A Film at 45: Hanover Street

0:00 Hello everyone, and welcome back to nineteen seventy nine in a Film Buys limited series A Film at forty five. I am David Burns and I'm Scott Hoffman with this limited series from a Film by a Podcast where we're dusting off the end of a decade that changed cinema forever with a fresh look at modern classics, hidden Gems, and a few other movies that are notable for that time period. In this episode, we're talking about another venture into the past with Harrison Ford as World War two pilot who finds love worth living for on Hanniver Street. We are heading to World War two with Harrison Ford running around in a leather jacket fighting Nazis. Oh wait, not that film, Scott, but we are indeed heading to nineteen forty three London in Peter Himes written and directed film Hanover Street. This is apparently Peter Himes week as we are covering Hanover Street and Jeff Amber and Andrew covered twenty ten on a film By just a couple of days ago. With that being said, Scott, I am sure there is a lot out there who haven't seen this film we are discussing today. So how would you describe this to them. So Harrison Ford plays David Hallerin, a bomber pilot who spends his time between missions exploring the streets

1:34 of London in nineteen forty three. While trying to catch a bus, he meets a nurse led by Leslie and Down that steals his heart over a cup of coffee or tea. They don't even have a chance to learn each other's names before she runs away, afraid of what might happen if she stays longer, despite the fact that she's married. She reunites with him anyway, and the romance slowly starts to build between them, even though the world is literally falling down around them. Margaret goes back to her young daughter and her husband, who is a member of British intelligence. Helarin spends his day flying increasingly more dangerous missions where his bomber flies far into enemy territory to hit critical targets. But as he begins to worry about losing his chance to live a life with Margaret, he loses his resolve in the missions and starts intentionally cutting missions short. When this decision costs a friend of his life, he begins to question what he's doing fate intervenes and puts Hellarin on a spy mission with Margaret's husband, and then they both find themselves trying to get back to the woman they love. All right, now they've told this whole story. We're done, no getting back, all right, let's go. So you know, I am always a sucker for films about the Air Force during World War Two, as my great uncle fault in this war as a tail gunner. But I'm going to go ahead and put this out there for listeners. I have some issues with this film. I truly didn't care that much about Margaret and what she was doing. I didn't care about her and David's romance. I actually felt sorry for her husband, Paul. I really wanted to get to

3:07 know David's crew, but we didn't get much of a chance, and then they were all killed off. Then I felt like this movie didn't know what it wanted to be. A romance, an action film, a spy film, a drama, or a war film. You know. Sure, there are elements of the film that are wonderfully done, in the score by John Barry being one of them. But am I alone here, Scott. No. Unfortunately, I think this is one where It has a certain place in cinematic history. If you're a fan of Peter Hyams, if you're a fan of Harrison Ford, if you're a fan of Christopher Plumber, if you want to see the early works of Patsy Kensitt, this is one that is worth seeing. But I don't know that it fits in the category of some of the others that we usually cover that are the ones that barry visiting. I think you're right about the romance angle. There are a lot of elements where it seems like it's trying to be a movie from that time period, from the forties or fifties that they've chosen to make in seventy nine. So same kind of storytelling, same kind of elements. Even the title card that seems to go on forever, and it is just littered with ellipses, you know, for forced silent drama. It just doesn't seem to fit with the seventy

4:42 nine time period and some of the other things we've seen, like Force ten from nav On, the preceding Harrison Ford movie. It just it does seem to stumble. It does seem to have a romance that doesn't quite seem to gel. It's kind of this. You know, we could never be together, but we're drawn back to each other anyway. I just don't feel like there's a lot of chemistry. I think one of the things that kind of bothers me is that he doesn't know her name until several dates in, and it's just kind of like, how can you be so close to somebody and never know their name. There's romantics out there that would say, oh, blasphemy, but come on, come on. It just didn't. It just didn't hit I honestly feel like this movie didn't really connect with me until they were behind enemy lines as spies. I'm so used to seeing Harrison Ford in those kind of situations and in those scenarios, and I just wasn't seeing a lot of the Harrison Ford that I'm used to in the rest of his roles, whether it's Indiana, Jones, hounslow Jack Ryan, or any of the other you know, iconic characters that he's played. Yeah, and I think he really took this role because of the romance angle, and he was going to be the lead, so which he really hadn't been a lead in a film yet up to this point, so that was a big one particulum.

