A Film at 45: Hanover Street

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Hello everyone, and welcome back to
nineteen seventy nine in a Film Buys limited

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series A Film at forty five.
I am David Burns and I'm Scott Hoffman

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with this limited series from a Film
by a Podcast where we're dusting off the

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end of a decade that changed cinema
forever with a fresh look at modern classics,

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hidden Gems, and a few other
movies that are notable for that time

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period. In this episode, we're
talking about another venture into the past with

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Harrison Ford as World War two pilot
who finds love worth living for on Hanniver

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Street. We are heading to World
War two with Harrison Ford running around in

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a leather jacket fighting Nazis. Oh
wait, not that film, Scott,

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but we are indeed heading to nineteen
forty three London in Peter Himes written and

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directed film Hanover Street. This is
apparently Peter Himes week as we are covering

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Hanover Street and Jeff Amber and Andrew
covered twenty ten on a film By just

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a couple of days ago. With
that being said, Scott, I am

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sure there is a lot out there
who haven't seen this film we are discussing

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today. So how would you describe
this to them. So Harrison Ford plays

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David Hallerin, a bomber pilot who
spends his time between missions exploring the streets

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of London in nineteen forty three.
While trying to catch a bus, he

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meets a nurse led by Leslie and
Down that steals his heart over a cup

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of coffee or tea. They don't
even have a chance to learn each other's

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names before she runs away, afraid
of what might happen if she stays longer,

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despite the fact that she's married.
She reunites with him anyway, and

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the romance slowly starts to build between
them, even though the world is literally

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falling down around them. Margaret goes
back to her young daughter and her husband,

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who is a member of British intelligence. Helarin spends his day flying increasingly

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more dangerous missions where his bomber flies
far into enemy territory to hit critical targets.

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But as he begins to worry about
losing his chance to live a life

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with Margaret, he loses his resolve
in the missions and starts intentionally cutting missions

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short. When this decision costs a
friend of his life, he begins to

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question what he's doing fate intervenes and
puts Hellarin on a spy mission with Margaret's

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husband, and then they both find
themselves trying to get back to the woman

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they love. All right, now
they've told this whole story. We're done,

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no getting back, all right,
let's go. So you know,

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I am always a sucker for films
about the Air Force during World War Two,

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as my great uncle fault in this
war as a tail gunner. But

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I'm going to go ahead and put
this out there for listeners. I have

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some issues with this film. I
truly didn't care that much about Margaret and

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what she was doing. I didn't
care about her and David's romance. I

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actually felt sorry for her husband,
Paul. I really wanted to get to

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know David's crew, but we didn't
get much of a chance, and then

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they were all killed off. Then
I felt like this movie didn't know what

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it wanted to be. A romance, an action film, a spy film,

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a drama, or a war film. You know. Sure, there

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are elements of the film that are
wonderfully done, in the score by John

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Barry being one of them. But
am I alone here, Scott. No.

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Unfortunately, I think this is one
where It has a certain place in

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cinematic history. If you're a fan
of Peter Hyams, if you're a fan

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of Harrison Ford, if you're a
fan of Christopher Plumber, if you want

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to see the early works of Patsy
Kensitt, this is one that is worth

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seeing. But I don't know that
it fits in the category of some of

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the others that we usually cover that
are the ones that barry visiting. I

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think you're right about the romance angle. There are a lot of elements where

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it seems like it's trying to be
a movie from that time period, from

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the forties or fifties that they've chosen
to make in seventy nine. So same

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kind of storytelling, same kind of
elements. Even the title card that seems

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to go on forever, and it
is just littered with ellipses, you know,

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for forced silent drama. It just
doesn't seem to fit with the seventy

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nine time period and some of the
other things we've seen, like Force ten

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from nav On, the preceding Harrison
Ford movie. It just it does seem

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to stumble. It does seem to
have a romance that doesn't quite seem to

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gel. It's kind of this.
You know, we could never be together,

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but we're drawn back to each other
anyway. I just don't feel like

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there's a lot of chemistry. I
think one of the things that kind of

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bothers me is that he doesn't know
her name until several dates in, and

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it's just kind of like, how
can you be so close to somebody and

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never know their name. There's romantics
out there that would say, oh,

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blasphemy, but come on, come
on. It just didn't. It just

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didn't hit I honestly feel like this
movie didn't really connect with me until they

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were behind enemy lines as spies.
I'm so used to seeing Harrison Ford in

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those kind of situations and in those
scenarios, and I just wasn't seeing a

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lot of the Harrison Ford that I'm
used to in the rest of his roles,

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whether it's Indiana, Jones, hounslow
Jack Ryan, or any of the

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other you know, iconic characters that
he's played. Yeah, and I think

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he really took this role because of
the romance angle, and he was going

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to be the lead, so which
he really hadn't been a lead in a

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film yet up to this point,
so that was a big one particulum.

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I want to go back to something
you had said earlier though about the title

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card at the beginning of this film. I am not a huge fan of

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title cards, Star Wars being the
exception to the rule, you know,

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But leave it to me to my
imagination as the audience, as the viewer

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of this film, to let me
have the setting, let me fill in

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the you know, the characters and
the history and all that. Because if

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I do that, that's going to
pull me into the story more. Don't

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set me up with this title card
that you have that just seems to go

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on forever, because it really pulls
me out of the film. It does,

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and it did for me on this
one. Yeah, and I agree.

