MartinHafer Over the years, there have been a decent number of films about WWI pilots. Some of them are truly exceptional, such as "Wings", "Hells Angels", "The Eagle and the Hawk", "Ace of Aces" and "Fly Boys". Some others, such as "Aces High" are just pedestrian and offer little new and poor production values.The film is about a group of British fighter pilots stationed in France. During the war, the life expectancy for such men was often just a few weeks and not surprisingly it was a very tense and difficult job. It's also about the futility of it all. All this is to be found in this film...but not a whole lot more.As for the production values, it all depends on your perspective. The casual viewer who is NOT an airplane nut or retired history teacher (both, like me) won't notice or care that the airplanes used in the movie were mostly post-WWI vintage and many were even from the mid- 1930s. Many won't mind that the planes seem to have almost unlimited ammo (such as in scenes where they are testing their machined guns and firing them about 10 seconds each--using up about half their bullets!). And, some might not even mind that planes change into other planes in mid-flight (such as changing colors or models or having machine gun damage vanish in the following scenes). And, some might not realize that very few German planes of WWI were red--though practically ALL are in the film. But, I do--and this shows some sloppy regard for details. Plus, other films just get all this better.Also, as I am obviously a major stickler for details, the men were looking at photographs and the showing them on the screen. How could they do this as they were not slides?!

jghbrown The biggest mistake they made with this movie was to call it "Aces High", because some people are only going to think it's a flying flick and start criticizing the equipment and the "realism" of the action. The second biggest mistake was to say it was modeled on R.C. Sheriff's play "Journeys End", because it doesn't matter a damn whether it was or not. It has its own space - in this case it is air space.In essence it's a movie about the relationships between three men during the years of carnage and crass stupidity which was World War I. These men are Gresham (Malcolm McDowell), Croft (Peter Firth) and "Uncle" (Christopher Plummer). These relationships are portrayed in a very British way insofar as the feelings between them are UNSPOKEN. This can lead to some people wondering if the writers had forgotten that they were supposed to know each other. However, the thing to watch out for is the body language. For instance, Peter Firth has a most expressive and sensitive face. One can almost feel the adoration he holds for his former house captain (and lover of his sister), and his feelings of being crushed by Gresham's coolness (some would say rudeness) towards him are also palpable. Stoneyface, bottle-hitting Gresham doesn't like to express any emotion at all. However, it isn't because he dislikes Croft but because he loves him. Some military fellows might think I'm talking about homosexuality here, but actually I just mean the love that people of either sex can have for each other. But, heck, here I am going on about love and stuff and I haven't even mentioned that the planes weren't quite authentic. Never mind, I'll get back to that.Now, to complete the triangle we have "Uncle", as played with great sensitivity and tact by Christopher Plummer. Uncle's fatherliness towards the crestfallen and confused young Croft is one of the things which makes this movie a joy to watch. So too is the obvious love between Gresham and Uncle. Hell, there I am banging on about love again and this is supposed to be a war film and people killing each other and stuff.But that's the essence of it. You have the love and you have the killing, and that's the thing that seems not to make much sense. I'd say this was probably the point the movie was trying to make. Of course, there were a lot of other great characters involved, including a dog. However, in the interests of cutting a long story short I've concentrated on the main thrust so to speak.Now, as to the planes....

mikeandersonmusic I caught this film on a Sunday afternoon when nothing else was on.I'm interested in the history of the period, but I can't say that I am a total plane nut or could tell you that the wrong flap or control stick was used on a certain plane etc.I thought the piece had real emotion running through it - this is far from a propaganda piece, a glory-romp detailing the beginnings of the RAF. I found it a very convincing and personal take on the futility of air war during WW1.The film is quite depressing, but then the war itself was no walk in the park, was it? We get to see first hand how the constant pressure affected these young men, we see how many of them were killed, how many could barely fly the planes. I thought that the flight scenes, and the scenery/sets generally, added to the overall ambiance and feel of the film. The 'barrack' or 'mess' they live in is just a shack with a piano in, and the only solace they have is getting drunk every night and singing songs. I genuinely felt their terror, and for me it pervades the entire film. It shows how various men cope with this massive pressure - some better than others - and it highlights a time very different from ours, a time when most of these young airmen had no idea what was in store for them. I believe that WW1 changed the world in many ways - artistically, musically, politically - and more. This is a little vignette into a lost world. It shows (but doesn't rub in or over-egg) the class system at the time - as others have mentioned, the RAF was really the preserve of the upper classes at that time, and this is a beautiful counterpart to the working class ground crew. This isn't an obvious film, I don't think, it doesn't spell things out for you, you are just awashed with small and loving details, character traits, believable props/scenery etc. It just feels right, and is quite moving.For those who bemoan the fact that it's not like Journey's End - although it's a 'revised' version of the play, it is going to be totally different - I don't understand how you can compare the claustrophobia of the trenches with the much more 'open' warfare and living conditions of the RAF. Rather than let myself get hung up about this, I treated Aces High as its own piece. I've seen Journey's End at the theatre, and enjoyed it, but to compare the two and berate Aces High for not being an exact port or copy of the origin I feel is missing the point.I was really surprised and happy at this little gem I found on a Sunday afternoon. I think it helps to have some knowledge of the period to really appreciate the film, but I'd recommend this film to anyone.

