It takes a while for "The White Tower" to take off. After the long, slow start, this film keeps picking up speed until the surprise ending (or near the end), which takes on new meaning today as a result of the recent controversy concerning Mt. Everest and comments by Sir Edmund Hillary. I don't want to give away the ending of the film, but be sure and read what Sir Edmund Hillary had to say a few days ago about the peak he conquered in 1953, three years after "The White Tower" was released and relate his words to what happens in the picture.
In beautiful Technicolor but before Cinemascope, it is easy to spot the interior sets, yet the exterior ones are breathtaking, even on a small screen. The cinematography is first rate. Too bad the script and direction weren't as effective. The script attempts to work a soap opera romance into the proceedings which becomes so melodramatic and naive that the viewer is asked to believe that attractive and likable Glenn Ford as Martin Ordway would risk his life and limb for the loves of a woman, even the vivacious Alida Valli as Carla Alton.
The performers do the best they can with what they're given. Lloyd Bridges as Hein, the never-say-die Nazi, makes a hearty effort to bring his despicable character to life as does Claude Rains in the somewhat nondescript role of Paul DeLambre.
Enjoy the scenery, the fine cast, and the excitement of the last fifteen minutes or so of the show and maybe you'll forget about the tired, hackneyed beginning and middle.
In beautiful Technicolor but before Cinemascope, it is easy to spot the interior sets, yet the exterior ones are breathtaking, even on a small screen. The cinematography is first rate. Too bad the script and direction weren't as effective. The script attempts to work a soap opera romance into the proceedings which becomes so melodramatic and naive that the viewer is asked to believe that attractive and likable Glenn Ford as Martin Ordway would risk his life and limb for the loves of a woman, even the vivacious Alida Valli as Carla Alton.
The performers do the best they can with what they're given. Lloyd Bridges as Hein, the never-say-die Nazi, makes a hearty effort to bring his despicable character to life as does Claude Rains in the somewhat nondescript role of Paul DeLambre.
Enjoy the scenery, the fine cast, and the excitement of the last fifteen minutes or so of the show and maybe you'll forget about the tired, hackneyed beginning and middle.