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I think that's one of the elements
that made it seem like a dated

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movie made for modern times. Right. I think if somebody was going to

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present this story today, it would
probably be one simple title card that tells

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you the location and the yeah,
and that's about it. It could have

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possibly had, you know, newsreel
footage or something else that kind of sets

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up so this is the specific moment
in time in World War Two that we're

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seeing. It could have even had, you know, somebody sitting in a

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theater and watching a newsreel and then
leaving the theater and bumping into our main

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character. Right, it just seemed
like it was kind of forced exposition,

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and it seemed to kind of unfortunately
set up a bit of the pace for

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the rest of it. All the
drawn out of ellipses, all the you

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know, pauses and delays that we
were seeing in their relationship, just it

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seemed to drag. Now, let's
let's talk a little bit about this very

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awkward romance. At least I felt
it was awkward to me anyway. It

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just the chemistry wasn't there between these
two. I mean, I just didn't

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feel it at all. And you
know, the whole opening there where they

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meet for the first round waiting for
the bus, and then he gets on

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the bus, and then she fakes
that something's wrong with her, so he

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gets off the bus, comes to
her, and then he fakes an injury.

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I mean, none of that worked
for me, Scott. And then

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you know, they asked to go
for coffee, and then she doesn't drink

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coffee. Let's go get tea then
and then the streets get bombed, and

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then he's looking for her as the
streets are getting blowing up. Buildings are

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falling, and then he finds her
and then you get this gorgeous music by

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John Barry, do not get me
wrong, just a nice swell of music

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when he grabs her and holds her
too soon, man, too soon?

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Yeah, yeah, and I agree. I mean it seemed like they're early

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kind of in counter felt like an
elaborate Taster's Choice commercial. There also wasn't

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the I think part of Harrison Ford's
charisma is is kind of the sarcastic angle,

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and it felt like there was the
attempt to make some kind of a

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setup between Margaret and Hallerin by having
this bus chase right there, you've got

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a little bit of friction, a
little bit of tension that could lead into

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something else. But then when they
get to a restaurant, coffee shop,

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whatever it is, she's very withdrawn
and quiet, and he's very patiently responding

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with you know, kind of a
slow kind of calm or patient tone.

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And that's not I think that loses
part of his charm. Right, he

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doesn't always have to be the scoundrel. And I'm not trying to pigeonhole him

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into those things, but you know
that that Harrison Ford smirk m that's a

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trademark, is just something he's not
able to use. And by having him

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be so withdrawn and having there not
be a lot of tension between them,

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it just it just doesn't spark,
no, not at all. You know.

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There are some moments in the movie
that I enjoyed, and the first

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one was when they had their their
meeting about their flight with the colonel and

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David Hallerin is talking and he gets
called out in front of the ever everybody.

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I thought that was pretty good.
I filmed well. And then again,

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we're getting to know a little bit
of his crew there, and I

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love some of his crew. I
mean, let's let's talk a little bit

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about Richard Mounser, who plays the
second Lieutenant Seminio I guess or Semino.

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I loved his character. Man.
He has some very comedic moments that I

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actually busted out laughing. And one
of those, and I'm going to say

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his line, there's little long to
just bear with me. It's when they're

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on their plane and getting me to
take off, and you hear him as

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they're being taxied out, he says, you know these things are made of

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metal, right? Did you ever
try and pick one up? You can't.

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You know why, because it's made
of metal and metals heavy, very

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heavy. You don't believe me.
Just try and pick one of these things

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up. You'll see you'll rench your
back, that's what you'll do. Air

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isn't heavy, you know. This
proble of junk is heavy. It's heavier

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than air, much heavier. Don't
you see? This thing's not supposed to

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be up in the air. Oh
Jesus, I hate these things. Dude.

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He had so many lines like that
that I was busting out laughing.

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I wanted a story about him,
Yeah, yeah, And I definitely think

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we could have gotten it. And
I feel like one of the things.

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We'll talk about this a little bit
later, but nineteen ninety's Memphis Bell.

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It's something that came to mind when
I started, you know, hearing about

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the crew to the extent of he's
checking in with every gunner with a new

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station on the bomber. I feel
like there could have been more time I'm

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spent on showing the dynamics within that
crew and his role as a leader.

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Right his co pilot that continues to
kind of look over at him, like

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what are you doing? Because the
first mission he's like, no, we're

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gonna you know, like you said, Samino says, you know, Okay,

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we're there. Can we drop the
bomb jet? And he's like,

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no, I want to be well
above the target. I want to do

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this once and not have to keep
coming back. But then he gets cold

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feet and starts dropping early. It
feels like it would have meant more in

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that moment to have a relationship with
everybody on that plane, everybody in that

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station. It would make their loss
feel a lot more impactful, I think,

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And you would have gotten more of
his personality, more of his character,

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and you'd know more of what he's
giving up for this woman that he's

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met. But we just don't get
time. I think there's so much time

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spent on the romance, and so
much time spent on how much her husband

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and daughter love her and vice versa, that we lose that opportunity. And

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for a movie that seems to be
fairly popular, apparently with airplane enthusiasts,

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it feels like if we had spent
more time with the crew, it would

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have been a more of a worthwhile
movie for those fans. Yeah, and

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I mean, and speaking a little
bit more about the cast that we you

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know, we've already covered Harrison Ford. You know, everybody knows how this

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was in between his time of being
in Star Wars and then soon to be

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in Raiders of the Lost Ark become
Indiana Jones. You know, this is

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in the middle of all of that. But you know, Christopher Plumber,

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who plays Paul selling her, I
really felt bad for him. Man.

