Film Review – AIRPORT (1970)

AIRPORT (1970, USA, 137m, PG) ***
Drama, Thriller
dist. Universal Pictures; pr co. Universal Pictures / Ross Hunter Productions; d. George Seaton; w. George Seaton (based on the novel by Arthur Hailey); pr. Ross Hunter; ph. Ernest Laszlo (Technicolor | 2.20:1); m. Alfred Newman; ed. Stuart Gilmore; ad. E. Preston Ames, Alexander Golitzen.
cast: Burt Lancaster (Mel Bakersfeld), Dean Martin (Vernon Demerest), Jean Seberg (Tanya Livingston), Jacqueline Bisset (Gwen Meighen), George Kennedy (Patroni), Helen Hayes (Ada Quonsett), Van Heflin (D.O. Guerrero), Maureen Stapleton (Inez Guerrero), Barry Nelson (Anson Harris), Dana Wynter (Cindy), Lloyd Nolan (Harry Standish), Barbara Hale (Sarah Demerest), Gary Collins (Cy Jordan), John Findlater (Peter Coakley), Jessie Royce Landis (Mrs. Harriet DuBarry Mossman), Larry Gates (Commissioner Ackerman), Peter Turgeon (Marcus Rathbone), Whit Bissell (Mr. Davidson), Virginia Grey (Mrs. Schultz), Eileen Wesson (Judy Barton).
The cycle of 1970s all-star, big-budget disaster movies began with this adaptation of Arthur Hailey’s best-selling novel. Lancaster plays the general manager of a Chicago-area airport, who must contend with a massive snowstorm and other issues, both work-related and personal, while the troubled Heflin threatens to blow up an airliner on a flight to Rome piloted by Martin. The first half of the film sets up the characters and their domestic situations and is deliberately paced by Seaton, who uses various split-screen techniques, skilfully edited by Gilmore, to help with pacing. His script is wordy, and dialogue is sometimes stilted as he often feels the need to explain airport protocol through character discussion. Lancaster is imposing and Martin plays the material deadly straight. Kennedy’s confident trouble-shooter, Joe Patroni, would go on to appear in all three sequels. The rest of the cast give solid if often earnest, performances and Hayes won an Oscar for her eccentric stowaway. The tension, aided by Newman’s vigorous score, builds in the final third as Heflin is discovered and the threat to the flight becomes real. The film inexplicably received ten Oscar nominations, but only Hayes picked up an award. Hailey was reportedly paid $500,000 for the screen rights. Henry Hathaway directed some of the outdoor winter scenes uncredited covering for a sick Seaton. This was the final film of both Heflin and Landis. Shot in 70 mm Todd-AO. Followed by three sequels: AIRPORT 1975 (1974), AIRPORT ‘77 (1977), and THE CONCORDE…AIRPORT ’79 (1979).
AA: Best Actress in a Supporting Role (Helen Hayes).
AAN: Best Picture; Best Actress in a Supporting Role (Maureen Stapleton); Best Writing, Screenplay Based on Material from Another Medium (George Seaton); Best Cinematography (Ernest Laszlo); Best Art Direction-Set Decoration (Alexander Golitzen, E. Preston Ames, Jack D. Moore, Mickey S. Michaels); Best Costume Design (Edith Head); Best Sound (Ronald Pierce, David H. Moriarty); Best Film Editing (Stuart Gilmore) and Best Music, Original Score (Alfred Newman).

Film Review – THE DEEP (1977)

THE DEEP (1977, USA) ***
Adventure, Mystery, Thriller
dist. Columbia Pictures (USA), Columbia-Warner Distributors (UK); pr co. Columbia Pictures / EMI Films / Casablanca Filmworks; d. Peter Yates; w. Peter Benchley, Tracy Keenan Wynn (based on the novel by Peter Benchley); pr. Peter Guber; ass pr. George Justin; ph. Christopher Challis; underwater ph. Al Giddings, Stan Waterman (Metrocolor. 35mm. Panavision (anamorphic). 2.39:1); m. John Barry; s. “Down Deep Inside” m/l. John Barry, Donna Summer (performed by Donna Summer); ed. David Berlatsky; pd. Anthony Masters; ad. Jack Maxsted; set d. Vernon Dixon; cos. Ron Talsky; m/up. Edouard F. Henriques, Pat McDermott; sd. Robin Gregory (4-Track Stereo | Mono); sfx. Ira Anderson Jr.; st. Howard Curtis, Bob Minor, Jimmy Nickerson, Richard Washington; rel. 17 June 1977 (USA), 23 September 1977 (UK); cert: PG; r/t. 123m.

