Considering that "Above and Beyond" was made during the height of the hysteria now known as McCarthyism, one would have expected a jingoistic flag-waver out of Hollywood. Instead, surprisingly, the screenplay as written allows the Paul Tibbets character (Robert Taylor) the opportunity to register a variety of emotions, in a most realistic and compelling performance.
This is ironic, seeing as the real Tibbets, decades after the event (the bombing of Hiroshima), is to this day unrepentant. Not to criticize his position in any way, because that was a different time and place, and it's Tibbets' view that he had a job to do, and the morality of it all, he has stated, is best debated by others.
But the film is all the more compelling because of the ambivalence written into the Tibbets character, and Taylor's especially fine work. There are uniformly strong performances throughout the cast, notably those of Eleanor Parker (Lucy Tibbets), James Whitmore (the security officer) and Larry Keating (General Brent).
Another surprise: the team of Melvin Frank and Norman Panama (screenplay, direction) had been best known for their Bob Hope comedies, when under contract at Paramount. Their first dramatic effort was "Above and Beyond," and they acquitted themselves admirably.
Final note: the musical score by Hugo Friedhofer is immensely satisfying: stirring in an emotional sense, with just a touch of, but not too much of, militaristic flavor.
Dore Schary, a Democrat, had succeeded fervent Republican Louis B. Mayer at MGM in 1951, and had encouraged the production of "Above and Beyond." One wonders if (a) the film would have been made at all on Mayer's watch, and (b) if it had, would it have been more of a cornball, John Wayne-type flag-waver. Thankfully, those questions are moot. "Above and Beyond" is a stirring, finely-crafted film. I would stress again the unusual nature of the protaganist's ambivalence as portrayed in a film made during a very sensitive time in America's history.
This is ironic, seeing as the real Tibbets, decades after the event (the bombing of Hiroshima), is to this day unrepentant. Not to criticize his position in any way, because that was a different time and place, and it's Tibbets' view that he had a job to do, and the morality of it all, he has stated, is best debated by others.
But the film is all the more compelling because of the ambivalence written into the Tibbets character, and Taylor's especially fine work. There are uniformly strong performances throughout the cast, notably those of Eleanor Parker (Lucy Tibbets), James Whitmore (the security officer) and Larry Keating (General Brent).
Another surprise: the team of Melvin Frank and Norman Panama (screenplay, direction) had been best known for their Bob Hope comedies, when under contract at Paramount. Their first dramatic effort was "Above and Beyond," and they acquitted themselves admirably.
Final note: the musical score by Hugo Friedhofer is immensely satisfying: stirring in an emotional sense, with just a touch of, but not too much of, militaristic flavor.
Dore Schary, a Democrat, had succeeded fervent Republican Louis B. Mayer at MGM in 1951, and had encouraged the production of "Above and Beyond." One wonders if (a) the film would have been made at all on Mayer's watch, and (b) if it had, would it have been more of a cornball, John Wayne-type flag-waver. Thankfully, those questions are moot. "Above and Beyond" is a stirring, finely-crafted film. I would stress again the unusual nature of the protaganist's ambivalence as portrayed in a film made during a very sensitive time in America's history.