film scores, and with the opening of the film created a strong impression for a film of this calibre, but very strange is the fact that the majority of the film did not have a dramatic score, only at certain points in the film where it was needed. But when the film was finally released is was a massive box office hit, especially showing the public what it was like for these bombers in the Second World War, especially with great actors portraying the real men who helped win the war over Germany, and all who participated in this special feature says that the reason the film was a big success is because it is a very serious take on a very serious subject, and a strong aim towards making sure that the details were correct. It was also a very good serious historical record of exactly what occurred during the years where they were trying to as a nation, to set up a strategic bombing programme over Europe, to overcome the might of the German nation and especially Hitler. So all in all this is a very nice little feature, that packs in a lot of information about the making of the film ‘TWELVE O’CLOCK HIGH.’ Contributors include Rudy Behlmer [Film Historian], Allan T. Duffin [Co-Author of “The 12 O'Clock High Logbook”], Leo Braudy [Film and Cultural Historian], Donald L. Miller [Best-Selling Author of “Masters of the Air”] and Donald Bevan [Member of the 306th Boeing B-17 Flying Fortress Brigade and Co-Author of “Stalag 17”]. Directed by Jamie Willett. Produced by Allan Duffin, Jamie Willett and Robin Pelleck. Screenplay by Jamie Willett. Music by Tim Curran.
Special Feature: WWII and the American Home Front [2007] [480i] [1.33:1] [7:32] With this documentary it focuses more on the America’s reaction to being in conflict, with mentions of things like women getting into the workforce in a major way for the first time. We also get an in-depth insight look into the Second World War that had a big impact on the American public and especially when they called it a “Good War,” for some unknown reason, because there was a lot at stake in defeating the enemy. All the spokesperson says that when they were young was when the Second World War started and were young enough to be called up to be drafted into the armed services, which was a way of life. Even if you were an American student and could not be enlisted, they were still there to help with the war effort or anyone else was able to help the war effort by buying War Bonds and Stamps. Also I was also very surprised to hear that America had rationing like we did in the United Kingdom, and it helped America make an effort for the war effort. What was also good to hear that you get to view lots of old newsreel films of the American troops fighting in Europe. As we come to the end of another very short special feature, someone comments by saying something very prophetic in saying, “When these people came home, were they classed as heroes or not, well they were heroes and the greater emotion was not really that they were heroes, but the fact that they were back home. People involved with the war didn’t talk about their medals, and it was very true for a lot of the veterans, and heroes do not go round bragging about it.” Contributors include Rudy Behlmer [Film Historian], Donald L. Miller [Best-Selling Author of “Masters of the Air”], Donald Bevan [Member of the 306th Boeing B-17 Flying Fortress Brigade and Co-Author of “Stalag 17”], Leo Braudy [Film and Cultural Historian] and Allan T. Duffin [Co-Author of “The 12 O'Clock High Logbook”]. Directed by Jamie Willett. Screenplay by Jamie Willett.
Special Feature: Inspiring A Character: General Frank A. Armstrong [2007] [480i] [1.33:1] [7:26] This is a template documentary concentrates on the actor Gregory Peck and his character of Brigadier General Frank Savage and he was known for having a reputation for being a straight army and a stickler for discipline and his nickname was “Army.” But despite this, he actually had a very soft side to his character, but was also very intelligent and was very well respected by his fellow men. When you see Gregory Peck arrive at the base and finds security lacking and no discipline, well this actually happened in real life and the General was really shocked by the lack of respect for discipline and as you see in the film things changed dramatically, especially with the air crew bombers, but because of great losses at the start of the war, the General used his iron rod to make his men more disciplined. We find out that Darryl F. Zanuck paid $100,000 for the film rights and at the time it was considerable amount of money, and was a major film in the eyes of Darryl F. Zanuck who took a personal hands on the film and really threw himself into the film project, and to make it a true film and also a glorious film. Though General Frank A. Armstrong himself may not have wanted to be associated with the Brigadier General Frank Savage character in the film, considering his disposition and the dramatic climax of the film. Contributors include Donald L. Miller [Best-Selling Author of “Masters of the Air”], Allan T. Duffin [Co-Author of “The 12 O'Clock High Logbook”], Rudy Behlmer [Film Historian] and Donald Bevan [Member of the 306th Boeing B-17 Flying Fortress Brigade and Co-Author of “Stalag 17”]. Directed by Jamie Willett. Screenplay by Jamie Willett.
Special Feature: The Pilots Of The Eighth Air Force [2007] [480i] [1.33:1] [12:25] As the United States entered World War II, everything we thought we knew turned out to be wrong. We thought we could engage in high altitude strategic bombing runs in the daylight, believing, incorrectly as it turned out, that the B-17 could outfly the enemy's fighter jets. This brief but interesting featurette looks at some of the guys who actually did those daytime bombing runs. We are told that the Americans were ready for the Second World War and had been prepared since 1935, especially at the training camps. The Americans felt England was like a giant aircraft carrier, that was a strategic base to be able to bomb Germany, and the air battles started around 1942, but unfortunately 60 bombers in total were lost in the war effort, which equated to 26,000 men. The guys who were the gunners working in freezing conditions and some got frostbite. We find out that the British who lived round the air basis, after the Second World War restored all of the buildings as museum pieces, and the Eighth Air Force is now much better known in England than back in America. There has been a lot of discussions about the blanket bombing and whether it was a great success or not and the jury is still out on the subject. As we get to the end, one of the older bombe brigade says, “This was the fore front of saving Western Civilization, and the defeat of Germany, and I was glad I was there.” Contributors include Donald L. Miller [Best-Selling Author of “Masters of the Air”], Donald Bevan [Member of the 306th Boeing B-17 Flying Fortress Brigade and Co-Author of “Stalag 17”], Leo Braudy [Film and Cultural Historian] and Allan T. Duffin [Co-Author of “The 12 O'Clock High Logbook”]. Directed by Jamie Willett. Screenplay by Jamie Willett.