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You know, he was not a
terrible husband. He was a good husband.

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He was a good father. Yeah, and he was doing what he

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needed to do. And as a
matter of fact, that's kind of what

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pushed him into doing what he did, you know, to go on this

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secret mission past the enemy lines and
then get into what he got into.

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One of my favorite scenes in this
movie is the scene when he calls Margaret

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at the hospital and you know,
he tells her, you know, I

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love you, And you knew right
then and there where he was going with

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this, even though he wasn't coming
out and telling her, because he was

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going to write that letter to her
to say what he was doing and why

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he was doing it. And he
you know, basically the line he says,

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my curse is to be so damn
ordinary, you know, and then

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you get this great music by Barry
again and that camera just slowly moving in

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on Paul as he's behind that desk. That is my favorite scene of the

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whole movie. And it's made me
feel even worse for Paul because the way

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Margaret was treating him, because again, he's not a bad guy, man,

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No, he's really not. I
mean personally and professionally. He seems

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to be a end up, you
know, a member of British intelligence.

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He seems to be a devoted husband. I'm sure that you know, if

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he had found out about David and
Margaret, he would have responded in an

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appropriate diplomatic way, right, or
he would have sought to do so.

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Very interesting to see Christopher Plumber in
this role. There were a lot of

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moments just looking at him that here. It brought me back to sound of

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music. Oh, absolutely right,
yes, especially considering you know when when

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he when I first started seeing him, it was in things like Dragnet and

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you know Star Trek is it Star
Trek Sex The Undiscovered Country Country? Yeah,

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but yeah, he gave a great
performance and I think it was a

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very important decision to give us so
many connections to him. Yeah, so

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that we be kind of torn between
who you're rooting for in the mission that

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they both have to do right and
you want them both to come back alive,

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even though you know that you know
there'd be some kind of turmoil at

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the other end of that. Yeah, I think it was. It was

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a great choice to cast Christopher Plumber
in that role. Absolutely, And I

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think it's funny is because when you
talked about how some of your favorite self

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of This movies when they got behind
the enemy lines, I agree with you.

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I'm with you on that because I
don't know if it's because Harrison Ford

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is in this and I know him
as Indiana Jones. But may I tell

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you a lot of those scenes I
felt like was almost like watching an Idiota

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Jones film, was it not?
Yes? Everything? Yes, So you

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know how he how he acts in
a chase, It's that take charge kind

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of attitude. There's even one moment
when he wags a finger at somebody when

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he finds out about the the guy
who took his place on a mission and

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died. Unfortunately, the moment when
they're hiding in the barn, there's a

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little bit of whimsy there right with
them, kind of like sheepishly like raising

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their heads while the you know,
things are going on behind them. And

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more than anything, it was the
scene where they have the siege at the

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safe and you know, Christopher Plumber's
character is over there trying to kind of

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like slyly take a look at the
combination or you know, steal the documents

225
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or whatever, and a German soldier
officer I didn't know which is talking to

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him and kind of making jokes in
German and he's just like laughing it off.

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That's totally an indie kind of thing. Absolutely, that's totally an indie

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Yeah, until when he laughed one
time and it wasn't funny and then he

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obviously has to punch the guy out. We knocked him out. You know,

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You're right, that was totally boring
conversation anyway, right, absolutely.

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But then of course we have leslie
Down who plays Margaret in this. She

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is a nurse that I guess isn't
happy but should be happy. I remember

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her from she played Madeline LaMotte in
North and South Book one and book two

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mini series from the eighties. I
don't know if you remember that mini series

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or not, but that's where I
remember her from. Yes, So when

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I saw her pop up, like, oh, hey, I know who

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she is. Yeah, yeah,
and then we've got we talked about Richard

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Mauther. Let's talk a little bit
about Michael Sachs, who plays Second Lieutenant

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Martin Higher. Scott will be talking
about him coming up in a movie in

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the AMITYVI Horror. Yeh, Jeff
in that film, oddly enough, and

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a man named Jeff who is our
producer. But yeah, we'll be talking

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about that movie. But he was
also in Steven Spielberg's The Sugarland Express earlier

243
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in the seventies where he played Slide. So yeah, he's popping up a

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little bit here for us. But
let's talk about another man that a lot

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knows as Cliff from Cheers Good.
Oh, John Ratzenberger. Uh. We

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didn't get to see much of him, but you could clearly hear his voice.

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You cannot miss that voice of Rozeberger
because as soon as you hear it's

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like, oh, it's Ham and
Toy story. Yeah, but he was

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barely in it, but you know, it was good to see him pop

250
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up. I do know he's got
a little bit later, he'll be with

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Harrison Ford again. An Impire strikes
back in a small role, so rots

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and rain in the course he will
move on to cheers that everybody will know

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him off as Cliff Yea. As
we know, this was directed by Peter

254
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Hines, also written by Peter.
Apparently he had written this and somebody wanted

255
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to like buy it with with a
lot of money. But I guess his

256
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wife that he involved with, they
didn't want him to direct it. But

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they said his wife like, I'll
divorce you or something like that if you

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do not direct this film, I
believe, is what I read. Yeah,

259
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I heard something similar. Yeah it's
a little strange, but you know,

260
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it's it's good that he got that
kind of encouragement to keep pushing forward

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and believe what he had, believe
in what he created. And you know,

