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3572
|
dbpedia
|
3
| 7
|
https://www.key.aero/article/no-312-squadron-inside-last-dutch-f-16-unit
|
en
|
No 312 Squadron: Inside the last Dutch F-16 unit
|
https://supersocial.fullfatthings.com/i/1/https://www.key.aero/article/no-312-squadron-inside-last-dutch-f-16-unit
|
https://supersocial.fullfatthings.com/i/1/https://www.key.aero/article/no-312-squadron-inside-last-dutch-f-16-unit
|
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[] |
[] |
[
""
] | null |
[] |
2023-05-23T12:00:00+00:00
|
AirForces Monthly visits No 312 Squadron, the Royal Netherlands Air Force’s only fully operational fighter unit and sole remaining employer of the F-16AM/BM (MLU) Fighting Falcon, as it prepares to transition to the F-35A Lightning II
|
en
|
/sites/keyaero/themes/keyaero/favicon.ico
|
Key Aero
|
https://www.key.aero/article/no-312-squadron-inside-last-dutch-f-16-unit
|
Gert Kromhout visits No 312 Squadron, the Royal Netherlands Air Force’s only fully operational fighter unit and sole remaining employer of the F-16AM/BM (MLU) Fighting Falcon, as it prepares to transition to the F-35A Lightning II
The Royal Netherlands Air Force (RNLAF) purchased 213 General Dynamics (now Lockheed Martin) F-16 Fighting Falcons in total, with deliveries starting in 1979 and concluding in 1992. In its heyday, this highly capable multi-role fighter equipped nine RNLAF squadrons.
Today, No 312 Squadron at Volkel Air Base is the last of these nine units to fly the type nicknamed ‘Viper’ and it is also currently the only fully operational fighter squadron in the RNLAF. The unit’s transition to the Lockheed Martin F-35A Lightning II fifth-generation multi-role stealth fighter is due to start in 2024, but in the meantime, the squadron has two very important missions to perform.
No 312 Squadron is responsible for covering two different mission sets. The first regards the protection of Dutch airspace by means of the Quick Reaction Alert (QRA) mission, while the second surrounds the execution of nuclear strike taskings on behalf of the NATO alliance.
While the defence and promotion of the international order remain a cor…
|
||
3572
|
dbpedia
|
2
| 28
|
https://www.spaceforce.mil/News/Article-Display/Article/3462594/daf-leaders-join-royal-air-force-at-royal-international-air-tattoo-2023/
|
en
|
DAF leaders join Royal Air Force at Royal International Air Tattoo 2023
|
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[
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[] |
2023-07-18T00:00:00
|
RIAT is heralded as the largest airshow in the world, typically attracting more than 150,000 spectators over the course of a weekend.
|
en
|
/Portals/2/SPACE-FAV.ico?ver=0maflzXaYc751yVs_ZGQuQ%3d%3d
|
United States Space Force
|
https://www.spaceforce.mil/https%3A%2F%2Fwww.spaceforce.mil%2FNews%2FArticle-Display%2FArticle%2F3462594%2Fdaf-leaders-join-royal-air-force-at-royal-international-air-tattoo-2023%2F
|
Department of the Air Force leaders joined the Royal Air Force and participants from more than 20 other nations for the Royal International Air Tattoo, July 14-16.
RIAT, hosted annually in July, usually at RAF Fairford, is heralded as the largest airshow in the world, typically attracting more than 150,000 spectators over the course of a weekend.
Throughout the event, Secretary of the Air Force Frank Kendall, Air Force Chief of Staff Gen. CQ Brown, Jr., and Chief of Space Operations Gen. Chance Saltzman met with U.S. and international Airmen and Guardians attending the event, conducted bilateral meetings with air and space chief counterparts and held various meetings with industry partners.
Participating in the annual airshow enables DAF leaders to engage face-to-face with allies and partners demonstrating the strength of the air and space forces’ global relationships and express appreciation for the DAF’s bilateral relationship with the RAF.
“Since the inception of the U.S. Air Force, we have always had a strong partnership with the Royal Air Force,” Kendall said. “Over the span of history, that bond now includes our Space Force. RIAT provides a key moment of fellowship and demonstrates our unity with other allies and partners who share our values and appreciate the strength of air and space power.”
While at RIAT, Brown presented a U.S. Legion of Merit medal to his outgoing RAF counterpart, Air Chief Marshal Sir Michael Wigston, for exceptionally meritorious conduct as RAF chief of the Air Staff.
“I was honored to present the Legion of Merit to my friend, Sir Mike Wigston,” Brown said. “We first met nearly ten years ago when he was serving as commander of British Forces Cyprus, and I was the commander, U.S. Air Forces Central Command. Since then, we’ve enjoyed many years of collaboration,” he continued.