Finally, despite the film being well over 60 years old, ‘TWELVE O’CLOCK HIGH’ [1949] is apparently still required viewing at any U.S. Service Academies and Training schools. Cooperative relationship with the Air Force was crucial; it meant supply of military planes and airfield location. Contrary to expectation, the military were impressed with the story’s serious approach and with mogul Darryl F. Zanuck’s vision. Their agreement to help was contingent only on few minor changes in the script. Producer Zanuck, head of Twentieth-Century Fox who initiated the project, believed that the film “can serve as tremendous propaganda to stimulate interest in the Air Force.” This production was special to him due to his own service in the War. A critical and commercial success, ‘TWELVE O’CLOCK HIGH’ is one of the first and still a film to accurately portray the experiences of rank-and-file members and their leaders in war, under fire. The film is still used by the military in workshops devoted to transmitting skills of leadership, teambuilding, and interpersonal communication between officers and soldiers. Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
One of the "most honest and powerful war pictures” (Life) of all time, this “thrilling, dramatic thunderbolt” (The Hollywood Reporter) “soars right up into the bright blue yonder” (Los Angeles Times). Blending “thrilling action” with “personal drama brought to heroic heights” (The New York Times), this winner of two Academy Awards® stars Gregory Peck in “the best performance of his career” (Look), a role which earned him a Best Actor Oscar® Nomination.
At the height of World War II, the 918 Bomber Group suffers devastating losses and Brigadier General Frank Savage [Gregory Peck] is sent to take command. Because of his strong discipline his men resent him, and although Brigadier General Frank Savage remains impersonal under heavy attack and unrelenting firefights, he becomes personally involved in his troops’ well-being – a dangerous position for any leader – especially in the middle of a war!
FILM FACT: Awards and Nominations: 1950 Academy Awards®: Win: Best Actor in a Supporting Role for Dean Jagger. Win: Best Sound, Recording. Nomination: Best Picture. Nomination: Best Actor in a Leading Role for Gregory Peck. 1950 National Board of Review: Win: Top Ten Films. 1950 New York Film Critics Circle Awards: Win: Best Actor for Gregory Peck.
Cast: Gregory Peck, Hugh Marlowe, Gary Merrill, Millard Mitchell, Dean Jagger, Robert Arthur, Paul Stewart, John Kellogg, Robert Patten, Lee MacGregor, Sam Edwards, Roger Anderson, Robert Blunt (uncredited), William Bryant (uncredited), Steve Clark (uncredited), Russ Conway (uncredited), Campbell Copelin (uncredited), Leslie Denison (uncredited), Lawrence Dobkin (uncredited), George Edwards (uncredited), Robert Fisher (uncredited), Stanley Fraser (uncredited), Bert Freed (uncredited), Greg Gallagher (uncredited), Don Gaudagno (uncredited), Don Giovanni (uncredited), Don Gordon (uncredited), Don Hicks (uncredited), Ray Hyke (uncredited), Barry Jones (uncredited), Harry Lauter (uncredited), Joyce Mackenzie (uncredited), Mike Mahoney (uncredited), John McKee (uncredited), Peter Ortiz (uncredited), Paul Picerni (uncredited), Nelson Scott (uncredited), William Short (uncredited), John Shulick (uncredited), Bob Tidwell (uncredited), Kenneth Tobey (uncredited), Guy Way (uncredited), Patrick Whyte (uncredited) and John Zilly (uncredited)
Director: Henry King
Producer: Darryl F. Zanuck
Screenplay: Beirne Lay Jr. (screenplay/novel), Sy Bartlett (screenplay/novel) and Henry King (uncredited)
Composer: Alfred Newman
Cinematography: Leon Shamroy, A.S.C. (Director and Photography)
Video Resolution: 1080p [Black-and-White]
Aspect Ratio: 1.33:1
Audio: English: 5.1 DTS-HD Master Audio, English: 1.0 LPCM Mono Audio, Spanish: 1.0 LPCM Mono Audio and French: 1.0 LPCM Mono Audio
Subtitles: English SDH and Spanish
Running Time: 132 minutes
Region: All Regions
Number of discs: 1
Studio: 20th Century Fox Home Entertainment
Andrew’s Blu-ray Review: ‘TWELVE O’CLOCK HIGH’ is a 1949 film about the United States Army's Eighth Air Force crews who flew daylight bombing missions against Germany and occupied France during World War II. The film was adapted by Beirne Lay Jr., Sy Bartlett and Henry King (uncredited) and from the 1948 novel “Twelve O'Clock High” by Beirne Lay Jr. and Sy Bartlett. It was directed by Henry King and starred Gregory Peck as Brigadier General Frank Savage, Gary Merrill as Colonel Keith Davenport, Millard Mitchell as General Patrick Pritchard, Dean Jagger as Major Stovall and later on as Lieutenant Colonel Harvey Stovall, Hugh Marlowe as Lieutenant Colonel Ben Gately, and Robert Arthur as Sergeant McIllhenny.