cast: Jacqueline Bisset (Gail Berke), Nick Nolte (David Sanders), Dick Anthony Williams (Slake), Robert Shaw (Romer Treece), Earl Maynard (Ronald), Bob Minor (Wiley), Louis Gossett Jr. (Henri Cloche), Eli Wallach (Adam Coffin), Teddy Tucker (The Harbor Master), Robert Tessier (Kevin), Lee McClain (Johnson).

Nolte and Bisset are a vacationing couple who are exploring shipwrecks for treasure off the coast of Bermuda. When they find an uncharted wreck of a WWII ship containing thousands of vials of morphine they enlist the help of local salvage expert Shaw then run into trouble with local gangster Gossett. Riding on the coat-tails of JAWS (1975), this underwater adventure lacks the sustained thrills and tight editing of its inspiration but is not without its moments of excitement. The positives include the sumptuous location and underwater photography and Barry’s lush score. Shaw is also at his abrasive best, whilst Nolte and Bisset look good for the camera. Wallach is on hand too, playing a war veteran looking to fill his own pockets. The stunt work is excellent and the sporadic action scenes are well shot. The version aired in the original ABC network telecast contained 53m of extra footage. Nominated for an Oscar for Best Sound.

Film Review – THE DEEP (1977)

Image result for the deep 1977 movie posterDeep, The (1977; USA; Metrocolor; 123m) ***  d. Peter Yates; w. Peter Benchley, Tracy Keenan Wynn; ph. Christopher Challis; m. John Barry.  Cast: Robert Shaw, Jacqueline Bisset, Nick Nolte, Louis Gossett Jr., Eli Wallach, Dick Anthony Williams, Bob Minor, Robert Tessier, Earl Maynard, Teddy Tucker, Lee McClain, Peter Benchley, Peter Wallach, Colin Shaw. A pair of young vacationers are involved in a dangerous conflict with treasure hunters when they discover a way into a deadly wreck in Bermuda waters. Riding on the coat-tails of JAWS, this underwater adventure lacks the thrills and tight editing of its inspiration. The positives are the sumptuous photography, shot on location in Bermuda, and Barry’s lush score. Shaw is also at his abrasive best, whilst Nolte and Bisset look good for the camera. The version aired in the original ABC network telecast contained 53m of extra footage. Based on the novel by Peter Benchley. [PG]

Film Review – MURDER ON THE ORIENT EXPRESS (1974)

Murder on the Orient Express (1974; UK; Technicolor; 131m) ∗∗∗  d. Sidney Lumet; w. Paul Dehn; ph. Geoffrey Unsworth; m. Richard Rodney Bennett.  Cast: Albert Finney, Lauren Bacall, Martin Balsam, Ingrid Bergman, Jacqueline Bisset, Jean Pierre Cassel, Sean Connery, John Gielgud, Wendy Hiller, Anthony Perkins, Vanessa Redgrave, Rachel Roberts, Richard Widmark, Michael York, Colin Blakely, George Coulouris, Denis Quilley, Vernon Dobtcheff, Jeremy Lloyd, John Moffat. In 1935, when his train is stopped by deep snow, detective Hercule Poirot (Finney) is called on to solve a murder that occurred in his car the night before. Strong cast is the main interest in this otherwise standard Agatha Christie mystery, to which the solution becomes very clear too soon. Finney is excellent as Poirot and the script has some lovely humorous touches. Bergman won her third Oscar as a Swedish missionary. Finney, the elegant cinematography and costume design were also nominated for Academy Awards. Twice remade for TV – in 2001 with Alfred Molina as Poirot and again in 2010 as part of ITVs Poirot series with David Suchet. Followed by DEATH ON THE NILE (1978). [PG]