“As air chiefs, we signed a Shared Vision Statement that laid the groundwork for our forces to become integrated by design, and I am proud to say our partnership today is firmer than ever. His outstanding leadership as chief of Air Staff was instrumental in deepening and expanding ties between our air forces, and I cannot thank him enough for all the work he has done for both of our nations.”
The U.S Air Force sent numerous assets, including the KC-135 Stratotanker and KC-46A Pegasus, in keeping with RIAT 2023’s theme, “SKYTANKER,” which recognizes the 100th anniversary of aerial refueling.
“RIAT is always a fantastic opportunity to showcase our Airmen, aircraft, and weapons systems,” Brown said. “This year is particularly significant as we recognize a century of achievement in aerial refueling and the benefits it has provided to allied airpower, an increasingly important capability in a changing world. I thank our friends in the RAF for continuing to host this annual celebration of Airpower.”
Saltzman, who arrived in the UK earlier in the week to provide keynote remarks at the Global Air and Space Chiefs Conference in London and participate in various multilateral engagements, seized the opportunity to encourage continued cooperation, coordination, and opportunities for interoperability with allies and partners at RIAT.
“I am extremely proud to be a part of this community of like-minded nations,” Saltzman said. “I very much look forward to continuing to build on our substantial relationships and ensure space operations are effectively integrated into our collective defense.”
While expressing his appreciation for the Space Force’s RAF counterparts, Saltzman emphasized that mutually beneficial partnerships will remain an unmatched asymmetric advantage as the U.S. and its allies work to keep space safe, secure, stable, and sustainable.
|
||||
3572
|
dbpedia
|
1
| 92
|
https://www.vpnavy.com/rn_history.html
|
en
|
Royal Netherlands Navy Maritime Patrol Group History Summary Page
|
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] | null |
[] | null |
VPNAVY is dedicated to the men and women of the United States Navy flying ASW VP/VPB Patrol Aircraft past and present. VPNAVY has attempted to collect every available piece of information via the InterNet. Everything and anything relating to U. S. Navy ASW Patrol Squadrons is posted with permission on pages dedicated to each respective squadron. Currently, over 200 squadrons are represented. Thanks to EVERYONEs contributions, VPNAVYs History and pictures far exceed those currently found on the InterNet.
| null |
Royal Netherlands Navy Maritime Patrol Group (MARPAT)
"...The Dutch "Marineluchtvaartdienst" (MLD - Naval Aviation Service) first expressed her interest in the Lockheed P-3 Orion after the disestablishment of her only aircraft carrier, the HrMs Karel Doorman, in 1968. The ASW-ope- rations were carried out by land-based SP-2H Neptunes and carrier-based S-2F Trackers until then. Following the disestablishment of the Doorman the Dutch government decided to replace the Trackers by land-based ASW aircraft. The navy advised to buy the Lockheed P-3B, but the government forced a political decision and nine French-built Breguet Br1150 "Atlan- tics" were ordered and assigned to VSQ321. In Dutch service, these aircraft were known as SP-13A's. In the meantime the Neptunes remained in service with VSQ320. During 1974 the government planned to replace the Neptunes with 13 new MPA's in 1983. Changed plans almost caused the end of the Marineluchtvaartdienst in 1975, but a new government started an evaluation of available MPA's in 1977. The British Nimrod was one of the candidates, but was dropped because of its high noise-level and operational costs. The second generation Breguet Altantique NG was offered by the French, but was less popular because of two accidents with Dutch SP-13A's in 1973 and 1978. Both aircraft were lost because of steering problems. After the parliament approved the selection of the P-3C-II.V Orion, the government ordered thirteen aircraft from Lockheed, trough a USN FMS-program in December 1978. Preparing for the Orion meant a total refreshment-program for RNLNAS Valkenburg: new workshops, hangars, a mission support centre, and a new air traffic control tower were built, while the runways, taxi-tracks and plat- forms were improved. The first Dutch crew members started a P-3 conversion course with VP-30 at NAS Jacksonville in September 1981. Lockheed delivered the first MLD-Orion to the Dutch Liaison Team with VP-30 in November. After delivery of two more P-3C-II.5's, the first four Orions were ferried to RNLNAS Valkenburg on 21 July 1982 by RNLN and USN pilots. In Dutch airspace the first Orion (# 300) received an escort of the last operational SP-2H Neptune (# 204) and an SP-13A Atlantic (# 258). The Dutch Orions were almost immediately detached to foreign locations for participation in international exercises. One of the highlights was NATO exercise "Ocean Safari" in June 1983. VSQ320 