Airport

1970

Action / Drama / Thriller

9
Rotten Tomatoes Critics - Certified Fresh 80%
Rotten Tomatoes Audience - Spilled 54%
IMDb Rating 6.6 10 14930

Synopsis


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Director

Cast

Jacqueline Bisset as Gwen Meighen
Burt Lancaster as Mel Bakersfeld
Dean Martin as Vernon Demerest
George Kennedy as Patroni
720p.BLU 1080p.BLU
980.4 MB
1280*544
English
NR
23.976 fps
2hr 17 min
P/S 3 / 6
2.06 GB
1920*816
English
NR
23.976 fps
2hr 17 min
P/S 3 / 12

Movie Reviews

Reviewed by Paul Kydd 8 / 10

Airport **** (8/10)

Available on Blu-ray Disc (Region B)

USA 1969 English (Colour); Drama/Adventure/Thriller (Universal/Ross Hunter); 137 minutes (PG certificate)

Crew includes: George Seaton (Director/Screenwriter, adapting Novel by Arthur Hailey ***½ [7/10]); Ross Hunter (Producer); Ernest Laszlo (Cinematographer); Alexander Golitzen, E. Preston Ames (Art Directors); Stuart Gilmore (Editor); Alfred Newman (Composer)

Cast includes: Burt Lancaster (Mel Bakersfeld), Dean Martin (Vernon Demerest), Jean Seberg (Tanya Livingston), Jacqueline Bisset (Gwen Meighen), George Kennedy (Joe Patroni), Helen Hayes (Ada Quonsett), Van Heflin (D.O. Guerrero), Maureen Stapleton (Inez Guerrero), Barry Nelson (Anson Harris), Dana Wynter (Cindy Bakersfeld), 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)

Academy Award (1970): Supporting Actress (Hayes); Academy Award nominations (9): Picture, Supporting Actress (Stapleton), Adapted Screenplay, Cinematography, Art Direction-Set Decoration, Film Editing, Original Score, Costume Design (Edith Head), Sound; BAFTA nomination (1970): Supporting Actress (Stapleton); Golden Globe Award (1970): Supporting Actress (Stapleton); Golden Globe nominations (3): Picture - Drama, Supporting Actor (Kennedy), Original Score

"The #1 novel of the year - now a motion picture!"

A harassed airport manager (Lancaster) must contend with numerous professional and personal crises during one fateful night in the midst of a severe snowstorm, when a bomb is detonated inside a passenger jet, co-piloted by his antagonistic brother-in-law (Martin).

The one that started off the 1970s craze for all-star disaster movies, the enormous box-office (if not critical) success of AIRPORT resulted in three more plane-in-peril thrillers, and inspired the classic parody AIRPLANE!, which, by exposing its clichés so mercilessly, more or less killed off the genre it was spoofing.

Despite its soap-opera tendencies, it's great, escapist entertainment, with terrific performances from Hayes (delightful as a geriatric stowaway), Stapleton and Kennedy.

Blu-ray Extras: None. ½ (1/10)

Reviewed by mike48128 9 / 10

Van Heflin is a bad villian and overplays his role. Otherwise, wonderful.

There is no reason that Van Helfin couldn't have exploded his bomb in the isle-way of the plane except it would have been a very short movie. Today with TSA screening such a disaster could not happen, or could it? In almost 50 years, air travel has changed so much. Most credit cards offer some type of travel insurance and maybe there is a vending machine for this at the airport? Also, very few stowaways these days because of gate checks and head counts. The novel is quite a bit "spicier" than the movie, and includes an "over-endowed" counter clerk selling travel insurance. More explicit sexual encounters, also. Alex Haley didn't write "G-Rated books! Several good and great performances. I always thought Helen Haye's performance was over-rated. Both Jean Seberg and Jackie Bisset "sizzle". George Kennedy and Dean Martin are terrific as the "master mechanic" and "wise-guy" pilot who talk to the Boeing 707 like she's a "lady" Parts of it are spellbinding, especially the last half hour. Read the book, if you can find it!