dl43 While, all WWI aviation flicks bear their fair share of merits and admirable depictions of warfare over the front(with, of course, the exception of the recent and insufferably cheesy "Flyboys", Aces High ranks as unparalleled champion in depicting the forbidding overall sensation of World War I aerial combat. Unlike the romantic and heroic endeavors as popularized by the recruiters (of which I suppose Tony Bill also qualifies), dogfights are portrayed as a harrowing, fearful, and thoroughly traumatic experience, thus culminating in a host of undesirable personality side-effects as reflected by the various manners in which the battle hardened veterans of 56 squadron have exhibited in order to cope with the prolongued stay on the verge of the frontline.Squadron leader Malcolm McDowell, for instance, can longer undergo combat sorties without saturating himself thoroughly with liquor beforehand, which he discloses as one of the reasons in which he's socially isolated himself from his wife in order to spare her any habitual bouts of his drunken temperament. As another pilot, Crawford's constant battle-weariness has progressively waned his psychological status to the breaking point, whereby he attempts to fabricate a medical condition in which to be relocated away from the front. Sure enough, by the film's end, Crawford's constant, as he himself characterizes, "frightful funk's" have finally driven him quite literally past the brink of insanity.As the squadron's sole replacement for the week, newcomer Peter Firth's posting to the squadron is analyzed through the film's progressive subtitles, counting the days in which he survives in order to illustrate the alarmingly brief life-expectancy of a World War I fighter pilot. Needless to say, his dreams of idealism and glory become instantly shattered within a few moments, thus guaranteeing that he himself will come to understand the grim futility of his surroundings prior to his own demise.While, potentially jarring at first, the progressive series of events begin to justify McDowell's constant sense of anguish at the sight of new recruits who arrive and perish with such intensified regularity.Indeed, like all war movies, this film suffers from a few if trivial inaccuracies, including the modified wing sections and landing gear of the SE-5a replicas in effort to render the types as more aerobatically feasible, in conjunction with Presentation of German types that, aside from the Fokker Eindekkers, don't exactly embody representations of particular aircraft type, but accurately reflect the colorful and varied assortment in which the German's utilized multiple types within individual squadron's coupled with an habitual refusal to indulge in camouflaged paint-jobs that would have otherwise augmented their fighting capacity.One aspect, which I greatly appreciated is manner in which Jack Gold accurately establishes how pilots strayed far from one another in the aftermath of an dogfight, thus relaying each pilot with the burden of navigating their own way home. ALso, the widespread devastation of the front is accurately represented as well, as exemplified by a particularly effective moment of solitude, in which Firth and Plummer indulge in picnic at a riverside, only to become flabbergasted at the sight of living fish, swimming upstream. Even within this lull in battle, this moment of relaxation features the ominous but distant rumble of artillery fire in the distance.Granted, over the past week, I've resorted to an habitual level of repeated screenings of this classic, if only to compensate for having endured the veritable cliché-ridden atrocity otherwise known as "Flyboys", a wildly inappropriate endeavor of cartoonish escapism rendered all the more offensive by its perpetual "fun'n'games" conception of war over the Front.If anything, when stacked side-by-side, "Aces High" and "Flyboys" embody the veritable epitome of opposing extremities, thus symbolizing the respective "right" and "wrong" manner in which to construct a movie about World War I aviation.Given that Tony Bill's conception of his own self-styled epic as "the first World War I aviation film in 40 years" reflects his lack of awareness of the existence of this title, I highly recommend that he issue a thorough screening of this movie ASAP. Perhaps then, Tony Bill might learn something outside of his all-too-glamorous and boyish conceptions of aerial warfare over the front, and perhaps a even significant reduction in the overall "cliche factor" to boot.Bottom line: compare and contrast, one will soon come to acquire further merit in which to conclude that "Flyboys" unequivocally sucks.