detached four Orions to Lajes at the Azores (Portugal). This was also the first exercise in which Canadian CP-140 Auroras were involved. The Dutch aircraft scored the best results: 22 analysed submarine contacts of which 19 were attacked! The USN and CAF only had 11 contacts and no attacks. The next milestone was the first contact with a Soviet submarine, when a Dutch P-3 operated from NAS Keflavik, Iceland. The 13th and final Dutch P-3 was delivered in September 1984. During this year VSQ320 got the operational status with the Orion. Technical problems with the steering system of the remaining six Atlantics (a third one was lost in 1981) caused the early retirement of the type from MLD-service by the end of 1984. The Atlantics were sold to the French Navy and VSQ321 converted to the P-3. The squadron borrowed aircraft from VSQ320. On 18 October 1985 one of the Dutch Orions (# 312) left Valkenburg to be permanently detached to NAS Keflavik (Iceland). Until today one Dutch Orion remains at Kef. The Dutch navy is participating in USN operations from this northern base. The main mission for the Dutch P-3s used to be ASW of course. But the air- craft were also used for several other kinds of operations. Twice a year an Orion acts as a communications- and SAR-platform for RNLAF F-16s enroute to low-flying exercises in Goose Bay (Canada). The P-3C-II.V was selected for the "Open Skies" project during 1990. The Dutch government intended to use the aircraft to conduct verification flights over Poland. One of the Orions was fitted with a Philips/Usfa "Thermal Imaging System" (the RNLN P-3s do not have IRDS) and evaluated for the "Open Skies" mission. However, The Netherlands teamed up with Belgium and it was decided to use Belgian C-130s instead of Dutch P-3s for this project. During the Gulf War P-3 # 306 was fitted with eight stretchers and eight passenger seats, to evacuate casualties from the area if necessary. A second aircraft would have been available within 24 hours. Fortunately the P-3 ambulances have not been necessary. Several Dutch P-3s have flown to the Gulf area to provide mail, spare parts and supplies to the Dutch frigates in the Gulf and the Dutch military hospital situated in Jebel Ali in the United Arab Emirates. Two Dutch Orions took up residence at NAS Sigonella (Italy) to take over a part of the USN responsibilities for the Mediterranean area as long as USN P-3s were involved directly in the Gulf War. When the Cold War ended, the P-3s became available for new missions. Since 1992 Dutch Orions are conducting anti-narcotics operations over the Caribbean out of Hato airfield on Curacao (one of the Dutch Antilles islands). Originally known as "Operation PC3" (for Command, Control and Communications) the anti-narcotics mission is now called "Operation Fair Trade" and is conducted in close co-operation with the USN/USCG Task Force 4 and the Dutch Air Force 336 Sqn, which operates the Fokker F-27MPA Maritime. Another new kind of mission are the fishery-, pollution- and environmental patrol missions on behalf of the Dutch Coast Guard. These missions are frequently flown over the Dutch territorial part of the North Sea. Police officers join the MLD-crews on these flights. Since July 1992 Orions have been permanently detached to NAS Sigonella. They are the Dutch contribution to the multi-national "Operation Sharp Guard". They are patrolling the Adriatic Sea to maintain the UN embargo against former Yugoslavian states. "Sharp Guard" was the first occasion in which Dutch P-3s were ever operating with "live torpedoes" in their weapons bay. A similar mission was flown over the area around Haiti in support of "Operation Support Democracy". The Dutch contribution for this operation was the frigate HrMs Karel Doorman. A Dutch P-3 with VSQ320 crew 17 assisted with three operational flights. 34 ships were checked by the aircraft. Original plans called for a P-3 "Capability Upkeep Program" (CUP-Orion) in the period 1997-2003. 209,400,000 Dutch Guilders were reserved for this program that should have involved the following items: replacement of the ASQ-114 central computer by the Paramax ASQ-212, installation of TI APS-137 ISAR, ALR-66 ESM and replacement of the ARR-72 acoustic processor by the CDC UYS-503. Other plans included universal display and control stations. Currently the Dutch Ministry of Defense reviews the program..."
|
|||||||
3572
|
dbpedia
|
2
| 74
|
https://www.airtattoo.com/the-airshow/aircraft-and-pilots/confirmed-aircraft/
|
en
|
Confirmed Aircraft at The Royal International Air Tattoo
|
[
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[] |
[] |
[
""
] | null |
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Confirmed Aircraft
|
en
|
/app/src/img/favicons/apple-touch-icon.png
|
https://www.airtattoo.com/the-airshow/aircraft-and-pilots/confirmed-aircraft/
|
At RIAT 2025 we will deliver an eclectic mix of aircraft on both flying and static displays, focusing on our various themes, details of which can be found on the 2025 Themes page.
