Reviews

What a terrible film! After seeing this so called 'film', I cannot help but sadly reflect about Giordano Bruno. Bruno lived from 1548 to 1600 AD. A Italian Dominican friar. philosopher, mathematician, and astronomer. His cosmological theories went far beyond the Copernican model: he proposed the Sun was essentially a star, and that the universe contained an infinite number of inhabited worlds populated by other intelligent beings.

The Roman Inquisition found him guilty of heresy, and he was executed horribly by being burned at the stake. After his death he gained considerable fame, particularly among 19th- and early 20th-century commentators who, focusing on his astronomical beliefs, regarded him as a martyr for free thought and modern scientific ideas.

How can such arrogance and stupidity and fear....this film demonstrates still exist after all this time of scientific discovery? The incredibly narrow suffocating views the makers of this film continues to deny the possibility that there just could be, dare I write, the chance of life beyond off our own planet? Anything not understood by them then must be the work of a devil? These 'Christian dinosaurs' who made this 'film' seem to be still around. Their views besides being so arrogantly religious, are also so completely 'Earth Centered' too.

Not only do these film makers frighteningly display a new twisted form of xenophobia about free thought, the film even illustrates in scenes (by characters in the film playing reporters – a free press? ) critical about what sort of books one should be reading in the film's script! And what if God is also the same God on other worlds too? The utter arrogance that we are the only planet with life, created just for the pleasure (and abuse) by mankind?

What a twisted pitiful film. These ultra right Christian film makers and their flocks show after all this time and knowledge gained long since - the blood of Giordanos Brunos is still on their hands. I am renouncing my 'Christianity' (the Jesus Machine ultra right version a Jesus would scarcely recognize) after seeing this film, but never my faith in God.

The equally frightening 'Triumph of the Will' by Leni Riefenstahl in comparison at least showed some artistic competence.

Corfman

As a savvy producer, I am grateful to Lucile Ball (Desilu) for two television production's she risked on, notably the original 'Star Trek', and 'Whirlybirds' among others.

'Whirlybirds' as a concept resulted originally from an 'I Love Lucy' (episode-140 "Bon Voyage") aired on CBS January 16, 1956, in which Lucy misses the sailing of her transatlantic ocean liner and commandeers a friendly Bell 47 helicopter to fly her out to the ship. Desilu Studios, duly intrigued by the Model 47 and its makers, began discussions with Bell Helicopters about how the entertainment potential of the Bell Model 47 might be further developed for a television audience.

'Whirlybirds' propelled the Bell 47's look and sound to popular attention in the late 1950s. Kenneth Tobey and Craig Hill starred as 47 pilots Chuck Martin and P.T. Moore, who flew off into diverse adventures from their base at Whirlybirds Inc., in mythical Longwood Field, California.

Tight scripting, pioneering location camera work at the old San Bernardino Airport and Republic Studio's Iverson Ranch supported the flying skills of National Helicopter pilots Bob Gilbreath, Harry Hauss, and Ed Fuderich. Together these airmen showcased the ability and utility of the 47G & 47 J models over 111 half-hour episodes. Some 39 episodes of the series were re-syndicated by CBS during 1958 under the name Copter Patrol. The Museum of Television and Radio in New York City houses a selection of Whirlybirds reference material, and a comprehensive set of episodes is on hand at the Library of Congress in Washington (16mm film). Excellent location and action visuals from the Whirlybirds set are now available for viewing at the National Helicopter WEB Site. I purchased from National Helicopter several of the actual television shows on VHS video tape. They brought back fond memories and are very exciting still to watch today. Entertaining Kenneth Tobey as no nonsense character Chuck Martin in those cool aviator shades!

I selected episodes that highlighted the flying skills of the National Helicopter pilots. The helicopter flying skills shown are simply the very best stunt flying by helicopter ever done before or since! In 'Cycle of Terror' - Episode 29) flying in tight ravines more remembered for the countless western chases on horseback filmed there (Iverson Ranch) - the rotors between rock outcrops and trees while chasing the villain on motorcycle is still outstanding & truly incredible. The landing skids of the copter used to knock the cyclist off his bike! Stunts likely prohibited by any studio insurance today.

Overlooked perhaps then by both dazzled kids and adults when seen today are the little charming slight of hands in production - as in 'Infrared' Episode 53, a Bell 47 J lands in a field before the camera, the National helicopter pilot climbs out of his front seat and slips down to the cockpit floor behind, and then it is actor Craig Hill seen exiting. A hint of the charming production values of those times.

Among many of the best episodes were some directed by an up & coming Robert Altman, who would later use the Bell 47's again in his film he is most remembered for among many others - M.A.S.H.. Not surprising perhaps, in 1984, a Bell 47 was put on display (as an art form) at none other than New York's Museum of Modern Art.