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when you look at it as a
you know, maybe a love letter

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to movies of that period, then
I can see why that was that was

264
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worth doing. But I think given
how much we've seen since then, and

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I don't know about you, but
I don't typically watch kind of the older

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movies from the forties to know how
that holds up, and it just didn't

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just didn't hit. So I'm glad
that he was given encouragement to do something

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that he believed in and he had
so much involvement with but this was something

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that was critically panned. A lot
of people didn't like it. Apparently Harrison

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Ford had a fairly awful time making
it, and I don't know if it's

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still true as of this moment,
but at a certain point of time Harrison

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Ford refused to watch it because it
was such a reminder of a bad experience

273
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that he was having there. So
it's kind of unfortunate that this, you

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know, becomes kind of a forgotten
moment in history. I think that's one

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of the reasons we still wanted to
talk about in this one, despite you

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know, how we felt about it
and our fears first viewing of it.

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It is still interesting to see,
you know, moments in our favorite actors'

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lives, and it is what happens
with it. This certainly isn't Troll or

279
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Under the Cherry Moon or and it's
not penned before, but it definitely has

280
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some places where it could where I
could use a little bit more strength.

281
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Yeah. Absolutely, And Peter Heeims, I mean he would go on direct

282
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the movie The Relic, which I
love. I don't know if you've ever

283
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seen that. Scott End of Days
a comedy that I absolutely love and probably

284
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doesn't get a lot of love from
other people. Stay tuned. Did you

285
00:21:55.720 --> 00:22:00.400
ever see that with John Ritter?
It's been a long time and his wife

286
00:22:00.440 --> 00:22:03.279
got sucked into the television. Yeah, I love that movie. You get

287
00:22:03.279 --> 00:22:07.039
the Freeze Company flashback scene where oh
man, I love that. I love

288
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that movie, very, very funny. My favorite Peter Huiams comedy will always

289
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be, as you know nineteen eighty
six is Running Scared. I think that's

290
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an unsung classic. But yeah,
which we covered in the nineteen eighty six

291
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limited series, So absolutely i'd agree
with you on that. All right,

292
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Well, let's look through the lens, Scott, anything interesting you might have

293
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found about this movie. So I
mentioned before nineteen nineties Memphis Bell, and

294
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it turns out the cinematographer for this
movie is David Watkin, who is also

295
00:22:41.640 --> 00:22:47.920
the cinematographer on Memphis Bell. Now
it's another World War two movie, as

296
00:22:47.960 --> 00:22:52.799
you know, that features the Boeing
B seventeen flying Fortress. Great movie,

297
00:22:52.200 --> 00:22:56.759
yeah, absolutely great movie. Whereas
this one features a closer look at the

298
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B twenty five Mitchell bombers, even
though apparently that type wasn't assigned to England

299
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in World War Two, a lot
of aerial sequences were filmed in an airfield

300
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in the US. Specifically for this
movie, a lot of the scenes with

301
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the flak on the bombing run was
filmed in a place called Little Rissington,

302
00:23:26.160 --> 00:23:33.440
and they simulated the flakbursts by providing
or the simulated flakbursts were actually shot at

303
00:23:33.440 --> 00:23:41.200
them by British Air Force cunners.
So be kind of an interesting shoot to

304
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have. But the use of those
bombers, it seems like that's kind of

305
00:23:45.279 --> 00:23:49.200
a rare occurrence, which I mentioned
before, is why a lot of plain

306
00:23:49.319 --> 00:23:55.720
enthusiasts like to look at this movie
for nothing else other than those sequences.

307
00:23:55.960 --> 00:23:57.519
And those were all shot really well. I will hand it to the movie.

308
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I thought they looked great. X
tiers of the planes, the interior,

309
00:24:02.400 --> 00:24:04.200
all of that stuff looked fantastic,
So you know, I can definitely

310
00:24:04.200 --> 00:24:08.759
see why it gets that kind of
attention from those hobbyists and stuff like that.

311
00:24:10.119 --> 00:24:12.599
One of the things I found interesting
is the apparently the motorcycle that blows

312
00:24:12.640 --> 00:24:19.079
up is the same motorcycle from Saving
Private Run. Really yeah, many many

313
00:24:19.119 --> 00:24:22.799
years later, the same motorcycle gets
used again in another World War two movie.

314
00:24:23.160 --> 00:24:26.440
That's very famous because of it's saving
Private Ryan recurrying out loud. But

315
00:24:26.599 --> 00:24:33.200
now is that the scene where they
jump that big chasm? Yes, yeah,

316
00:24:33.240 --> 00:24:36.240
it's that motorcycle, right, the
one that blows up is apparently the

317
00:24:36.279 --> 00:24:38.559
one that gets used in Private Ryan. Okay, because I know that,

318
00:24:38.640 --> 00:24:45.720
you know, Harrison and Christopher Plummer
leaped this giant chasm ill and eagle style

319
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and then the unfortunate you know,
soldier that followed them wasn't as lucky.

320
00:24:52.319 --> 00:25:00.440
But that's the effects there are kind
of comical because it's so yeah that it's

321
00:25:00.480 --> 00:25:04.119
a it's a stunt Dumby or something
like that, like you might as well

322
00:25:04.200 --> 00:25:07.359
be mister Bill. There's a few
of those scenes that were like that and

323
00:25:07.839 --> 00:25:12.960
very cringey looking. Oh right right, yeah, room to improve, Yes,

324
00:25:14.000 --> 00:25:17.160
there's definitely room to prove. So
all right, well, let's uh,

325
00:25:17.200 --> 00:25:19.440
let's score the film, Scott.
I've touched base a little bit on

326
00:25:19.680 --> 00:25:23.799
John Berry, who did the music
for this. The score is wonderful.