‘TWELVE O’CLOCK HIGH’ is Henry King’s superlative WWII drama was one of the first Hollywood films to probe realistically the psychological pressure and emotional toll of occupying high-command positions. The film examines the physical and emotional anxieties caused by giving the “maximum effort” day after day. The scenario is based on a novel by Sy Bartlett and Beirne Lay, Jr., who served in WWII under Air Force Brigadier General Frank Savage, where we see Gregory Peck in top form as usual, and the officer who directed the 1942 U.S. precision daylight bombings on German industry. The writers had witnessed first-hand the effects of chronic fatigue and trauma as fliers out on risky, often deadly missions.
The opening scene is haunting and memorable, setting the tone for the rest of the tale. Major Harvey Stovall [Dean Jagger], a bald, bespectacled man, wanders through post-war England, arriving at a former American air base, a neglected site overgrown with weeds. Looking into the wide sky, he begins to recall as bomber squadrons return from the missions in Germany. When the saga begins, the 918th Bomber Group is under the command of Colonel Keith Davenport [Gary Merrill], a likable leader who behaves like a friend to his men. Indeed, it’s Davenport’s sympathy with his young men, which ultimately causes his breakdown and downfall. Overly concerned with their physical and mental welfare, after a succession of dangerous bombing missions, Colonel Keith Davenport seems unable to meet the demands of his superiors, General Pritchard [Millard Mitchell] and Brigadier General Frank Savage.
Relieved of his duties, Colonel Keith Davenport is replaced by Brigadier General Frank Savage, a ruthless leader whose single-minded goal is to whip his boys back into shape. To that extent, he cuts back on three-day passes, closes the local bar, demands to be saluted, and requires that his soldiers be suitably uniformed and properly behaved at all time. As a result, despair settles in and most of the pilots ask for transfer. Only exception is the young pilot Lt. Bishop [Bob Patten], a sensitive, slightly confused man who tries to rally the men. Moved by the show of unity, Brigadier General Frank Savage is forced to become increasingly friendly, which leads to greater identification with them than his despised predecessor.
Brigadier General Frank Savage’s character is modelled on the actual nervous breakdown of Air Corps Major General Frank A. Armstrong, who’s depicted as a flesh-and-blood man burdened by phobias, fears, and inadequacies. Gregory Peck gives a flawless portrayal of Brigadier General Frank Savage. But the film’s pivotal performance is Dean Jagger’s Major Harvey Stovall. An introspective, older military man, Major Harvey Stovall is a friend and assistant to both Colonel Keith Davenport and Brigadier General Frank Savage and having lived through WWI, he holds together the 918th Bomber Group.
The rather, nostalgic tone of the narration in the prologue is juxtaposed with a flashback of chaos, describing American bombers returning from a mission. Base commander Colonel Keith Davenport gets out of his plane in a state of anxiety to immediately take stock of injuries and losses among his men. “What do we do with his arm” asks one man of another injured crew member. “Our stinking luck,” is Colonel Keith Davenport’s response for having experienced the worst losses of his air group.
Gregory Peck was eager but nervous to play Brigadier General Frank Savage since Gregory Peck had not served in the War due to 4-F classification, meaning that in the United States' Selective Service System, identifying a person as unfit for military service after formal examination by the Entrance Processing Command. But Gregory Peck gives one of his most intelligent and commanding performances, for which he deservedly earned his fourth Oscar® nomination. In an early scene it depicts Brigadier General Frank Savage’s final moment of calm before storming onto the base. Stopping by a river, he lights a cigarette to relax his nerves and prepare for the demanding job before driving on.
Dean Jagger won a Supporting Oscar as Brigadier General Frank Savage’s right hand man, a “re-tread” doing a desk job that brings his civilian skills acquired as a lawyer. The entire male supporting cast is excellent, including Hugh Marlowe and Gary Merrill, Paul Stewart as the base doctor who asks for a working definition of “maximum effort,” and Millard Mitchell as the Major General who detects the same cracks in Brigadier General Frank Savage’s that had earlier defeated his predecessor.
‘TWELVE O’CLOCK HIGH’ displays excellent cinematography camerawork by the Oscar-winner Leon Shamroy, including the depiction of a most horrifying aerial attack sequence. Some of the movie was shot at Elgin Field in Florida, and the state’s Ozark Field stands in for the scenes of the overgrown field in the prologue and epilogue. The Motion Picture is humbly dedicated to those Americans, both living and deceased, whose gallant effort made possible daylight precision bombing. They were the only Americans fighting in Europe in the fall of 1942. They stood alone, against the enemy and against doubts from home and abroad. This is their story. The air battle scenes in this Motion Picture were taken from authentic combat footage by members of the United States Air Force and German Luftwaffe archives, some of which have never before seen by viewers.
‘TWELVE O’CLOCK HIGH’ was one of the first major films about World War II to forgo a propagandistic approach and instead present the horrors of the conflict and particularly the psychological toll of warfare on its participants, in a realistic light. The film was routinely praised for its accurate portrayal of the experience of heavy bomber pilots during the war. ‘TWELVE O’CLOCK HIGH’ remains a powerful war film, its impact heightened by a complete absence of a film musical score, apart from over the credits, and the use of authentic footage of aerial combat scenes are also notable for using actual footage of combat missions shot by Allied and Luftwaffe (German air force) cameras and once again this American war film, released in 1949, that was noted for its ground-breaking depiction of the psychological effects of war on soldiers in general.