God I love this show. Sleeping Viacom could make a lot of money re-releasing these entertaining programs. I would purchase video disks of the entire series in a heartbeat! A baby boomer's fondest memories of his childhood in front of the television screen.

Release 'Whirlybirds' on DVD damnit!

Corfman

'Zulu' is an under-rated superb film on so many levels. I have studied and enjoyed this film closely many times (DVD wide screen version) and am impressed with the whole work, as well as the respect given both 'sides', what an extraordinary well done story about a clash of two great cultures. In a way very much in a true sense, an 'un-racist' film. Is it perhaps unspoken ....like the film 'The Sand Pebbles' but of a different time and situation saying...are we beginning to get in over our heads?

Michael Caine's introductory performance balances so well Actor/Producer Stanley Baker's with their contrasting characters as 'officers and gentlemen'. Baker the Royal Engineer working middle class (officer commanding by a seniority of only several months) and Michael Caine's 'Bromhead', the product of an upper crust distinguished military family. The film tells convincingly about fear, discipline, and courage....and how they seem to find it within themselves. How discipline and training can replace fear, paying off at the critical moment. It is often brutally plain and simple.

Without cliché, this film asks all the good questions. "Why us?" asks the thoughtful private to his 'Color Sergeant', "Because we're here...and no one else." he replies. The Welsh ex-dairy farmer who if hard fighting, would perhaps sensibly 'escape' emotionally to tending to a sick calf. This is played as counter point humorously in Zulu, yet it also shows too perhaps it is not well to think too hard about what is happening to survive the battle. Actor Jack Hawkins almost dominates the early scenes...and reminds us what is faith vs. 'religion'...and perhaps whom is better 'spiritually equipped', the preacher or the 'Color Sargeant'?

Actor Michael Caine is introduced here to the film public as 'Bromhead'. In one of his best played scenes of this actor's budding illustrious career...... remarks to pacing Stanley Baker "Did you know my grandfather was at Waterloo?", and follows reflecting his vulnerability..."I wish now...right now, I was a damned 'ranker' like Hook....", realizing his social trap, the terribly high expectations beyond his physical predicament - duty to his military family as well as to his country. Sadly battle and expectation of death can be a great social equalizer too.

So very pleased to read here that genuine Zulu and the Zulu Chief are featured in the production. Chief Buthelezi as Zulu King Cetshwayo kaMpande.

Actor James Booth's 'Hook' character we soon find is a complex one, well acted. One moment malingering humor, next a test of will , then the Victoria Cross. In the end, Hook quite unchanged - but unquestionably broadened.

Actor Gert Van der Berg as Boar Lt. Adendorff is a key character in the first half and the end of the films story. Adendorff as Lt. Chard's Boar military adviser, we gain insight into the Zulu's disciplined ways.....and values. "He's counting your guns! Referring to the Zulu chief of the far ridge, explaining to Baker (and the audience), "the ole boy is counting your guns....testing your firepower with the lives of his warriors!" I so regret with astonishment that we have not seen more of Actor Gert Van der Berg, appearing in only two very fine films, 'Zulu' and 'The Naked Prey'.

The sweep of the wide screen cinema photography is breathtaking. The hills, sky, and clouds incorporated in many scenes with low upward camera angles, much like in 'Patton'.

The only small criticism of Zulu might be technically, were in a few of the early scenes, some not so smooth sound editing as they jump to a new scene. The sound mixing quite extraordinary later in the film overall.

The final scenes a remarkable salute to both sides. The exhausted Europeans for their hard fought defense, the Zulu's whom withdraw after the battle salute - both sides knowing very well the Europeans could have been wiped out if the Zulu King merely wished it.

When they charge in those great numbers at those out numbered English (Welsh garrison), it is the war chant "Usuto! Usuto!" (Kill! Kill!) the fierce Zulu are yelling.

As for political correctness or not, it is only for the high price of college tuition we ever at all believed in those tiresome narrow political professors. "My God.....your from the sixtys!", but again....that is a line from another good movie. LOL.

Caine has another extraordinary line near the films end...."does everyone feel like this afterward..... Sick?" Feeling something else too..."ashamed?" Stanley Baker reflects..."you have to be alive to be sick". "You asked me and I told you" Caine softly retorts.

Corfman

This film which begins with its blood pumping Ron Goodwin's musical score and the cloud opening sequences fire's it's beginning, then lets one down with it's almost 'World War II pulp comic book' screenplay.

However...watch this film for its remarkable footage of one very remarkable aircraft, the film's real stars.......the exciting, beautiful, fast, deHavilland Mosquito's. The dialogue is sometimes painful to recall, the story could have been better written, but the flying sequences recalls many real Mosquito W.W. II exploits as a pinpoint high speed strike aircraft, such as the real historical attack at rooftop height in France on the Gestapo headquarters freeing the many French Resistance prisoners standing out foremost. Why could the story not revolve around this real historical exploit, among many others?