327
00:25:23.839 --> 00:25:30.000
It's beautifully done. One of John
Berry's famous scores to me is his Dances

328
00:25:30.039 --> 00:25:36.200
with Wolves. I love that score. I will listen to it all the

329
00:25:36.240 --> 00:25:41.359
time, and he just has this
way of having these wonderful themes in his

330
00:25:41.480 --> 00:25:45.799
scores that are just you know,
in your face, but not in your

331
00:25:45.799 --> 00:25:49.000
face because they're beautifully done. They're
composed and very stirring. You know,

332
00:25:49.039 --> 00:25:52.799
they bring out the emotions in you, helping, you know, helping you

333
00:25:52.880 --> 00:25:56.920
feel what the characters and the story
is trying to tell you. And that's

334
00:25:56.960 --> 00:26:02.039
what some, you know, the
good composers do, right and John Barry

335
00:26:02.079 --> 00:26:03.759
was a master of that. And
you know, as soon as I heard

336
00:26:03.759 --> 00:26:07.559
some of the music in this,
I didn't even know you immediately knew it

337
00:26:07.599 --> 00:26:11.680
was John Berry. Yeah. Yeah, No, I think it provides just

338
00:26:11.720 --> 00:26:15.599
the right backdrop, you know,
like you said, it's strong but subtle,

339
00:26:15.000 --> 00:26:19.559
right. It takes you through the
right emotional beats at the right time.

340
00:26:22.480 --> 00:26:27.759
You could say that it helps to
plus up the emotion and the romance

341
00:26:27.799 --> 00:26:32.200
a little bit in some scenes that
we've already said are kind of written in

342
00:26:32.279 --> 00:26:37.480
kind of a wooden way. So
yeah, I absolutely applaud him for his

343
00:26:37.559 --> 00:26:41.759
work on this and what the score
was able to add. Absolutely. All

344
00:26:41.839 --> 00:26:45.880
right, let's quote this, Scott. Did you find anything interesting? Yeah,

345
00:26:45.920 --> 00:26:49.839
there was a there was an interview
with Peter Hyams where he had talked

346
00:26:49.839 --> 00:26:56.319
about kind of the filmmaking process.
So you fall madly and passionately in love

347
00:26:56.359 --> 00:26:59.559
with a project, and you have
the excitement and exhilaration of doing what you're

348
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doing, and then you have the
terrible deflation of it's finished and the film

349
00:27:03.480 --> 00:27:06.759
is all mine. I had on
my wall for almost thirty years a quote

350
00:27:06.799 --> 00:27:10.559
from Carol Reid. Making a film
is all work and all worry, and

351
00:27:10.680 --> 00:27:15.319
all fear and all hearty not making
a movie. Not making a film is

352
00:27:15.359 --> 00:27:18.359
worse. So for me, making
a film is a process of failing.

353
00:27:19.799 --> 00:27:23.400
Interesting, very interesting take on the
whole process. What about you? Yeah,

354
00:27:23.920 --> 00:27:26.880
Yeah. I found one from Peter
Jims as well, and I kind

355
00:27:26.880 --> 00:27:32.880
of gravitated towards this quote as it
sums up how I feel about this very

356
00:27:32.960 --> 00:27:37.119
subject. Peter Himes says, I'm
somebody who sits in the first rows of

357
00:27:37.160 --> 00:27:41.720
the movie theater and gets goosebumps when
I just see the studio logo. I

358
00:27:41.839 --> 00:27:45.599
love film more than any inanimate thing
in the entire world, and I can't

359
00:27:45.680 --> 00:27:51.480
think of anything more exalting than the
conspiracy of trying to make something look wonderful

360
00:27:52.000 --> 00:27:56.559
and to be wonderful. Now,
I may not sit in the front row

361
00:27:56.640 --> 00:28:00.000
like he does. I like the
back row. But I get where he's

362
00:28:00.039 --> 00:28:02.440
going with this. He's right.
I mean, as soon as I see

363
00:28:02.480 --> 00:28:04.799
the logo come up of the studio
that make us, I am already in

364
00:28:04.960 --> 00:28:10.279
the mode to see what's going to
happen. And you know, I couldn't

365
00:28:10.319 --> 00:28:12.720
agree more with what he had to
say there, that's for sure. Yeah,

366
00:28:12.839 --> 00:28:15.240
that kind of feels like that,
you know, that sense of almost

367
00:28:15.319 --> 00:28:22.400
like you know, going to going
to the church of movie, right,

368
00:28:22.559 --> 00:28:26.319
and it's just kind of like,
all right, now's the moment when you

369
00:28:26.359 --> 00:28:32.039
know it's going to come and there's
certain certain logos, certain setups. We

370
00:28:32.160 --> 00:28:34.960
had this with all the Star Wars
movies. When you hear that, you

371
00:28:36.000 --> 00:28:41.599
know, twentieth century Fox fanfare,
and it just draws you absolutely. All

372
00:28:41.680 --> 00:28:47.599
right, let's talk a little bit
about some what ifs. The I guess

373
00:28:47.680 --> 00:28:52.000
Christofferson was supposed to play the role
of David and Harrison Force replaced him.