Blu-ray Video Quality – 20th Century Fox Home Entertainment has once again brought you a stunning 1080p encoded black-and-white image that really enhances the excellent 1.33:1 aspect ratio, but what a shame it was not filmed in a widescreen ratio. There is also excellent news that there is a considerable improvement in clarity and sharpness that really makes watching this film a total enjoyment. The overall black levels are much richer with this new upgraded Blu-ray presentation than on the inferior DVD release. Also outstanding is the good contrast and the bulk of the film sports excellent differentiation in the grey scale, and Leon Shamroy's cinematography looks decidedly much clearer than it has in previous home video presentations.
Blu-ray Audio Quality – 20th Century Fox Home Entertainment has really done this audio presentation proud, especially giving us a brilliant 5.1 DTS-HD Master Audio full enhanced sound experience, which is very unusual for a film with a 1.33:1 aspect ratio. Unfortunately when it comes to the battle sequences it never really fulfils us with the surround sounds when it comes to the explosions and penetrating gunfire, but you do get some hint of the use of the back speakers when the bombers take off. It is really more aimed more towards the dialogue aspect of the film, and now and again you get mostly limited to discrete ambient environmental effects in a subtle way, than the overwhelming sounds of battle scenes that might have been, and these are placed quite artfully throughout the sound field as the film progresses. But I was quite impressed with the Alfred Newman's beautiful composed music score that really enhances the film, especially heard only in the opening and closing sequences of the film that really sounds totally magnificent for a Second World War score. So overall it is a very enjoyable sound experience.
Blu-ray Special Features and Extras:
Audio Commentary with Historians Rudy Behlmer, Jon Burlingame and Nick Redman: Here we are welcomed to this very special audio commentary and first to introduce themselves is Nick Redman, next to him is Rudy Belhmer and Jon Burlingame, and all are here to talk about the film ‘TWELVE O’CLOCK HIGH,’ and all three think this is one the greatest World War Two film of all time, as well as the armed service, who say it is a very accurate in portraying the bombing pilots. But I must say we get a truly wonderful audio commentary which is also totally informative and is never boring, as these three gentlemen complement each other magnificently. Rudy Behlmer is of course one of the premiere 20th Century Fox historians around, and Nick Redman who started up his own Twilight Time niche Blu-ray label, which has since starting the label has been releasing some really interesting 20th Century Fox titles. Jon Burlingame and Nick Redman are at the forefront of soundtrack restorations, including a number of notable 20th Century Fox Compact Disc releases. Rudy Behlmer, Jon Burlingame and Nick Redman discuss just about everything there is to discuss about this film, including the production, casting and the context of its involvement with post-World War II in America. As the film starts to get going, they all think it is a very interesting war film that was only made a few years after the end of the Second World War, as it really sets the scenario on what it is like to set up leader of the bombing squadron, and where it goes into great detail on what it is like to become a leader, as it does portray in this film. They talk about the significant of the Toby Jug in the shop window and how the RAF pilots used it to indicate when a raid was due, and eventually the American pilots embraced the same tactic.. They talk in detail about the Alfred Newman film score that you only hear at the start of the film and at the end of the film, especially when the credits appear, which in both cases they really feel it adds to the ambience of the film, where less is more. When you see the real B17 bomber landing on its belly because the landing gear was not working, this was done by a famous American movie stunt pilot named Paul Mantz (2nd August, 1903 – 8 the July, 1965) and was purposely made to do that landing because the B17 bomber was on its last legs and also only had a minimum amount of aviation fuel because of the danger it could of blown up. An interesting fact we hear about this film is that it is shown regularly at Executive Man Management classes, which might sound strange, but it is entirely makes sense, because the plot scenario to do with discipline in the face of adversity. We find out that Darryl F. Zanuck was more concerned about the script detail than anything else, and would say on several occasions that even more important that the script, is the idea, and if the idea is right, and he would also say that he would rather have a bad script on a good idea, than a great script on an idea, and also especially the subject matter you choose. But he would also say that the script is all important, because he felt that you know you can have great direction, great performance and great everything, but if the script isn’t right, it all comes to naught. They give great praise towards the professional Cinematography in this film and especially Leon Shamroy who was very famous for a lot of 20th century Fox films and was truly one of the giants of his craft, who also worked extremely well in colour. Jon Burlingame and Nick Redman asks Rudy Behlmer if the film could have been shot in colour, but Rudy insists it has to be in black-and-white, because of the original combat aerial battle scenes were in black-and-white and the stark contrast would not of looked right, whereas Rudy feels this film has a very definite documentary feel to the film. They talk about the brilliant director Henry King, who Darryl F. Zanuck really admired and who felt would produce a really good war film but they also mention about the actor Gregory peck who had never worked with this director before, but the first time the actor met the director, Gregory Peck sensed an immediate affinity, especially the way Henry King handled things and the way he related to people and people always felt comfortable with the director, even if he did not have to rise to the occasion, and especially Darryl F. Zanuck felt that Henry King and Gregory Peck were very good for each other, but most of all we find out that Henry King was also a flyer and had been flying since the 1920s, even though he had never flown for either the army or navy, but he had his own private aircraft and would be known to scout locations with his private plane and would also take along his personal location manager. Rudy Behlmer mentions about the leading lady that is mentioned in the famous novel of the film, and a quote “a love interest,” and she was an RAF Lieutenant in England, and is not the main plot, but more as a romantic aspect with Savage and at the end of the novel walk off into the sunset and Darryl F. Zanuck found out that it had been added into the final draft of the screenplay, and in a memo from Darryl F. Zanuck said, “Get rid of her, as she is has as much use in this film as one of the Keystone cops,” and Darryl F. Zanuck also said, “As far as the leading lady, Major Harvey Stovall [Dean Jagger], serves as that purpose.” When you finally see the massive amount of bombs reigning down on the ball bearing factories and other targets in Germany, once again they point out there is no film score music to enhance the scenes, o underline the dramatic scenes, they instead wanted to enhance the stark reality of the massive amounts of bombs being dropped and of course probably lots of civilians were killed in the process. But in dropping the bombs it really crippled Germany in the process of stopping their war effort. As we get to the end of the film, the three commentators say thank you viewing the film with them and hope you also enjoyed watching the film with them and their comments. Well I also agree with their comments on this wonderful Second World War film that ranks up there with other brilliant war films that would be up at the top of the all-time Top Ten best war films ever produced.