6:13 I want to go back to something you had said earlier though about the title card at the beginning of this film. I am not a huge fan of title cards, Star Wars being the exception to the rule, you know, But leave it to me to my imagination as the audience, as the viewer of this film, to let me have the setting, let me fill in the you know, the characters and the history and all that. Because if I do that, that's going to pull me into the story more. Don't set me up with this title card that you have that just seems to go on forever, because it really pulls me out of the film. It does, and it did for me on this one. Yeah, and I agree. I think that's one of the elements that made it seem like a dated movie made for modern times. Right. I think if somebody was going to present this story today, it would probably be one simple title card that tells you the location and the yeah, and that's about it. It could have possibly had, you know, newsreel footage or something else that kind of sets up so this is the specific moment in time in World War Two that we're seeing. It could have even had, you know, somebody sitting in a theater and watching a newsreel and then leaving the theater and bumping into our main character. Right, it just seemed like it was kind of forced exposition, and it seemed to kind of unfortunately set up a bit of the pace for

7:46 the rest of it. All the drawn out of ellipses, all the you know, pauses and delays that we were seeing in their relationship, just it seemed to drag. Now, let's let's talk a little bit about this very awkward romance. At least I felt it was awkward to me anyway. It just the chemistry wasn't there between these two. I mean, I just didn't feel it at all. And you know, the whole opening there where they meet for the first round waiting for the bus, and then he gets on the bus, and then she fakes that something's wrong with her, so he gets off the bus, comes to her, and then he fakes an injury. I mean, none of that worked for me, Scott. And then you know, they asked to go for coffee, and then she doesn't drink coffee. Let's go get tea then and then the streets get bombed, and then he's looking for her as the streets are getting blowing up. Buildings are falling, and then he finds her and then you get this gorgeous music by John Barry, do not get me wrong, just a nice swell of music when he grabs her and holds her too soon, man, too soon?

8:52 Yeah, yeah, and I agree. I mean it seemed like they're early kind of in counter felt like an elaborate Taster's Choice commercial. There also wasn't the I think part of Harrison Ford's charisma is is kind of the sarcastic angle, and it felt like there was the attempt to make some kind of a setup between Margaret and Hallerin by having this bus chase right there, you've got a little bit of friction, a little bit of tension that could lead into something else. But then when they get to a restaurant, coffee shop, whatever it is, she's very withdrawn and quiet, and he's very patiently responding with you know, kind of a slow kind of calm or patient tone.

9:48 And that's not I think that loses part of his charm. Right, he doesn't always have to be the scoundrel. And I'm not trying to pigeonhole him into those things, but you know that that Harrison Ford smirk m that's a trademark, is just something he's not able to use. And by having him be so withdrawn and having there not be a lot of tension between them, it just it just doesn't spark, no, not at all. You know. There are some moments in the movie that I enjoyed, and the first one was when they had their their meeting about their flight with the colonel and David Hallerin is talking and he gets called out in front of the ever everybody.

10:35 I thought that was pretty good. I filmed well. And then again, we're getting to know a little bit of his crew there, and I love some of his crew. I mean, let's let's talk a little bit about Richard Mounser, who plays the second Lieutenant Seminio I guess or Semino. I loved his character. Man. He has some very comedic moments that I actually busted out laughing. And one of those, and I'm going to say his line, there's little long to just bear with me. It's when they're on their plane and getting me to take off, and you hear him as they're being taxied out, he says, you know these things are made of metal, right? Did you ever try and pick one up? You can't. You know why, because it's made of metal and metals heavy, very heavy. You don't believe me. Just try and pick one of these things up. You'll see you'll rench your back, that's what you'll do. Air isn't heavy, you know. This proble of junk is heavy. It's heavier than air, much heavier. Don't you see? This thing's not supposed to be up in the air. Oh Jesus, I hate these things. Dude.

