The Blue Max | | Cast : | George Peppard, James Mason, Ursula Andress | | Director : | John Guillermin | | Studio : | Fox Home Entertainme | | Format : | Color, Closed-captioned, Widescreen | | Released Date : | June 21, 1966 | | DVD Released Date : | May 20, 2003 | | Language : | French (Dubbed), English (Subtitled), English (Original Language), Spanish (Original Language), Spanish (Subtitled) | | Audience Rating : | Unrated | | | BUY THIS DVD FROM AMAZON |
Customer Reviews
| Rating |  | | Date | July 19, 2005 | | Summary | Great Planes, Sexy Siren. | Content
 | I love the look and romance of WWI planes and this was the main reason I bought this film. That being said, I thought this movie had a great storyline and terrific shots of WWI planes/combat. It's in color which is a plus, as opposed to Hughes Hell's Angels(The acting and storyline in that movie is a bit corny by the way). Ursula Andress is the love/sex interest in the film and this was made about the same period that she was a Bond girl. The only reason for which I may have taken away a star was the lack of director commentary and special features. I'll ignore that considering the age ofthe original film. Not a bad price either. If you like WWI planes I would definitely think that this is a must for your film collection. |
| Rating | | | Date | May 26, 2005 | | Summary | A German anti-hero determined to be a WWI flying ace | Content
| "The Blue Max" is a film that keeps its hero at a distance from the audience. Although it contains absolutely stunning footage of aerial combat between World War I bi-planes we never really developing a strong rooting interest in the main character, Bruno Stachel (George Peppard). This is not just because Stachel is a German, who is gunning down British and French pilots throughout the film; films like "Das Boot" have managed to gain out compassion and concern for Germans during times of war. But Stachel is very much an anti-hero, who's passion for shooting down the enemy is for personal glory (symbolized by the military award, the Blue Max) rather than as part of the Fatherland's war effort.
This is rather ironic because one of the major sub-texts of "The Blue Max" puts Stachel in the mode of the traditional American rags to riches success story: German fliers are mostly members of the aristocracy and Stachel had served two years in the trenches before transferring to the luftwaffe. Yet because the character does not have the moral attitude required of a great warrior, we are compelled to watch his story play out but are not persuaded to be moved. In fact, the ending of the film is decidedly different from Jack Hunter's novel, but in does conform to the character of Bruno Stachel developed in the film. The problem is not with Peppard's performance (he played a similar sort of heel in "The Carpetbaggers"), but rather with the character he plays.
"The Blue Max" has a historical accuracy that is rarely seen let alone truly noticed in a war movie and there is something about those World War I aircraft, the way they move in the air, that makes the metaphor of knights of the air more potent. The metaphor also matters because of the idea of chivalry that Stachel rejects throughout the film. James Mason plays General Count von Klugermann, who sees Stachel's exploits as a propaganda tool which will help make das volk happier to shed their blood in the trenches and Ursula Andress plays his wife, the Countess Kaeti von Klugermann, who is dangled as bait to get Stachel to play along.
My favorite performance is Karl Michael Vogler as Otto Heidemann, the group commander and arguably one of the few real warriors in the film. "The Blue Max" has great aerial sequences that have to balance the more plodding action on the ground. This was one of the first movies I had seen after reading the book and it is interesting to reconsider the film today and finally articulate why I was so disappointed with it way back when. |
| Rating | | | Date | May 22, 2005 | | Summary | Solid DVD of an Underrated War Film | Content
| CONCERNING THE DVD:
Another solid entry in the Fox War Classics Series. The DVD has a fair stereo mix and a beautiful, restored widescreen transfer with enhancement for 16x9 TVs. The widescreen cinematography is essential to fully comprehend the vastness of the sets, expanse of the cinematography and some interiors in which director John Guillermin places conversing characters at opposite ends of the frame. My only complaint is that some scenes had an unusually large amount of grain and there was some visible edge-enhancement. Special features include a few trailers for this film as well as beat-up trailers for other Fox war-related movies and the usual alternate language tracks and subtitles. For the low price, the disc is worth every penny.
CONCERNING THE FILM:
(from my own review at www.angelfire.com/film/eurowar)
Unmistakably one of the most entertaining war films to come out of the 1960s, "The Blue Max" is the kind of film that could only have been made in Hollywood. Featuring some of the best aerial combat scenes ever shot and a great ensemble cast, it's enjoyable pulp fantasy for any war film fan.
The film opens with a brilliant, intense action sequence: Bruno Stachel (George Peppard, "Tobruk") dives into a mud-filled crater on the Western Front. He's visibly exhausted; his heavy breathing and unshaven face reveal how horrible front line conditions are. From above comes the sound of a dogfight - Peppard's bright blue eyes blare from a mud-covered face as he stares in awe at the action in the skies above him, the mood fully established with Jerry Goldsmith's evocative score. Flash forward two years: Stachel has transferred to the Luftwaffe and is a green, inexperienced pilot. A peasant, Stachel has little in common with his high-class comrades, members of the elite Officer Corps. He's ruthless and ambitious, and sets his sight on winning a Blue Max - the medal awarded to a pilot with 20 kills to his credit. With this award, Bruno will have won the respect of his comrades. Squadron commander Heidemann (Karl Michael Vogler, "Patton") has one, and hotshot Willi von Klugermann (Jeremy Kemp, "Operation Crossbow") is awarded one early in the film. Stachel vigorously has to catch up to their status, and Willi takes a liking to him, helping him try to fit in.