Special Feature: Memories of ‘TWELVE O’CLOCK HIGH’ [2007] [480i] [1.33:1] [29:08] This special feature gets some very interesting talking heads reminiscing about the film's impact on them personally, as well as what the film has meant historically within the broad genre of war films. We find out that Darryl F. Zanuck took eight months to finish the screenplay; also no film studios at the time was initially not very keen or interested in making the film or any of the main stars in the film that was also initially not very interested in appearing in the film. But eventually three scripts were drafted, but Darryl F. Zanuck did a hatched job and eventually whittled it down to one script that even the actors were now very keen to appear in the film. We find out how the film title came about by Sy Bartlett’s wife. They all highly praise the director Henry King, who originally directed silent films and in this film made all the actors feel very comfortable and that is how he got the best out of all the actors, who really loved working with him. They talk about the actor Dean Jagger who normally appeared in films with a toupee, but was encouraged to appear naturally half bald. They go into great detail about the film locations, which were RAF Barford St. John Air Base, Oxfordshire, England, UK, Eglin Air Force Base, Fort Walton Beach, Florida, USA and Ozark Army Airfield, Ozark, Alabama, USA. Because the combined real combat filmed aerial battle scenes that was done by Darryl F. Zanuck favourite film editor Barbara McClean (16th November, 1903 – 28th March, 1996) who had 62 credits to her name and because Barbara McClean did a very professional seamless editing job, the whole thing worked very well. As to the composer of the film score, Darryl F. Zanuck was always keen to use Alfred Newman, as he was renowned for his very dramatic film scores, and with the opening of the film created a strong impression for a film of this calibre, but very strange is the fact that the majority of the film did not have a dramatic score, only at certain points in the film where it was needed. But when the film was finally released is was a massive box office hit, especially showing the public what it was like for these bombers in the Second World War, especially with great actors portraying the real men who helped win the war over Germany, and all who participated in this special feature says that the reason the film was a big success is because it is a very serious take on a very serious subject, and a strong aim towards making sure that the details were correct. It was also a very good serious historical record of exactly what occurred during the years where they were trying to as a nation, to set up a strategic bombing programme over Europe, to overcome the might of the German nation and especially Hitler. So all in all this is a very nice little feature, that packs in a lot of information about the making of the film ‘TWELVE O’CLOCK HIGH.’ Contributors include Rudy Behlmer [Film Historian], Allan T. Duffin [Co-Author of “The 12 O'Clock High Logbook”], Leo Braudy [Film and Cultural Historian], Donald L. Miller [Best-Selling Author of “Masters of the Air”] and Donald Bevan [Member of the 306th Boeing B-17 Flying Fortress Brigade and Co-Author of “Stalag 17”]. Directed by Jamie Willett. Produced by Allan Duffin, Jamie Willett and Robin Pelleck. Screenplay by Jamie Willett. Music by Tim Curran.
Special Feature: WWII and the American Home Front [2007] [480i] [1.33:1] [7:32] With this documentary it focuses more on the America’s reaction to being in conflict, with mentions of things like women getting into the workforce in a major way for the first time. We also get an in-depth insight look into the Second World War that had a big impact on the American public and especially when they called it a “Good War,” for some unknown reason, because there was a lot at stake in defeating the enemy. All the spokesperson says that when they were young was when the Second World War started and were young enough to be called up to be drafted into the armed services, which was a way of life. Even if you were an American student and could not be enlisted, they were still there to help with the war effort or anyone else was able to help the war effort by buying War Bonds and Stamps. Also I was also very surprised to hear that America had rationing like we did in the United Kingdom, and it helped America make an effort for the war effort. What was also good to hear that you get to view lots of old newsreel films of the American troops fighting in Europe. As we come to the end of another very short special feature, someone comments by saying something very prophetic in saying, “When these people came home, were they classed as heroes or not, well they were heroes and the greater emotion was not really that they were heroes, but the fact that they were back home. People involved with the war didn’t talk about their medals, and it was very true for a lot of the veterans, and heroes do not go round bragging about it.” Contributors include Rudy Behlmer [Film Historian], Donald L. Miller [Best-Selling Author of “Masters of the Air”], Donald Bevan [Member of the 306th Boeing B-17 Flying Fortress Brigade and Co-Author of “Stalag 17”], Leo Braudy [Film and Cultural Historian] and Allan T. Duffin [Co-Author of “The 12 O'Clock High Logbook”]. Directed by Jamie Willett. Screenplay by Jamie Willett.