Reviewed by virek213 9 / 10

The Beginning Of The 1970s Disaster Film Craze

If the disaster film genre of the 1970s had an actual starting point, it would most likely have been with the spectacular success in 1968 of Arthur Hailey's best-selling novel Airport, which detailed the major ins and outs of an ultra-busy airport where things like stowaways, stuck aircraft, and security breaches are all in a day's work. The book was such a monstrous success, selling in excess of a million copies within its first year of publishing, that it was almost inevitable that Hollywood would try to make it into a movie. And this is indeed what writer/director George Seaton, who had made the 1947 Christmas classic MIRACLE ON 34TH STREET, did after Universal bought the rights to it and got Ross Hunter (of THOROUGHLY MODERN MILLIE fame) to produce it, with a cast of all-stars. The end result, released in March 1970, would be a box office smash and lead not only to three sequels, but also begin a film genre that would be much maligned by a good deal of film critics into the 21st century.

The setting for Airport is Lincoln International Airport in Chicago on a snowbound winter night. Burt Lancaster portrays the airport's general manager who, on this night, is beset by any number of minor crises, including a brother-in-law (Dean Martin) who needles him about the way he runs the place; a jet stuck in the snow out on the tarmac because its pilot cut the taxiway short; an elderly stowaway (Helen Hayes) causing havoc with security; and problems at home with a wife (Dana Wynter) who gets into an argument over his being far more obsessed with his job than with his home life. He somehow manages to keep it together, thanks to the help of a very reliable staff, including tough-as-nails mechanic Joe Patroni (George Kennedy), who helps to get that stuck 747 out of the snow so that a vital runway isn't clogged for too long (with that runway being closed, jets are forced to take off on a runway right in the path of homes whose owners have complained fiercely about the noise).

This night, however, he is facing another, fare more serious crisis. A mentally unstable and very depressed man (Van Heflin) has managed to get on a flight from Chicago to Rome being piloted by Martin and Barry Nelson; and in his suitcase, the only one he brings onboard (and keeps very close to him) is a bomb. Alerted to this as the flight is passing through the airspace monitored from Cleveland, they try to turn the plane around and head back to Chicago while at the same time trying to find a way to disarm Heflin and not frighten any of the passengers. Unfortunately, Heflin manages to detonate the bomb inside a bathroom, causing significant damage to the plane and injuring several passengers in the bargain, including a pregnant chief stewardess (Jacqueline Bisset). They have to fight the bad weather in the air and make it to Chicago, advising Lincoln Tower that they have to land on the main runway or there's no guarantee that anyone will survive Although clearly meant to be nothing more than old-fashioned Hollywood entertainment (and even in 1970, it definitely looked old-fashioned), AIRPORT, for all its melodramatics and sometimes off-center sense of humor, generated primarily by Hayes' dotty performance as the elderly stowaway (which won her a Best Supporting Actress Oscar), works quite well for what it was intended to be. The performances by Lancaster, Martin, Bisset, Kennedy, and Hayes are all what you'd expect from professionals like them; and the cast includes Larry Gates, Maureen Stapleton, Jean Seberg, Lloyd Nolan, Barbara Hale, and Whit Bissell. Alfred Newman's score (his last; he passed away only a few weeks before the film's release) is also quite good and appropriate (its love theme was turned into a million-selling instrumental hit by studio guitarist Vincent Bell in 1970), and got Newman both an Oscar and a Grammy nomination posthumously.

While a lot of the clichés introduced in this film and tits three subsequent sequels would nauseate critics for most of the rest of the decade, AIRPORT nevertheless moves at a fairly good clip, given that it's close to 140 minutes in length and its special effects are painfully dated in the 21st century age of CGI. It also helps that some of the concerns raised in this movie, which came true in light of 9/11, have somehow managed to keep this film relatively relevant, which is saying something, given how many Hollywood films come and go every year.

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