Cliff Robertson's real life flying experience bleeds through somewhat, but we are wishing more. The romantic subplot?...fast forward the video through this. Also the kinky Gestapo woman interrogating Chakiris! Enjoy the Goodwin score, as the Mosquitos practice for there mission in the Scottish highlands, and the sound of those Merlin engines. Love those planes! '633 Squadron' is a keeper, but for aircraft buffs only really.

Corfman

Below is a transcript of a hand written letter from Harper Goff in 1974 of which I have a copy which I think might be of interest. This is an unusual comment entry, but I hope you will find this letter a fasinating rare glimpse into the process of creation, and will give a better appreciation of the artistry of the design of the Disney 'Nautilus'. Harper Goff was responsible for the 'look' of the submarine in the Disney Production, along with much of the film's set designs. Enjoy!

Harper Goff writes....

I was assigned the task of getting together a 'true-life' adventure film using some exceptional underwater footage shot in a laboratory aquarium, by Dr. McGinnity of Cal-Tech's Marine Biology lab in Carona Del Mar. Walt (Disney) thought inasmuch as "20,000 L.U.T.S." was in public domain we might do worse than use the title for a current True-Life adventure short subject. Walt went to England and I stayed in Burbank and made a story-board of a live action version of the classic using McGinnity's footage as a sort of ballet episode where Nemo shows Aronax the wonders of the deep. Walt liked the story-board well enough to have me give an 'A.R.I.' (Audience Reaction Inquiry) to a group of exhibitors who were in town. They were enthusiastic and the rest is history.

In motion pictures, the text of a classic like this subject is sacrosanct like the Bible! The 'word' of Jules Verne is not to be made light of, so the duty of the production designer like myself is to take the sometimes arbitary discriptions of the Nautilus as recorded by 'J.V.' and "make it work".

a. Jules Verne while foreseeing brilliantly the atomic submarine of today, did not at that time invent the periscope, the torpedo tube, or sonar. He did not prophesy closed curcut television. According to Verne, if Nemo wanted to see what was going on the surface, he simply poked the glass ports of the conning tower out of the depths and took a direct look. He risked his vessel, himself, and his crew by ramming the enemy at frightening speed. If he wanted to study the marvels of life under the surface, he reclined in his elegent bay window lounge, and passed the hours studying the marine life outside the amazing pressure proof window of his luxurious salon. These items dictated much of the direction of my production designs.

b. Nemo is quoted by Verne as telling Aronax that "I need no coal for my bunkers. I have instead harnessed the very building blocks of the material universe to heat my boilers and drive this craft". No one can doubt Verne meant Atomic Power.

c. It is not sound economics to study and design obviously unnesscessary parts of the Nautilus if it will not appear on screen. The crews quarters were thus unaccounted for. In Verne's original text Nemo from time to time leaves the chart room and steps directly into other diversified areas of the submarine. Directors do not like to slow down the action and clutter up a dramatic moment by showing actors leave a room, lift a hatch, enter another room.

d. At the time Captain Nemo constructed Nautilus on Mysterious Island, the iron riveted ship was the last word in marine construction. I have always thought rivet patterns were beautiful. I wanted no slick shelled moonship to transport Nemo thru the emerald deep and so fought and somehow got my way. On Mysterious Island Nemo had the white hot heat of a volcano to help him build his dreamship, but I am sure that flat iron plates profusely riveted would have been his way. His stock pile of material was always the countless sunken ships uniquely available to him alone. Even the Greek amphora and the works of art that graced his great salon was salvaged from wrecks.

e. The free diving suits - (self-contained) were developed by myself with the assistance of Fred Zender, and exceptionally able underwater man. The helmets were souped-up Japanese pearl diving helmets. We masked the scuba gear, let water into the the helmet, put a breathing tube in our mouth, the clamps on our nose and one night in 1952 Freddie and I walked slowly from the shallow end to the deep end of the Santa Monica pool. Lead around our middle and 16 lbs. shoes...it worked! Many had predicted failure. This formed the basis of the suits that appeared in the film. We spent 9 hrs. a day, 7 days a week for 8 weeks at Lyford Key in the Bahamas, underwater! Never lost a man, Fred was in charge of safety.

f. 20,000 Leagues was the second cinemascope picture to go into production. Fox had the worldrights to the anamorphic lenses developed by a French inventor named Cretien. This lense "squeezes" the horizontal dimensions of a scene into half the normal area on a cinema frame. If projected thru an anamorphic projection lense it "unsqueezes" this image and the resulting image is widescreen. Fox had only one lense to lease and this meant that Disney could not shoot miniture set ups while the main action sequences were before the cameras. I hit upon the idea of having the prop miniature shop build a "squeezed" Nautilus miniature. The model was built half as wide and half as long, but just as high. Even the rivets were "squeezed". This one miniature was shot with a normal lense. If care was taken to insure the Nautilus remained on an even keel, the resulting footage was more than adequate. When "unsqueezed" by anamorphic projection, the image of the Nautilus was stretched to normal proportions. Of course the bubbles looked strange, but no one seemed to mind. The success of this experiment made it possible for the special effects department to make its necessary footage of many of the underwater miniatures simultaniously with principal photography of the actors.