11:28 He had so many lines like that that I was busting out laughing. I wanted a story about him, Yeah, yeah, And I definitely think we could have gotten it. And I feel like one of the things. We'll talk about this a little bit later, but nineteen ninety's Memphis Bell. It's something that came to mind when I started, you know, hearing about the crew to the extent of he's checking in with every gunner with a new station on the bomber. I feel like there could have been more time I'm spent on showing the dynamics within that crew and his role as a leader. Right his co pilot that continues to kind of look over at him, like what are you doing? Because the first mission he's like, no, we're gonna you know, like you said, Samino says, you know, Okay, we're there. Can we drop the bomb jet? And he's like, no, I want to be well above the target. I want to do this once and not have to keep coming back. But then he gets cold feet and starts dropping early. It feels like it would have meant more in that moment to have a relationship with everybody on that plane, everybody in that station. It would make their loss feel a lot more impactful, I think, And you would have gotten more of his personality, more of his character, and you'd know more of what he's giving up for this woman that he's met. But we just don't get time. I think there's so much time

13:03 spent on the romance, and so much time spent on how much her husband and daughter love her and vice versa, that we lose that opportunity. And for a movie that seems to be fairly popular, apparently with airplane enthusiasts, it feels like if we had spent more time with the crew, it would have been a more of a worthwhile movie for those fans. Yeah, and I mean, and speaking a little bit more about the cast that we you know, we've already covered Harrison Ford. You know, everybody knows how this was in between his time of being in Star Wars and then soon to be in Raiders of the Lost Ark become Indiana Jones. You know, this is in the middle of all of that. But you know, Christopher Plumber, who plays Paul selling her, I really felt bad for him. Man.

13:56 You know, he was not a terrible husband. He was a good husband. He was a good father. Yeah, and he was doing what he needed to do. And as a matter of fact, that's kind of what pushed him into doing what he did, you know, to go on this secret mission past the enemy lines and then get into what he got into. One of my favorite scenes in this movie is the scene when he calls Margaret at the hospital and you know, he tells her, you know, I love you, And you knew right then and there where he was going with this, even though he wasn't coming out and telling her, because he was going to write that letter to her to say what he was doing and why he was doing it. And he you know, basically the line he says, my curse is to be so damn ordinary, you know, and then you get this great music by Barry again and that camera just slowly moving in on Paul as he's behind that desk. That is my favorite scene of the whole movie. And it's made me feel even worse for Paul because the way Margaret was treating him, because again, he's not a bad guy, man, No, he's really not. I mean personally and professionally. He seems to be a end up, you know, a member of British intelligence.

15:03 He seems to be a devoted husband. I'm sure that you know, if he had found out about David and Margaret, he would have responded in an appropriate diplomatic way, right, or he would have sought to do so. Very interesting to see Christopher Plumber in this role. There were a lot of moments just looking at him that here. It brought me back to sound of music. Oh, absolutely right, yes, especially considering you know when when he when I first started seeing him, it was in things like Dragnet and you know Star Trek is it Star Trek Sex The Undiscovered Country Country? Yeah, but yeah, he gave a great performance and I think it was a very important decision to give us so many connections to him. Yeah, so that we be kind of torn between who you're rooting for in the mission that they both have to do right and you want them both to come back alive, even though you know that you know there'd be some kind of turmoil at the other end of that. Yeah, I think it was. It was a great choice to cast Christopher Plumber in that role. Absolutely, And I think it's funny is because when you talked about how some of your favorite self of This movies when they got behind the enemy lines, I agree with you.

16:26 I'm with you on that because I don't know if it's because Harrison Ford is in this and I know him as Indiana Jones. But may I tell you a lot of those scenes I felt like was almost like watching an Idiota Jones film, was it not? Yes? Everything? Yes, So you know how he how he acts in a chase, It's that take charge kind of attitude. There's even one moment when he wags a finger at somebody when he finds out about the the guy who took his place on a mission and died. Unfortunately, the moment when they're hiding in the barn, there's a little bit of whimsy there right with them, kind of like sheepishly like raising their heads while the you know, things are going on behind them. And more than anything, it was the scene where they have the siege at the safe and you know, Christopher Plumber's character is over there trying to kind of like slyly take a look at the combination or you know, steal the documents or whatever, and a German soldier officer I didn't know which is talking to him and kind of making jokes in German and he's just like laughing it off.