374
00:28:52.440 --> 00:28:56.680
Yeah, you know, typically we
would talk during this segment that you know,

375
00:28:56.759 --> 00:29:00.559
what the film would be different if
this actor within that role. I

376
00:29:00.559 --> 00:29:04.240
don't know if it would have made
a different Scott, because the script that

377
00:29:04.559 --> 00:29:07.440
I feel like you could have anybody
in that role, And I don't know

378
00:29:07.480 --> 00:29:11.200
if it would have made any difference. I could be wrong, but at

379
00:29:11.279 --> 00:29:17.759
least that's the way I feel.
Yeah, I think I'm trying to think

380
00:29:17.759 --> 00:29:23.400
of Chris Christofferson in those days and
how he would have been juxtaposed with Christopher

381
00:29:23.480 --> 00:29:32.079
Plummer. I feel like in in
the dynamic that we get, it's almost

382
00:29:32.119 --> 00:29:37.839
like you can you can see that
Harrison is a little bit younger than Christopher

383
00:29:37.880 --> 00:29:44.079
Plummer in this moment, maybe a
little bit less experienced, but a lot

384
00:29:44.119 --> 00:29:51.279
more prone to action. Right,
Not that I don't think we would have

385
00:29:51.279 --> 00:29:55.920
gotten that from Chris Christofferson, but
I think maybe Chris would have leaned into

386
00:29:56.119 --> 00:29:59.799
the drama and the romance a little
bit more than the action. So I

387
00:29:59.799 --> 00:30:04.880
think think if he was in this, it would have just been a little

388
00:30:06.119 --> 00:30:08.839
a little less action packed, so
maybe a little less strong than than what

389
00:30:08.880 --> 00:30:14.559
we got. Apparently it was something
that he turned down at the time because

390
00:30:14.599 --> 00:30:18.759
he wanted to pursue a little bit
more of a music direction in his career.

391
00:30:18.079 --> 00:30:22.200
Yeah, And I thought it was
interesting to learn that Harrison Ford was

392
00:30:22.200 --> 00:30:26.920
actually offered the role while he was
in Europe filming Force ten from Navarin,

393
00:30:27.799 --> 00:30:33.480
So for him it must have seen
like, okay, great, so wardrobe

394
00:30:33.559 --> 00:30:36.519
is pretty much already there, right, exactly, just take this to the

395
00:30:36.559 --> 00:30:40.640
drag cleaners and get back to the
next movie. You know, it's funny

396
00:30:40.640 --> 00:30:42.759
looking back at some of these movies, and I hate to keep beating beating

397
00:30:42.799 --> 00:30:48.039
the same horse with you know about
Indiana Jones. But Harrison Ford was really

398
00:30:48.079 --> 00:30:51.319
stuck into World War Two for a
little while, wasn't he. Yeah,

399
00:30:51.400 --> 00:30:55.519
yeah, yeah, a lot of
stories to tell there, Yeah, absolutely,

400
00:30:56.640 --> 00:31:00.079
And apparently I guess Sarah Miles withdrew
from the lead row of Margaret that

401
00:31:00.200 --> 00:31:04.799
Leslie and Down took because as soon
as Christopherson left, she left with him.

402
00:31:04.880 --> 00:31:08.079
It seems again, I don't think
that would have made a big difference.

403
00:31:08.519 --> 00:31:11.920
I don't know that it would have. No, No, I think

404
00:31:11.920 --> 00:31:15.680
it would have been interesting to see
what kind of if there was a different

405
00:31:15.759 --> 00:31:19.599
dynamic that we would have gotten from
them. Right, It's entirely possible that

406
00:31:19.680 --> 00:31:25.519
it would have had somebody else saying
like, look at these initial scenes when

407
00:31:25.559 --> 00:31:27.480
they're you know, flirting together,
we need a little bit of a stronger

408
00:31:27.599 --> 00:31:33.720
build of why they're drawn to each
other instead of just the you know,

409
00:31:33.720 --> 00:31:41.480
the danger of you know, her
life being in danger toward the beginning that

410
00:31:41.519 --> 00:31:44.279
it needed a little bit something more. So maybe we could have gotten something

411
00:31:44.279 --> 00:31:47.319
else in a different romance angle that
would have been a little bit more interesting.

412
00:31:47.400 --> 00:31:48.599
We might have been the chemistry might
have been there a little bit better

413
00:31:48.599 --> 00:31:51.519
than you know, because we said
the chemistry didn't seem to be there,

414
00:31:51.559 --> 00:31:56.200
So maybe maybe that would have been
different. Who knows. Absolutely all right,

415
00:31:56.240 --> 00:32:02.920
Well, let's rewind Scott any likes
of this movie. We've already talked

416
00:32:02.960 --> 00:32:09.720
a lot about the chase scenes,
the playing scenes. I think where it

417
00:32:09.960 --> 00:32:16.359
felt like I'd like to see more
of the movie was them behind Enemy A

418
00:32:16.359 --> 00:32:20.759
Lions, especially the siege of the
safe right. I think it was a

419
00:32:20.839 --> 00:32:27.240
very clever use of them using a
bit of ingenuity to try to get through

420
00:32:27.240 --> 00:32:30.880
that situation when clearly they were in
over their heads. It would have been

421
00:32:31.799 --> 00:32:37.279
a little bit more interesting to have
a little bit more of Christopher Plumber's British

