Billy Wilder's stirring movie starring James Stewart as Charles "Slim" Lindbergh, the first man to fly solo across the Atlantic in an aircraft. The film Is of unusual narrative construction, as the centrepiece of the actual solo flight itself is interspersed with numerous flashbacks to earlier stages in the flier's life. I'm guessing this was done to break up the movie otherwise for much of the time, all there would be to watch would be Lindbergh immobile in his cockpit. It's also quite handy that the pilot likes to speak to himself out loud, as well as think out loud, the better to keep the viewer informed and keep the film interesting.
It does seem to me however at least from what I can see here that Lindbergh as a person wasn't exactly the most interesting of guys apart from his obsession with flying. He pretty much appears friendless, we don't get to meet his parents or learn much about his upbringing and there's no love interest either. Fair enough if this reflects Lindbergh's true nature and circumstances, but it does make it tough for even Stewart to bring him to life and make him interesting never mind likeable.
So, unusually for Wilder, dialogue is of only secondary importance here, with much of it tending to the technical and geographical. Instead we see him marshalling other aspects of his craft in particular the air cinematography, insertion of Miklos Rosza's lush soundtrack and getting good work from his cast, all of which he certainly achieves. I did think though that the nod to religiosity was too obvious and unnecessary after Lindbergh prays for a safe landing in Paris.
Stewart here was considerably older than Lindbergh was when he originally made his great flight, but with his boyish looks, good physical condition and natural ease flying a plane (remember he served with distinction as a pilot in the Second World War), he just about pulls it off. He also gets to whoop it up, somehow able to make himself heard to people below, like he probably hadn't been able to since George Bailey got his old life back, many movies before.
A celebration then more of an act of heroism, determination and courage than about the man who himself carried it out which from what I've read about Lindbergh's later politics seems to me the correct approach to take, especially considering Wilder's own nationality and religious persuasion.
It does seem to me however at least from what I can see here that Lindbergh as a person wasn't exactly the most interesting of guys apart from his obsession with flying. He pretty much appears friendless, we don't get to meet his parents or learn much about his upbringing and there's no love interest either. Fair enough if this reflects Lindbergh's true nature and circumstances, but it does make it tough for even Stewart to bring him to life and make him interesting never mind likeable.
So, unusually for Wilder, dialogue is of only secondary importance here, with much of it tending to the technical and geographical. Instead we see him marshalling other aspects of his craft in particular the air cinematography, insertion of Miklos Rosza's lush soundtrack and getting good work from his cast, all of which he certainly achieves. I did think though that the nod to religiosity was too obvious and unnecessary after Lindbergh prays for a safe landing in Paris.
Stewart here was considerably older than Lindbergh was when he originally made his great flight, but with his boyish looks, good physical condition and natural ease flying a plane (remember he served with distinction as a pilot in the Second World War), he just about pulls it off. He also gets to whoop it up, somehow able to make himself heard to people below, like he probably hadn't been able to since George Bailey got his old life back, many movies before.
A celebration then more of an act of heroism, determination and courage than about the man who himself carried it out which from what I've read about Lindbergh's later politics seems to me the correct approach to take, especially considering Wilder's own nationality and religious persuasion.