17:40 That's totally an indie kind of thing. Absolutely, that's totally an indie Yeah, until when he laughed one time and it wasn't funny and then he obviously has to punch the guy out. We knocked him out. You know, You're right, that was totally boring conversation anyway, right, absolutely. But then of course we have leslie Down who plays Margaret in this. She is a nurse that I guess isn't happy but should be happy. I remember her from she played Madeline LaMotte in North and South Book one and book two mini series from the eighties. I don't know if you remember that mini series or not, but that's where I remember her from. Yes, So when I saw her pop up, like, oh, hey, I know who she is. Yeah, yeah, and then we've got we talked about Richard Mauther. Let's talk a little bit about Michael Sachs, who plays Second Lieutenant Martin Higher. Scott will be talking about him coming up in a movie in the AMITYVI Horror. Yeh, Jeff in that film, oddly enough, and a man named Jeff who is our producer. But yeah, we'll be talking about that movie. But he was also in Steven Spielberg's The Sugarland Express earlier in the seventies where he played Slide. So yeah, he's popping up a little bit here for us. But let's talk about another man that a lot knows as Cliff from Cheers Good. Oh, John Ratzenberger. Uh. We didn't get to see much of him, but you could clearly hear his voice.

19:08 You cannot miss that voice of Rozeberger because as soon as you hear it's like, oh, it's Ham and Toy story. Yeah, but he was barely in it, but you know, it was good to see him pop up. I do know he's got a little bit later, he'll be with Harrison Ford again. An Impire strikes back in a small role, so rots and rain in the course he will move on to cheers that everybody will know him off as Cliff Yea. As we know, this was directed by Peter Hines, also written by Peter. Apparently he had written this and somebody wanted to like buy it with with a lot of money. But I guess his wife that he involved with, they didn't want him to direct it. But they said his wife like, I'll divorce you or something like that if you do not direct this film, I believe, is what I read. Yeah, I heard something similar. Yeah it's a little strange, but you know, it's it's good that he got that kind of encouragement to keep pushing forward and believe what he had, believe in what he created. And you know, when you look at it as a you know, maybe a love letter to movies of that period, then I can see why that was that was worth doing. But I think given how much we've seen since then, and I don't know about you, but I don't typically watch kind of the older movies from the forties to know how that holds up, and it just didn't just didn't hit. So I'm glad that he was given encouragement to do something

20:41 that he believed in and he had so much involvement with but this was something that was critically panned. A lot of people didn't like it. Apparently Harrison Ford had a fairly awful time making it, and I don't know if it's still true as of this moment, but at a certain point of time Harrison Ford refused to watch it because it was such a reminder of a bad experience that he was having there. So it's kind of unfortunate that this, you know, becomes kind of a forgotten moment in history. I think that's one of the reasons we still wanted to talk about in this one, despite you know, how we felt about it and our fears first viewing of it.

21:23 It is still interesting to see, you know, moments in our favorite actors' lives, and it is what happens with it. This certainly isn't Troll or Under the Cherry Moon or and it's not penned before, but it definitely has some places where it could where I could use a little bit more strength. Yeah. Absolutely, And Peter Heeims, I mean he would go on direct the movie The Relic, which I love. I don't know if you've ever seen that. Scott End of Days a comedy that I absolutely love and probably doesn't get a lot of love from other people. Stay tuned. Did you ever see that with John Ritter? It's been a long time and his wife got sucked into the television. Yeah, I love that movie. You get the Freeze Company flashback scene where oh man, I love that. I love that movie, very, very funny. My favorite Peter Huiams comedy will always be, as you know nineteen eighty six is Running Scared. I think that's an unsung classic. But yeah, which we covered in the nineteen eighty six limited series, So absolutely i'd agree with you on that. All right, Well, let's look through the lens, Scott, anything interesting you might have found about this movie. So I mentioned before nineteen nineties Memphis Bell, and it turns out the cinematographer for this movie is David Watkin, who is also the cinematographer on Memphis Bell. Now it's another World War two movie, as you know, that features the Boeing B seventeen flying Fortress. Great movie, yeah, absolutely great movie. Whereas this one features a closer look at the