g. My idea has always been that the shark and the aligator were the most terrifying monsters living in the water. I there for combined the scary eyes of the aligator that can watch you even when it is nearly submerged....with the dangerous pointed nose and menacing dorsal fin - its sleek streamlining and its distinctive tail. The discusting rough skin of the aligator is well simulated by the rivets. As Verne insists that the Nautilus drove its way clean threw it's victim, I designed a protective sawtooth spline that started forward at the bulb of the ram and slid around all outjutting structures of the hull. These included the conning tower, the diving planes, and the great helical propellor at the stern.

Sincerely,

Harper Goff

Artist and Production Designer Harper Goff's film credits include 'Willy Wonka and the Chocolate Factory, 'Fantastic Voyage', 'The Vikings', 'The Great Locomotive Chase', and Disney's '20,000 Leagues Under the Sea'. Mr Goff died March 3, 1993 at his home in Palm Springs at the age of 81.

Corfman

Seldom does a commercial film portray an historical event with intelligence and competency, one rare example of when it succeeds is Michael Anderson's 'The Dam Busters' (1955).

A taught 'almost documentary' style dramatization of the ultra secret 'Operation Chastise', when very low flying (at night!) Lancaster aircraft of the Royal Airforce employ special 5 ton bouncing bombs to destroy the huge nazi Mohne and Eder dams in the Ruhr valley.

Released on the raids anniversary 12 years later (1955), I have wondered if such a film could (beyond it's logistical problems) be produced today? So often today special effects will dominate such a production, with an intelligent script and strong acting very often left lacking. Was 'The Dam Busters' a happy accident?

The featured characters in 'The Dam Busters' are painted as professional anti-heroes in very convincing fashion. Michael Redgrave's Dr. Barnes Wallis's character, an engineer/mathematician struggling to see his ideas not muddled down in bureaucracy, armed only with faith in his idea along with a clear understanding of gravity and mathematics knowing the risks, pursues his radical engineering solution that is the correct one. Redgrave's Wallis reminds me of Richard Donet's engrossing portrayal of William Friese-Greene in 'The Magic Box'(1952). When was the last time a feature film portrayed a major character in a film such as an engineer/scientist in a positive light? Certainly not since 'China Syndrome'! Has 'Hollywood' perceptions of science and scientists been too hypocritical? Redgrave's 'Wallis' seems oddly refreshing.

I delight in Richard Todd's Guy 'Gibby' Gibson's jockey size leading anti-hero character, the shortest actor (in physical stature only) in the whole cast! The optimistic professionalism of Todd's 'Gibson' (also often confused as restrained dignity) is not uncommon with very real counterparts in the real world today I have had the pleasure to know. Gibson's dog, a black labrador retriever named the historically correct (but not politically so) "Nigger" is retained in the English versions of the film print, "trigger" in the American version. Should 'political correctness' conceal the mistakes of the past? This issue in the script shows an unexpected glimpse into the 'Gibson' character and only makes this film all the more fascinating.

The controversy regarding the raid's longterm impact (or lack of) on German war production has since been reevaluated again by historians.... which only fuels interest in this film. The film recreates the technical problems (and the fascinating solutions) required for such an aviation feat....still even by todays standards!

The special photographic effects hold up considering the state of the art in 1955. Though the dam explosions themselves look pathetic, the dam model work and especially the 'flak' hold up very well. As for using those real Lancasters in the production..... there is no special effects substitute for the real thing, and was worth every production penny! There is something about flying low (and fast) over water that has a way of 'pushing buttons'!

'The Dam Busters'....an aviation film cult classic!

As a man, I have always had a special place in my movie heart for this 'woman's film'.... The Ghost and Mrs. Muir (1947). What is it there is not to like, romance, humor, intriguing story, great script, timeless acting performances, even the sea and it's changing moods. I would love to know where the location was for this film production. Near Carmel, California? Mendocino, California?

One of the wonderful aspects of this film is its intimacy....until the last scene in the film, the leading man (a ghost) and the leading woman never touch, embrace, or kiss....yet a marvelous intimacy is exchanged between Lucy (Tierney), and 'the Captain' (Harrison), ....and with the audience. Perhaps it is this among its many other fine qualities that makes this film a favorite especially with women.

Gentlemen! If you're in need to re-introduce yourself back to your wife, this is a great film to watch together.