Special Feature: Inspiring A Character: General Frank A. Armstrong [2007] [480i] [1.33:1] [7:26] This is a template documentary concentrates on the actor Gregory Peck and his character of Brigadier General Frank Savage and he was known for having a reputation for being a straight army and a stickler for discipline and his nickname was “Army.” But despite this, he actually had a very soft side to his character, but was also very intelligent and was very well respected by his fellow men. When you see Gregory Peck arrive at the base and finds security lacking and no discipline, well this actually happened in real life and the General was really shocked by the lack of respect for discipline and as you see in the film things changed dramatically, especially with the air crew bombers, but because of great losses at the start of the war, the General used his iron rod to make his men more disciplined. We find out that Darryl F. Zanuck paid $100,000 for the film rights and at the time it was considerable amount of money, and was a major film in the eyes of Darryl F. Zanuck who took a personal hands on the film and really threw himself into the film project, and to make it a true film and also a glorious film. Though General Frank A. Armstrong himself may not have wanted to be associated with the Brigadier General Frank Savage character in the film, considering his disposition and the dramatic climax of the film. Contributors include Donald L. Miller [Best-Selling Author of “Masters of the Air”], Allan T. Duffin [Co-Author of “The 12 O'Clock High Logbook”], Rudy Behlmer [Film Historian] and Donald Bevan [Member of the 306th Boeing B-17 Flying Fortress Brigade and Co-Author of “Stalag 17”]. Directed by Jamie Willett. Screenplay by Jamie Willett.
Special Feature: The Pilots Of The Eighth Air Force [2007] [480i] [1.33:1] [12:25] As the United States entered World War II, everything we thought we knew turned out to be wrong. We thought we could engage in high altitude strategic bombing runs in the daylight, believing, incorrectly as it turned out, that the B-17 could outfly the enemy's fighter jets. This brief but interesting featurette looks at some of the guys who actually did those daytime bombing runs. We are told that the Americans were ready for the Second World War and had been prepared since 1935, especially at the training camps. The Americans felt England was like a giant aircraft carrier, that was a strategic base to be able to bomb Germany, and the air battles started around 1942, but unfortunately 60 bombers in total were lost in the war effort, which equated to 26,000 men. The guys who were the gunners working in freezing conditions and some got frostbite. We find out that the British who lived round the air basis, after the Second World War restored all of the buildings as museum pieces, and the Eighth Air Force is now much better known in England than back in America. There has been a lot of discussions about the blanket bombing and whether it was a great success or not and the jury is still out on the subject. As we get to the end, one of the older bombe brigade says, “This was the fore front of saving Western Civilization, and the defeat of Germany, and I was glad I was there.” Contributors include Donald L. Miller [Best-Selling Author of “Masters of the Air”], Donald Bevan [Member of the 306th Boeing B-17 Flying Fortress Brigade and Co-Author of “Stalag 17”], Leo Braudy [Film and Cultural Historian] and Allan T. Duffin [Co-Author of “The 12 O'Clock High Logbook”]. Directed by Jamie Willett. Screenplay by Jamie Willett.
Finally, despite the film being well over 60 years old, ‘TWELVE O’CLOCK HIGH’ [1949] is apparently still required viewing at any U.S. Service Academies and Training schools. Cooperative relationship with the Air Force was crucial; it meant supply of military planes and airfield location. Contrary to expectation, the military were impressed with the story’s serious approach and with mogul Darryl F. Zanuck’s vision. Their agreement to help was contingent only on few minor changes in the script. Producer Zanuck, head of Twentieth-Century Fox who initiated the project, believed that the film “can serve as tremendous propaganda to stimulate interest in the Air Force.” This production was special to him due to his own service in the War. A critical and commercial success, ‘TWELVE O’CLOCK HIGH’ is one of the first and still a film to accurately portray the experiences of rank-and-file members and their leaders in war, under fire. The film is still used by the military in workshops devoted to transmitting skills of leadership, teambuilding, and interpersonal communication between officers and soldiers. Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
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Reviewed in the United States 🇺🇸 on June 27, 2022
This was a great movie. It is a great time piece and Gregory Peck while awesome is not the best actor in the film!
Reviewed in the United States 🇺🇸 on June 30, 2022
Excellent WW2 movie about the queen of the skies, the Flying Fortress and the incredible men that flew her!!!!!
