User Comments:
one of the finest war films ever made,
11 December 2001
Author:
whitecargo
from Philadelphia PA, USA
"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.
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