22:56 B twenty five Mitchell bombers, even though apparently that type wasn't assigned to England in World War Two, a lot of aerial sequences were filmed in an airfield in the US. Specifically for this movie, a lot of the scenes with the flak on the bombing run was filmed in a place called Little Rissington, and they simulated the flakbursts by providing or the simulated flakbursts were actually shot at them by British Air Force cunners. So be kind of an interesting shoot to have. But the use of those bombers, it seems like that's kind of a rare occurrence, which I mentioned before, is why a lot of plain enthusiasts like to look at this movie for nothing else other than those sequences.

23:55 And those were all shot really well. I will hand it to the movie. I thought they looked great. X tiers of the planes, the interior, all of that stuff looked fantastic, So you know, I can definitely see why it gets that kind of attention from those hobbyists and stuff like that. One of the things I found interesting is the apparently the motorcycle that blows up is the same motorcycle from Saving Private Run. Really yeah, many many years later, the same motorcycle gets used again in another World War two movie. That's very famous because of it's saving Private Ryan recurrying out loud. But now is that the scene where they jump that big chasm? Yes, yeah, it's that motorcycle, right, the one that blows up is apparently the one that gets used in Private Ryan. Okay, because I know that, you know, Harrison and Christopher Plummer leaped this giant chasm ill and eagle style and then the unfortunate you know, soldier that followed them wasn't as lucky.

24:52 But that's the effects there are kind of comical because it's so yeah that it's a it's a stunt Dumby or something like that, like you might as well be mister Bill. There's a few of those scenes that were like that and very cringey looking. Oh right right, yeah, room to improve, Yes, there's definitely room to prove. So all right, well, let's uh, let's score the film, Scott. I've touched base a little bit on John Berry, who did the music for this. The score is wonderful. It's beautifully done. One of John Berry's famous scores to me is his Dances with Wolves. I love that score. I will listen to it all the time, and he just has this way of having these wonderful themes in his scores that are just you know, in your face, but not in your face because they're beautifully done. They're composed and very stirring. You know, they bring out the emotions in you, helping, you know, helping you feel what the characters and the story is trying to tell you. And that's what some, you know, the good composers do, right and John Barry was a master of that. And you know, as soon as I heard some of the music in this, I didn't even know you immediately knew it was John Berry. Yeah. Yeah, No, I think it provides just the right backdrop, you know, like you said, it's strong but subtle, right. It takes you through the right emotional beats at the right time.

26:22 You could say that it helps to plus up the emotion and the romance a little bit in some scenes that we've already said are kind of written in kind of a wooden way. So yeah, I absolutely applaud him for his work on this and what the score was able to add. Absolutely. All right, let's quote this, Scott. Did you find anything interesting? Yeah, there was a there was an interview with Peter Hyams where he had talked about kind of the filmmaking process. So you fall madly and passionately in love with a project, and you have the excitement and exhilaration of doing what you're doing, and then you have the terrible deflation of it's finished and the film is all mine. I had on my wall for almost thirty years a quote from Carol Reid. Making a film is all work and all worry, and all fear and all hearty not making a movie. Not making a film is worse. So for me, making a film is a process of failing.

27:19 Interesting, very interesting take on the whole process. What about you? Yeah, Yeah. I found one from Peter Jims as well, and I kind of gravitated towards this quote as it sums up how I feel about this very subject. Peter Himes says, I'm somebody who sits in the first rows of the movie theater and gets goosebumps when I just see the studio logo. I love film more than any inanimate thing in the entire world, and I can't think of anything more exalting than the conspiracy of trying to make something look wonderful and to be wonderful. Now, I may not sit in the front row like he does. I like the back row. But I get where he's going with this. He's right. I mean, as soon as I see the logo come up of the studio that make us, I am already in the mode to see what's going to happen. And you know, I couldn't agree more with what he had to say there, that's for sure. Yeah, that kind of feels like that, you know, that sense of almost like you know, going to going to the church of movie, right, and it's just kind of like, all right, now's the moment when you know it's going to come and there's certain certain logos, certain setups. We had this with all the Star Wars movies. When you hear that, you know, twentieth century Fox fanfare, and it just draws you absolutely. All right, let's talk a little bit about some what ifs. The I guess Christofferson was supposed to play the role of David and Harrison Force replaced him.