Reviewed in the United States 🇺🇸 on February 23, 2015
TWELVE O'CLOCK HIGH is an emotional and physiologically charged film looking at the devastating effects of command and the effects of war. In some ways this is the greatest WWII film ever made. Several years ago I worked with a WWII veteran who was in the the Big Red One 1st Infantry division. He was there from Casablanca to a Death camp they liberated in Czechoslovakia. We had many discussions during coffee break and lunch break. I once asked him if there was any film made that took place during WWII that he thought came close to depicting what it was like to be there. I was surprised when he told me that TWELVE O'CLOCK HIGH was the best. He simply said that it depicted what it was like. He thought this was a very good film. I was always surprised that a guy in the infantry would pick this as the best WWII film. I have watched it many times and I think I understand what he saw. The opening of the film has always haunted me. It is just so moving gives you a feeling of wanting that is so hard to explain. This film is so captivating and so interesting as it unfolds. Gregory Peck's General Frank Savage sees things in what appears to be from an objective standpoint. He relieves Gary Merrill's Colonel Keith Davenport from his command of his tired and worn bomber group because Peck feels Merrill is near the breaking point of his wits and good reason and being too close to his men. Peck takes over command of the group. Peck's objectivity lacks a key emotional content in his sole purpose to command with detached intellect and get the job done. In time Peck finds that a camaraderie has developed with the group who initially resented Merrill's relief of command. In time Peck finds himself in a similar state that he found originally found Gary Merrill and so it goes. Dean Jagger as Major Harvey Stovall is pivotal for Peck's gradual success, and the group's as well, when he first takes command of the group using red tape to hold up communications and give Peck the time he needs to settle in. Dean Jagger's performance is so pivotal in the film and the way the film opens and closes in the post-war era and is actually Jagger's flashback of events remembered with a certain reverence and fervency that is just so telling on the emotional and psychological effects of war, command and much more. Henry King's direction is simply brilliant and heartfelt as is the screenplay. This is probably the best WWII film ever made. The impressive cast included Kenneth Tobey, Hugh Marlowe, Millard Mitchell, Robert Arthur, Paul Stewart, John Kellogg, Lawrence Dobkin and Paul Picerni.
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Riff
5.0 out of 5 stars
The authentic story of the Mighty 8th in WWII
Reviewed in the United Kingdom 🇬🇧 on January 17, 2017
The strategic bombing campaign over Europe between 1940 and 1945 has often been given short shrift, but remains one of the most important campaigns of WWII. This movie is almost certainly the best telling of "The Mighty Eighth" and it's contribution in that theatre, focusing on strategic precision bombing of military targets in daylight.
Written by Bierne Lay, who served with the 306th bomb group, it recounts the story of the fictitious 918th (306 x3) group and it's trials and tribulations over several years, culminating in the historic raid on Schweinfurt's ball bearing factories. It also draws in elements of other bomb groups, notably the "bloody" 100th, perceived as a "hard luck" group (though the statistics don't bear that out.)
It is perhaps one of the most historically accurate war films of its era and Gregory Peck delivers an excellent performance as Col Frank Savage, and the perennially underrated Dean Jagger is his perfect foil. The direction is possibly a little dated by modern standards, and the film is clearly limited by budget constraints - but even then manages to make the remake of Memphis Belle look amateurish in comparison despite the latter having a bigger production budget. Seven Boeing B17s were used in this film and while it does not focus on the alternating mix of boredom and terror of a raid over enemy territory, but more on the life of the crews on station, it delivers the story of the US 8th AAF with suitable empathy and feeling.
If there is a criticism to be made, some of the scenes were clearly shot in the US, so fail to give a sense of the Englishness of the crews bases across East Anglia, but that's a small complaint. Anyone interested in WWII, military history and especially the air war needs this film in their collection.
Written by Bierne Lay, who served with the 306th bomb group, it recounts the story of the fictitious 918th (306 x3) group and it's trials and tribulations over several years, culminating in the historic raid on Schweinfurt's ball bearing factories. It also draws in elements of other bomb groups, notably the "bloody" 100th, perceived as a "hard luck" group (though the statistics don't bear that out.)
It is perhaps one of the most historically accurate war films of its era and Gregory Peck delivers an excellent performance as Col Frank Savage, and the perennially underrated Dean Jagger is his perfect foil. The direction is possibly a little dated by modern standards, and the film is clearly limited by budget constraints - but even then manages to make the remake of Memphis Belle look amateurish in comparison despite the latter having a bigger production budget. Seven Boeing B17s were used in this film and while it does not focus on the alternating mix of boredom and terror of a raid over enemy territory, but more on the life of the crews on station, it delivers the story of the US 8th AAF with suitable empathy and feeling.
If there is a criticism to be made, some of the scenes were clearly shot in the US, so fail to give a sense of the Englishness of the crews bases across East Anglia, but that's a small complaint. Anyone interested in WWII, military history and especially the air war needs this film in their collection.
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Mr. M. Herbert
5.0 out of 5 stars
Classic Study of Command stress. Excellent film.
Reviewed in the United Kingdom 🇬🇧 on May 19, 2015
Superb piece of classic wartime filmmaking. Not full of action, gore or glory. Just an account highlighting the very real stresses of bomber crews in WW2. Yes it is American, but the Yanks took their share - and more- of the risks in bombing Germany. The RAF suffered appallingly, but this film covers the American perspective and there is nothing wrong with that. It brings to the fore the true responsibilities and realities of commanding officers. Today, these stresses are well known and catered for. In 1942, such matters were not so well accepted, or recognised. This must be taken into account when reviewing a film 70+ years on. Hindsight is easy. The reality of those days is not as easy to deal with, especially from the comfort of a centrally heated, safe home and a bottle of wine on the side. To slight this film thus, is grossly unfair. It is an excellent period piece and should be regarded as such and not be compared to present day parables, such as Saving Private Ryan et al.
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Mark Pack
5.0 out of 5 stars
A classic war film that is really a study in leadership
Reviewed in the United Kingdom 🇬🇧 on December 19, 2012
Twelve O'Clock High, the classic 1949 film about an American bomber squadron based in England during the Second World War, is nominally a war film but really one about leadership.