422
00:32:37.319 --> 00:32:43.319
intelligence applied. Then maybe that would
endear him a little bit more toward David,

423
00:32:43.319 --> 00:32:45.519
because I know that David was brushed
when he found out that this is

424
00:32:45.559 --> 00:32:52.000
Margaret's husband and feels terrible for what
he's doing, but you know, more

425
00:32:52.039 --> 00:32:54.240
ways to kind of earn his respect
and say, like, you know,

426
00:32:55.079 --> 00:33:01.000
you're not only doing this to somebody's
husband, You're doing it to a really

427
00:33:01.039 --> 00:33:10.640
good man and a really worthwhile soldier
or worthwhile calm red that that needs to

428
00:33:10.640 --> 00:33:15.039
be saved. Yeah, absolutely for
me. You know, I mentioned quite

429
00:33:15.079 --> 00:33:17.359
a few of the ones that I
like, the John Barry score and the

430
00:33:17.400 --> 00:33:21.720
scene where Paul calls Margaret, but
you touched a little bit on the one

431
00:33:21.759 --> 00:33:23.279
that you know, I wanted to
talk about a little bit is that's when

432
00:33:24.359 --> 00:33:30.480
Paul and David are in the barn
and they start talking about going home to

433
00:33:30.559 --> 00:33:32.000
be with that woman, to be
in her arms, you know, to

434
00:33:32.000 --> 00:33:36.559
to grab her and hold her when
they get back, and only to come

435
00:33:36.599 --> 00:33:40.519
find out that they're talking about the
exact same woman. And you know when

436
00:33:40.559 --> 00:33:45.960
Paul shows you know, her picture, you know, it really sinks in

437
00:33:45.880 --> 00:33:50.240
for David at that moment that you
know who he's dealing with at that point

438
00:33:50.359 --> 00:33:54.440
and what it means going forward.
I love that scene. I really did.

439
00:33:54.480 --> 00:33:58.039
It was just that that moment of
like, well, crap, you

440
00:33:58.079 --> 00:34:00.559
know, not only are we behind
enemy lines and weren't trouble but I thought

441
00:34:00.559 --> 00:34:04.640
I was going to go home to
somebody, even though I know she was

442
00:34:04.880 --> 00:34:09.000
married. But I'm actually with that
per since husband. Yeah, and I

443
00:34:09.000 --> 00:34:14.599
think he makes the honorable call if
I'm not mistaken toward the end, which

444
00:34:14.639 --> 00:34:16.679
he ultimately chooses not to be with
her because he's like, look, was

445
00:34:16.880 --> 00:34:20.639
this was wrong? Yeah, I
shouldn't have been doing this in the first

446
00:34:20.679 --> 00:34:25.400
place. Think of me whenever you
have tea. But yeah, I think

447
00:34:25.440 --> 00:34:29.440
even makes the line, I don't
remember exactly what it was, but you

448
00:34:29.719 --> 00:34:31.719
better do something before I make a
bad decision or something like that. You

449
00:34:31.719 --> 00:34:35.920
better help me, you know,
before I do something I shouldn't do,

450
00:34:36.039 --> 00:34:38.280
or something like that. So it
was a good little scene there too.

451
00:34:38.320 --> 00:34:44.519
Obviously they're making the correct decision of
where that should go. So yeah,

452
00:34:45.280 --> 00:34:47.320
for sure. Well, let's talk
about the impact of the film, Scott.

453
00:34:47.840 --> 00:34:51.639
We always talk about movies, and
that's why we talk about these from

454
00:34:51.679 --> 00:34:53.880
the late seventies because they have some
kind of impact on the film industry later

455
00:34:53.920 --> 00:34:58.519
on. I know, we both
really don't like this movie, and we've

456
00:34:58.559 --> 00:35:01.280
talked about our dislikes stuff like that, but you know, there are still

457
00:35:01.320 --> 00:35:05.920
some things that come out of this
movie. I mean, Harrison Ford's career

458
00:35:06.440 --> 00:35:09.119
is obviously already taking off, and
this is just going to lead it further

459
00:35:09.159 --> 00:35:12.280
down the road. You know,
He's got Raiders of the Lost Art coming

460
00:35:12.360 --> 00:35:14.599
up, He's got Impress Strikes Back
he's filming, He's got Return of the

461
00:35:14.679 --> 00:35:15.519
Jedi, a Blade Runner, and
it's going to go on and on.

462
00:35:16.280 --> 00:35:21.360
But you know, you've got Peter
Him's career who is taking off. You

463
00:35:21.400 --> 00:35:24.079
know, sure this film was a
let down in the theater for him,

464
00:35:24.239 --> 00:35:28.559
but you know, it is what
it is. You know, I'm sure

465
00:35:28.559 --> 00:35:30.440
he learned some lessons from it,
and you know it still has you know,

466
00:35:30.519 --> 00:35:35.440
some followers today, but you know
it would lead him further on to

467
00:35:35.519 --> 00:35:37.559
in his career that he would do
in the eighties and you know into the

468
00:35:37.639 --> 00:35:40.800
nineties as well. So, I
mean there are some some impacts this movie

469
00:35:40.800 --> 00:35:44.519
makes, would you agree, Yeah, I think so, And you can

470
00:35:44.679 --> 00:35:49.079
you can see a little hints of
the DNA of different stuff that Harrison Ford

471
00:35:49.119 --> 00:35:52.599
would do further in his career.
I think it is a smart move to