28:52 Yeah, you know, typically we would talk during this segment that you know, what the film would be different if this actor within that role. I don't know if it would have made a different Scott, because the script that I feel like you could have anybody in that role, And I don't know if it would have made any difference. I could be wrong, but at least that's the way I feel. Yeah, I think I'm trying to think of Chris Christofferson in those days and how he would have been juxtaposed with Christopher Plummer. I feel like in in the dynamic that we get, it's almost like you can you can see that Harrison is a little bit younger than Christopher Plummer in this moment, maybe a little bit less experienced, but a lot more prone to action. Right, Not that I don't think we would have gotten that from Chris Christofferson, but I think maybe Chris would have leaned into the drama and the romance a little bit more than the action. So I think think if he was in this, it would have just been a little a little less action packed, so maybe a little less strong than than what we got. Apparently it was something that he turned down at the time because he wanted to pursue a little bit more of a music direction in his career.

30:18 Yeah, And I thought it was interesting to learn that Harrison Ford was actually offered the role while he was in Europe filming Force ten from Navarin, So for him it must have seen like, okay, great, so wardrobe is pretty much already there, right, exactly, just take this to the drag cleaners and get back to the next movie. You know, it's funny looking back at some of these movies, and I hate to keep beating beating the same horse with you know about Indiana Jones. But Harrison Ford was really stuck into World War Two for a little while, wasn't he. Yeah, yeah, yeah, a lot of stories to tell there, Yeah, absolutely, And apparently I guess Sarah Miles withdrew from the lead row of Margaret that Leslie and Down took because as soon as Christopherson left, she left with him.

31:04 It seems again, I don't think that would have made a big difference. I don't know that it would have. No, No, I think it would have been interesting to see what kind of if there was a different dynamic that we would have gotten from them. Right, It's entirely possible that it would have had somebody else saying like, look at these initial scenes when they're you know, flirting together, we need a little bit of a stronger build of why they're drawn to each other instead of just the you know, the danger of you know, her life being in danger toward the beginning that it needed a little bit something more. So maybe we could have gotten something else in a different romance angle that would have been a little bit more interesting.

31:47 We might have been the chemistry might have been there a little bit better than you know, because we said the chemistry didn't seem to be there, So maybe maybe that would have been different. Who knows. Absolutely all right, Well, let's rewind Scott any likes of this movie. We've already talked a lot about the chase scenes, the playing scenes. I think where it felt like I'd like to see more of the movie was them behind Enemy A Lions, especially the siege of the safe right. I think it was a very clever use of them using a bit of ingenuity to try to get through that situation when clearly they were in over their heads. It would have been a little bit more interesting to have a little bit more of Christopher Plumber's British intelligence applied. Then maybe that would endear him a little bit more toward David, because I know that David was brushed when he found out that this is Margaret's husband and feels terrible for what he's doing, but you know, more ways to kind of earn his respect and say, like, you know, you're not only doing this to somebody's husband, You're doing it to a really good man and a really worthwhile soldier or worthwhile calm red that that needs to be saved. Yeah, absolutely for me. You know, I mentioned quite a few of the ones that I like, the John Barry score and the

33:17 scene where Paul calls Margaret, but you touched a little bit on the one that you know, I wanted to talk about a little bit is that's when Paul and David are in the barn and they start talking about going home to be with that woman, to be in her arms, you know, to to grab her and hold her when they get back, and only to come find out that they're talking about the exact same woman. And you know when Paul shows you know, her picture, you know, it really sinks in for David at that moment that you know who he's dealing with at that point and what it means going forward. I love that scene. I really did. It was just that that moment of like, well, crap, you know, not only are we behind enemy lines and weren't trouble but I thought I was going to go home to somebody, even though I know she was married. But I'm actually with that per since husband. Yeah, and I think he makes the honorable call if I'm not mistaken toward the end, which he ultimately chooses not to be with her because he's like, look, was this was wrong? Yeah, I shouldn't have been doing this in the first place. Think of me whenever you have tea. But yeah, I think even makes the line, I don't remember exactly what it was, but you better do something before I make a bad decision or something like that. You better help me, you know, before I do something I shouldn't do, or something like that. So it was a good little scene there too.