The background is military - most of the cast wear military uniforms, they fly military planes and they live on a military base - but the action is in their heads as a new man takes over a failing team, turns it around and then faces a breakdown himself.
Dating from when it does, there is little blood and gore shown on screen and as a result the film has a "U" certificate. It is however by no means all pleasant viewing, with a gruesome early scene involving a severed arm where verbal descriptions do far more in bringing out the horrors of war than a special effects bonanza would have.
Poignancy is added by the extensive use of real footage from air combat during the war for the film's own bombing mission scenes. The planes crashing down towards the ground, the people desperately bailing out - they are all real. It is not special effects or stunt men risking their lives; it was real people, in several cases almost certainly heading towards deaths a few seconds after the footage of them in the film cuts away. (The use of real footage also means that if you are a real airplane expert, you can spot a few planes being the wrong model or type in some scenes.)
But as I said, the film is really about leadership, with several scenes in particular being almost perfect for use in a training program. To what extent do people make their own luck? Is a run of bad luck a reason to sack someone? Is it good to stand by someone who has made mistakes or will the rest of the team expect and deserve a change of personnel? How do you give a failing team pride in its job? And so on.
In all this there are plenty of parallels with the actual leadership style and experience in the Second World War of controversial American airman Curtis Le May. Even if those parallels and the leadership lessons leave you uninterested, you can still sit back and enjoy a well-written and well-told story.
The background is military - most of the cast wear military uniforms, they fly military planes and they live on a military base - but the action is in their heads as a new man takes over a failing team, turns it around and then faces a breakdown himself.
Dating from when it does, there is little blood and gore shown on screen and as a result the film has a "U" certificate. It is however by no means all pleasant viewing, with a gruesome early scene involving a severed arm where verbal descriptions do far more in bringing out the horrors of war than a special effects bonanza would have.
Poignancy is added by the extensive use of real footage from air combat during the war for the film's own bombing mission scenes. The planes crashing down towards the ground, the people desperately bailing out - they are all real. It is not special effects or stunt men risking their lives; it was real people, in several cases almost certainly heading towards deaths a few seconds after the footage of them in the film cuts away. (The use of real footage also means that if you are a real airplane expert, you can spot a few planes being the wrong model or type in some scenes.)
But as I said, the film is really about leadership, with several scenes in particular being almost perfect for use in a training program. To what extent do people make their own luck? Is a run of bad luck a reason to sack someone? Is it good to stand by someone who has made mistakes or will the rest of the team expect and deserve a change of personnel? How do you give a failing team pride in its job? And so on.
In all this there are plenty of parallels with the actual leadership style and experience in the Second World War of controversial American airman Curtis Le May. Even if those parallels and the leadership lessons leave you uninterested, you can still sit back and enjoy a well-written and well-told story.
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Mr. P. Smith
5.0 out of 5 stars
... winning performance for the whole film (not just for Best Sound and Dean Jagger as Best Supporting Actor)
Reviewed in the United Kingdom 🇬🇧 on September 27, 2014
This is a truly Oscar winning performance for the whole film (not just for Best Sound and Dean Jagger as Best Supporting Actor). The movie is a benchmark for showing leadership and courage and can be translated into all walks of life. Set in 1942 it portrays the newly formed American 8th Air Force battling not only the Germans but English public opinion. Filmed in 1949 the subject is brilliantly scripted and played showing the vision needed by the Americans to begin to carry out precision daylight bombing.The RAF had tried and switched to the safer but vastly more difficult option of night bombing. By mid 1944" round the clock" (daylight and night time) bombing had reduced the Third Reich to ruins. It was only much later in the war that full fighter escort (to the target and back) was available. in WWII there would be an average of 10% of aircraft lost on each mission.The interim cost in aircrew lives was severe and is shown honestly and starkly in this brilliant film.
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rbmusicman/and/movie-fan'
4.0 out of 5 stars
'CLASSIC 'WWII' MOVIE'
Reviewed in the United Kingdom 🇬🇧 on October 7, 2013
'Harvey Stovall' makes a nostalgic return to the airfield he'd served
at as 'Major Stovall' during the war, the memories of that time comes
flooding back to him.
He remembers when 'Brigadier General' 'Frank Savage' takes command of
U.S. 918 squadron, where he had replaced popular commander 'Col Keith
Davenport' at a time when morale had become low, too many missions,
too many losses.
'B/General Frank Savage' try's to re-build pride and confidence among
the crews despite overwhelming resentment among the ranks because of
his hard-line approach.
a well made war-movie which, during the bomber -raids toward the end
of the film shows several newsreel clips of actual air combat and
bombing.
Filmed in black and white (1949) with 4.3 screen ratio. the film does
benefit in picture quality as a result of it's format up-date.
well worth a viewing.
at as 'Major Stovall' during the war, the memories of that time comes
flooding back to him.
He remembers when 'Brigadier General' 'Frank Savage' takes command of
U.S. 918 squadron, where he had replaced popular commander 'Col Keith
Davenport' at a time when morale had become low, too many missions,
too many losses.
'B/General Frank Savage' try's to re-build pride and confidence among
the crews despite overwhelming resentment among the ranks because of
his hard-line approach.
a well made war-movie which, during the bomber -raids toward the end
of the film shows several newsreel clips of actual air combat and
bombing.
Filmed in black and white (1949) with 4.3 screen ratio. the film does
benefit in picture quality as a result of it's format up-date.
well worth a viewing.
3 people found this helpful
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