Product Description

This gritty World War II action drama staring Gregory Peck, Oscar winner Dean Jagger, Hugh Marlowe, Gary Merrill and Millard Mitchell is seen as one of the most realistic portrayals of the heroics and perils of war. Convinced an air force commander (Gary Merrill) is at the breaking point, Brigadier General Savage (Peck) takes over his struggling bomber group. Kind and understanding, he adopts a crushing discipline to revitalize the demoralized troop. At first resentful and rebellious, the flyers gradually change as Savage guides them to amazing feats. But the stress of command soon takes it's toll and the weary general reaches his own breaking point.

Product Details

• Amazon Sales Rank: #10680 in DVD
• Released on: 2002-05-21
• Rating: Unrated
• Aspect ratio: 1.33:1
• Format: NTSC
• Original language: English
• Running time: 132 minutes

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

Customer Reviews

Bless them all...bless them all....

I do not recall another film whose opening and closing scenes are more effective than those in this brilliant portrayal of the 918th Bombardment group based in England which flew almost daily missions to Germany during World War II. The character of General Frank Savage (Gregory Peck) is reputedly based on Brigadier General Frank A. Armstrong, Jr. Sy Bartlett wrote the book and then the screenplay. Brilliantly directed by Henry King, we are introduced to a combination of combat fatigue and self-pity which results in the replacement of Colonel Keith Davenport (Gary Merrill) by his friend Savage who is told by his commanding officer, General Pritchard (Millard Mitchell), to shape up the 918th while avoiding Davenport's problem: Becoming overly involved emotionally in decisions to send B-17 crews on exceptionally dangerous missions, day after day after day. Savage immediately establishes his authority and almost immediately loses whatever goodwill he may have had. He applies and then maintains constant pressure on the crews to improve their performance in all areas of flight operations. Underachievers are reassigned to one B-17 renamed "The Leper Colony." Morale deteriorates to such a point that those at headquarters become concerned. A formal investigation of the situation is conducted. This is a critical moment for Savage. If he has "lost" his men, he cannot continue. In fact, he expects to be relieved and begins to pack his personal items. However, for reasons best revealed in the film, Savage remains in command. And then....

It would be a disservice to those who have not as yet seen this film to say any more about the plot. Suffice to say that brilliant direction, great acting by everyone involved (notably by Dean Jagger who received an Academy Award for best actor in a supporting role), superb cinematography (Leon Shamroy), and haunting music (Alfred Newman) are seamlessly integrated in this analysis of effective leadership (especially decision-making) under wartime conditions. The film begins when Harry Stovall (Jagger) makes an especially significant purchase in an antique store and then proceeds to what has by then become an abandoned air base. As we begin to hear the bombers' propellers whine as the engines roar to life, we are transported back in time. Later, as the film ends, civilian Stovall climbs back on his rented bike and departs what is again an abandoned air base. Stunning images throughout both sequences.

Peck included this among his favorite films, while adding that he was especially proud of his performance as Frank Savage. When first released more than 50 years ago, it did not receive the recognition (much less the appreciation) it so obviously deserves. Whenever CEOs and other senior-level executives ask me to suggest war films which offer important lessons about leadership and management, Twelve O'Clock High is first on the list, joined by (in alphabetical order) Command Decision, The Dirty Dozen, The Enemy Below, Fort Apache, The Hunt for Red October, Paths of Glory, Pork Chop Hill, The Red Badge of Courage, They Were Expendable, and Zulu.

A Story Worth The Whole Nine Yards
If there is one war story to keep on your shelf besides "Saving Private Ryan," this is it.

It starts with a lawyer visiting England as a tourist years after war's end. He discovers a cheap, ceramic antique which the store owner tells him is of little value. "Value?" replies the lawyer. "Wrap it very carefully" he adds. So begins his mental journey back in time to the English airstrip where he served as adjutant of the 918th (nine, eighteenth) Bomb Group.

This "hard luck" group is taken over by a brigadier general from a colonel who has "over-identified" with his men, thus putting them before his missions. The general, Frank Savage, must restore group discipline and performance before the group disintegrates as an effective fighting unit.

General Savage puts mission before men and turns the disgruntled men who despise him into a cohesive unit. They turn into a group that will do anything to keep from being left behind, or letting down their new leader. (Each announcement of a mission for the following day is characterized by the operations officer going to the mantel over the fireplace, in the Officers' Club, and turning the head of a ceramic pirate face outward.)

But the tough general will not make the same mistake that the last group commander makes. He will always keep the mission first, and will not over-identify with his men. He will not let the loss of his men affect him.

Or, will he?

This black & white story is exceptional and superbly acted. It shows the mental tug-of-war a leader must make in the decisions that will cost the lives of men he has come to admire and respect. It depicts how the ugliness of war brings out the best in ourselves, and creates fraternal bonds that last a lifetime.

This is not a gory story, but it is one that will leave you breathless. It may sadden you, but it will not disappoint you. It does not end with everyone living, or happy.

War never does.




P.S. The "whole nine yards" refers to the length of ammunition in a box that was attached to each machine gun in the bomber. When the linked ammunition was stretched to its full length, it measured nine yards.

Still unsurpassed
Those who think that "Saving Private Ryan" was a great movie ought to watch this old black and white classic. In virtually every aspect except photography and sound "Twelve O'Clock High" is superior. The script by Sy Bartlett in particular is vastly superior.

Spielberg's film focused on some of the command problems faced by Capt. John Miller (Tom Hanks) in fulfilling his combat mission, but the treatment and development were almost high schoolish (if I may) compared to the enthralling delineation in "Twelve O'Clock High." The problems encountered by Gregory Peck as the bomber group commander were complex, subtle and psychologically demanding, while the resolution was filled with the kind of male social and political dynamics not much explored at the movies these days. (We have female dynamics aplenty.)

Director Henry King's clean, crisp, "invisible" direction was also superior to the uneven and far too showy pandering from Spielberg. Furthermore the acting, with Gary Merrill and Hugh Marlowe supporting Peck, was also better. Ted Danson in his cameo and Matt Damon at times in "Saving Private Ryan" were almost laughable.

Comparing the two movies makes one wonder how much movies really have improved. Technically they have in every respect, but too often today's film-makers think they can get by with special effects and splashy sets. Pour a lot of blood, show a lot of skin, get people at each other's throat, and it will play, seems to be the attitude. What is often forgotten are the two most important aspects of film, namely, story and character development. In this respect I don't think today's films have improved on the great classics of the past.