34:38 Obviously they're making the correct decision of where that should go. So yeah, for sure. Well, let's talk about the impact of the film, Scott. We always talk about movies, and that's why we talk about these from the late seventies because they have some kind of impact on the film industry later on. I know, we both really don't like this movie, and we've talked about our dislikes stuff like that, but you know, there are still some things that come out of this movie. I mean, Harrison Ford's career is obviously already taking off, and this is just going to lead it further down the road. You know, He's got Raiders of the Lost Art coming up, He's got Impress Strikes Back he's filming, He's got Return of the Jedi, a Blade Runner, and it's going to go on and on. But you know, you've got Peter Him's career who is taking off. You know, sure this film was a let down in the theater for him, but you know, it is what it is. You know, I'm sure he learned some lessons from it, and you know it still has you know, some followers today, but you know it would lead him further on to in his career that he would do in the eighties and you know into the nineties as well. So, I mean there are some some impacts this movie makes, would you agree, Yeah, I think so, And you can you can see a little hints of the DNA of different stuff that Harrison Ford would do further in his career. I think it is a smart move to choose the specific movie for something where he's going to start to be recognized as a romantic lead. Yeah, because there's a lot of juxtaposition between drama, romance and action. You've got him as a pilot, very believable. His

36:13 you know, I'll say it again, the siege at the safe when he's kind of you know, doesn't really know what he's doing, but he's using his charm in his charisma to try to get out of something even though he is weighing it over his head. We've seen him play through a lot of other times. Even the scene where he is where Christopher Plumber and Harrison Ford are both dangling from that bridge. There is some DNA of Temple the Doom that I can see there. So there are a lot of beats where it's like okay, And so when he makes a note, I think it was a it was a good use of focusing on a bomber crew as a viable story kind of engine. And it does feel like there's you know, elements of Memphis Bell that we got learning from a movie like this. I think it found a lot of ways to improve. But it's pretty easy for me at least to see a connection between the two. Oh yeah, no, absolutely, you know, you wonder if because I know they originally had wanted Tom Selly for Indiana Jones. But you wonder if they looked back at some of these movies and watched Harrison Ford in some of these roles, you know, for sin Avar Own in this movie Hamiver Street, to see some of his reactions that he did and some of the things in his action sequences, and they realize, hey, I mean, George Luca has already worked with Harrison Ford obviously in Star Wars New Hope. But you really see a lot

37:45 of Indian Jones in him in this movie. And you wonder if they looked at that as ay, hey, this is our Inniana Jones. You know, I would think so. I mean, there's a certain element of vulnerability I think from Harrison Ford has in his in his charismatic delivery that you don't really get with Tom Selleck. Tom sell seems to have a patient strength, like he'll kind of like purse his lip and like okay, all right, here we go. But Harrison Ford is one where there's moments where he doesn't know what he's doing. You know, I'm making this up as I go along, right, That's part of his charm, and I think it would it would be sorely missed from Indiana Jones if we didn't get that. Absolutely, we definitely went out on that casting decision, There's no doubt about that.

38:27 Yeah, all right, where'd you watch this at? Scott uh? I was glad to see that he was on Amazon Prime. That's always a great place to see you know, some some background trivia and obviously a streaming service allows you to get pretty quick and easy access to that. What about you name Amazon Prime. I was happy to see it there, and you know, was able to watch it without leaving my chair, just click the button. Hey, here we go, you know exactly all right. As always, I want to thank our listeners and hope you're excited as much as we are as we continue our journey through the year nineteen. What is your favorite World War two film? Let us know by reaching us at www dot film by podcast dot com, a film by podcast at gmail dot com.

39:10 You can reach us on a film by podcast on Facebook, Instagram, and Twitter. Until our film reels start rolling again, go out, watch something new, watch something different, and who knows what you will discover next. Thanks everyone,