As Germany is losing the war, Willi's uncle, General von Klugermann (James Mason, "Cross of Iron") enters the stage: he sees potential in Stachel for more than just flying prowess. This is a time when the common people of Germany need a hero. Stachel is a poor farm boy, someone they can all relate to. Von Klugermann sets out to make Stachel a national icon; when he received a minor wound, he's escorted to a cushy Berlin hotel and the press takes pictures of a nurse tending to his wound, plastering pictures all over the national newspapers. Countess Kaeti von Klugermann (the beautiful Ursula Andress) sets her sights on Stachel, and soon a steamy affair has begun, right under the nose of the General. As Stachel's selfish ambitions become more apparent and blatant, Willi's friendly competitiveness fades and their adversity becomes an all-out battle. All of this builds to an unavoidable, somewhat depressing ending.
This is a character-driven drama firstly, and the action is simply a supplement to the story of the characters. Unfortunately, Peppard is a wooden lead. He speaks in unaccented English and never seems to be thoroughly involved in his part; it's as though he's sleepwalking through almost every scene. The rest of the cast deserves more credit. Co-star Jeremy Kemp is much more believable. He's sly, cynical and delivers fantastic deadpan humor. James Mason is brilliant as usual as General von Klugermann, a career German officer whose chief concern is for the German people and his nation's prestige. I have never seen Mason deliver a bad performance, and here he is simply fantastic. He's often cool and restrained, but lets anger and rage come out full-force at key moments. As his unfaithful wife, Ursula Andress is her typical self; beautiful and often barely concealed. A standout is Karl Michael Vogler as Heidemann. A veteran flyer devoted to his duty, Heidemann is a career soldier. He's been fighting since the beginning of the war, and although weary and tired, keeps doing his job. His chief goals are keeping as many planes flying as possible, despite Allied air attacks and supply shortages. He demands that Stachel's ambitions take second fiddle to strategic operations; when he disobeys orders, Heidemann threatens to have him court-martialed. Vogler's performance is excellent, and he walks away with each of his scenes.
Director John Guillermin and Director-of-Photography Douglas Slocombe weave some excellent flying sequences into the film's story. These action scenes are not independent conflicts between German and English fighters - conflicts between characters are developed on the ground and either expanded or settled in the air. The skies have never been bluer, and the vintage aircraft look fantastic as they dive, swoop and strafe enemy columns. The stunt work and special effects are genuine, even some brilliantly-staged crash sequences. Even the work of Guy Hamilton and crew in 1969's "Battle of Britain" pales in comparison to this. The scenes of trench warfare and bombing runs are massive and spectacular. The mud-splattered soldiers, vast fields dotted with rotting corpses and bomb craters, and some hand-to-hand combat has never looked more authentic. Every cent invested in the film was put to good use. Scenes in Berlin - particularly that in the hospital and food riots shot through a moving car window - are historically accurate.
Guillermin isn't afraid to experiment with camera during the discussion scenes. Note how he often places two actors in one room on opposite ends of the frame, simply to capture the scope of the interiors. Marvelous pans show off huge numbers of extras and planes taking off and landing. There's also a long crane shot showing a huge, lavish dining hall at the Von Klugermann's mansion which captures the essence of nobility and aristocracy in one shot.
"The Blue Max" is a brilliantly shot, engaging and wildly entertaining World War I epic which should satisfy any fan of aircraft and war films. This is a must-see DVD, which preserves the CinemaScope ratio (a necessary asset, as pan-and-scan versions detract from the epic look of the picture) and also features a great restored surround-sound track and stunning digital image quality. It's the only acceptable way to see this film in the modern world.
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| Rating | | | Date | May 13, 2005 | | Summary | An Overlooked Gem | Content
| We always see "our side" (i.e., the American side) of wars whenever we watch films. Well, maybe not always, but very often. So it was refreshing to see, not only a movie based on German perceptions, but one also based on WW I instead of WW II.
George Peppard plays Bruno Stachel, an ordinary man from an ordinary family, who gets inducted into the elitist German air corp toward the end of the Great War. The upper echelon fighter jocks are none to pleased to see a dirt poor boy come up into their ranks, but Bruno doesn't much care. What he does care about (in fact, becomes infatuated with) is winning The Blue Max, the German medal for downing 20 enemy planes or more. His focus is so intent on this little scrap of metal that he ignores even his humanity. He'll conquer anything, or anyone, that gets in his way.
A stellar cast outlines this film as well, with James Mason playing a General propagandist, Jeremy Kemp as a rival flyer, and the lovely Ursula Andress who acts as a decadent love interest that is way beyond Bruno's reach.
The movie is outstanding, not only in its casting, but in many other aspects, too. The air battle scenes are amazing (remember, this was filmed in 1966). The plot is incredible in that it shows the dying actions of chivalry that, up to that point, were used during battle. And we have a bit of nudity during what I like to call "the floppy towel scene", when Ursula's character has relations with Peppard's.
Quite an achievement for a film shot so long ago. A visual and mind building feast. |
| Rating | | | Date | April 29, 2005 | | Summary | An apt name | Content
| 1). "Stachel" in German means "thorn" (or its synonyms).
2). The "Blue Max" was the British term for the medal; the
Germans just called it the Pour le Merite.
3). One of the reasons that it is supposedly so desirable for Stachel is the Pour le Merite was given only to officers; the
enlisted men received the Iron Cross in its various grades.
4).The metal monoplane at the end must be the Fokker D VIII
and it was far from a lemon (maybe best plane of the war).
5). In World War II the Germans had enlisted men flying (unlike, say, the Americans) and no distinction about rank determining which medal could be given. More egalitarian maybe.
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