472
00:35:52.840 --> 00:35:58.480
choose the specific movie for something where
he's going to start to be recognized as

473
00:35:58.480 --> 00:36:05.079
a romantic lead. Yeah, because
there's a lot of juxtaposition between drama,

474
00:36:05.480 --> 00:36:13.079
romance and action. You've got him
as a pilot, very believable. His

475
00:36:13.519 --> 00:36:15.360
you know, I'll say it again, the siege at the safe when he's

476
00:36:15.440 --> 00:36:19.639
kind of you know, doesn't really
know what he's doing, but he's using

477
00:36:19.639 --> 00:36:22.719
his charm in his charisma to try
to get out of something even though he

478
00:36:22.840 --> 00:36:24.559
is weighing it over his head.
We've seen him play through a lot of

479
00:36:24.599 --> 00:36:36.039
other times. Even the scene where
he is where Christopher Plumber and Harrison Ford

480
00:36:36.039 --> 00:36:42.239
are both dangling from that bridge.
There is some DNA of Temple the Doom

481
00:36:42.440 --> 00:36:45.559
that I can see there. So
there are a lot of beats where it's

482
00:36:45.559 --> 00:36:51.800
like okay, And so when he
makes a note, I think it was

483
00:36:51.840 --> 00:37:00.159
a it was a good use of
focusing on a bomber crew as a viable

484
00:37:00.440 --> 00:37:05.360
story kind of engine. And it
does feel like there's you know, elements

485
00:37:05.360 --> 00:37:09.639
of Memphis Bell that we got learning
from a movie like this. I think

486
00:37:09.639 --> 00:37:14.159
it found a lot of ways to
improve. But it's pretty easy for me

487
00:37:14.159 --> 00:37:15.880
at least to see a connection between
the two. Oh yeah, no,

488
00:37:16.119 --> 00:37:21.519
absolutely, you know, you wonder
if because I know they originally had wanted

489
00:37:21.559 --> 00:37:25.400
Tom Selly for Indiana Jones. But
you wonder if they looked back at some

490
00:37:25.440 --> 00:37:29.719
of these movies and watched Harrison Ford
in some of these roles, you know,

491
00:37:29.840 --> 00:37:32.079
for sin Avar Own in this movie
Hamiver Street, to see some of

492
00:37:32.119 --> 00:37:36.320
his reactions that he did and some
of the things in his action sequences,

493
00:37:36.320 --> 00:37:38.840
and they realize, hey, I
mean, George Luca has already worked with

494
00:37:38.880 --> 00:37:45.000
Harrison Ford obviously in Star Wars New
Hope. But you really see a lot

495
00:37:45.000 --> 00:37:47.039
of Indian Jones in him in this
movie. And you wonder if they looked

496
00:37:47.039 --> 00:37:50.000
at that as ay, hey,
this is our Inniana Jones. You know,

497
00:37:50.840 --> 00:37:53.000
I would think so. I mean, there's a certain element of vulnerability

498
00:37:53.119 --> 00:37:59.360
I think from Harrison Ford has in
his in his charismatic delivery that you don't

499
00:37:59.400 --> 00:38:06.000
really get with Tom Selleck. Tom
sell seems to have a patient strength,

500
00:38:06.320 --> 00:38:08.239
like he'll kind of like purse his
lip and like okay, all right,

501
00:38:08.280 --> 00:38:13.320
here we go. But Harrison Ford
is one where there's moments where he doesn't

502
00:38:13.320 --> 00:38:15.280
know what he's doing. You know, I'm making this up as I go

503
00:38:15.320 --> 00:38:17.880
along, right, That's part of
his charm, and I think it would

504
00:38:19.039 --> 00:38:22.760
it would be sorely missed from Indiana
Jones if we didn't get that. Absolutely,

505
00:38:22.840 --> 00:38:25.960
we definitely went out on that casting
decision, There's no doubt about that.

506
00:38:27.360 --> 00:38:30.079
Yeah, all right, where'd you
watch this at? Scott uh?

507
00:38:30.280 --> 00:38:35.199
I was glad to see that he
was on Amazon Prime. That's always a

508
00:38:35.199 --> 00:38:39.840
great place to see you know,
some some background trivia and obviously a streaming

509
00:38:39.840 --> 00:38:44.400
service allows you to get pretty quick
and easy access to that. What about

510
00:38:44.440 --> 00:38:46.599
you name Amazon Prime. I was
happy to see it there, and you

511
00:38:46.599 --> 00:38:50.719
know, was able to watch it
without leaving my chair, just click the

512
00:38:50.760 --> 00:38:53.880
button. Hey, here we go, you know exactly all right. As

513
00:38:53.880 --> 00:38:57.920
always, I want to thank our
listeners and hope you're excited as much as

514
00:38:57.920 --> 00:39:01.000
we are as we continue our journey
through the year nineteen. What is your

515
00:39:01.360 --> 00:39:06.960
favorite World War two film? Let
us know by reaching us at www dot

516
00:39:07.079 --> 00:39:10.639
film by podcast dot com, a
film by podcast at gmail dot com.

517
00:39:10.840 --> 00:39:14.519
You can reach us on a film
by podcast on Facebook, Instagram, and

518
00:39:14.639 --> 00:39:17.360
Twitter. Until our film reels start
rolling again, go out, watch something

519
00:39:17.440 --> 00:39:21.760
new, watch something different, and
who knows what you will discover next.

520
00:39:22.000 --> 00:39:22.639
Thanks everyone,