This aircraft participation list will be updated each Thursday, once written confirmation has been received from the aircraft operator. All aircraft participation at the Royal International Air Tattoo is subject to operational commitments, technical issues, crew availability, weather conditions and other factors.
|
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3572
|
dbpedia
|
2
| 23
|
https://www.royal-house.nl/members-royal-house/king-willem-alexander/education
|
en
|
Education
|
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[] |
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[
""
] | null |
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King Willem-Alexander received his primary education at the Nieuwe Baarnse School in Baarn. He started his secondary education at the Baarns Lyceum and after moving to Huis Ten Bosch Palace in 1981 attended the Eerste Vrijzinnig Christelijk Lyceum in The Hague.
|
en
|
/binaries/content/assets/royalhouse/iconen/favicon.ico
|
https://www.royal-house.nl/members-royal-house/king-willem-alexander/education
|
He completed his secondary education at Atlantic College in Llantwit Major in Wales, where he gained an International Baccalaureate in 1985.
Military service
The King performed his military service in the Royal Netherlands Navy from August 1985 to January 1987. He received training at the Royal Netherlands Naval College in Den Helder, after which he served on board the frigates HNLMS Tromp and HNLMS Abraham Crijnssen. In 1988 he received refresher training, serving as a duty officer on board the frigate HNLMS Van Kinsbergen.
Leiden University
After completing his military service in 1987, the King enrolled as a history student in the Arts Faculty of Leiden University. His studies gave him a wide-ranging knowledge of a broad spectrum of subjects, including general and Dutch history, economic history, political science and constitutional law, EC law, international law, human rights and economics. He was awarded a degree in history in 1993. The King concluded his studies with a dissertation on the Dutch response to France's decision under President de Gaulle to leave NATO's integrated command structure. While he was at university, he was a member of the Minerva students' society.
Royal Netherlands Air Force
After graduating in 1993, King Willem-Alexander gained his Military Pilot's Licence with 334 Transport Squadron of the Royal Netherlands Air Force. In 1994 the King spent several months at the Netherlands Defence College, studying aspects of the work of the Royal Netherlands Army and Air Force.
Preparing to be King
After his studies and his military career, the King completed an intensive programme in which he became familiar with every facet of Dutch society. He studied the constitutional and legal systems and learned how central government and other authorities function. He visited European institutions, Dutch ministries and the High Councils of State. He then went on to complete an extensive introductory programme with the Dutch business community and an Advanced Development Programme at the Kellogg School of Management, Northwestern University, USA.
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https://www.amazon.com/Royal-Netherlands-Navy-World-Vanguard/dp/1472841913
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Amazon.com
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https://www.flightglobal.com/fixed-wing/netherlands-prepares-to-transfer-first-18-f-16s-to-ukraine/156299.article
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en
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Netherlands prepares to transfer first 18 F-16s to Ukraine
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[] |
[] |
[
""
] | null |
[
"Ryan Finnerty",
"Greg Waldron",
"Exclusive partner Honeywell"
] |
2023-12-22T00:00:00
|
Amsterdam says it will make an initial tranche of 18 fighter aircraft available to Ukraine, out of 42 F-16s the Dutch government previously committed to providing the Ukrainian air force from its own fleet.
|
en
|
/magazine/dest/graphics/favicons/favicon-32x32.png
|
Flight Global
|
https://www.flightglobal.com/fixed-wing/netherlands-prepares-to-transfer-first-18-f-16s-to-ukraine/156299.article
|
The Netherlands is preparing to transfer a first tranche of Lockheed Martin F-16 fighter jets to Ukraine.
Saying “there seems to be no end in sight to Russia’s ongoing aggression”, the Dutch defence ministry on 22 December revealed the nation is now moving forward with the transfer, to which the government had committed in August.
“The first Dutch F-16s are being prepared for delivery to Ukraine,” defence minister Kajsa Ollongren says. “With these fighter jets, we will strengthen the Ukrainian air force.”
The announcement partially fulfils the Netherlands’ earlier pledge to provide the Ukrainian air force (UAF) with 42 F-16s from the Royal Netherlands Air Force (RNLAF) fleet. Denmark concurrently committed to transfer 19 of its F-16s to Kyiv.
Both NATO members are in the process of acquiring fifth-generation Lockheed F-35 fighters to replace their F-16s.
The RNLAF already operates at least 26 F-35As, according to Cirium fleets data, with 18 more examples on order. Dutch defence ministry figures list 33 F-35s in active service, with orders for 19 more.
The first Danish F-35As were delivered to the Royal Danish Air Force’s Fighter Wing Skrydstrup last September.
Denmark and the Netherlands, along with the USA, have been conducting sustainment and pilot training for Ukrainian personnel in preparation for the planned F-16 handover.
Washington, which has export authority over the American-made fighter, was reluctant to approve a transfer of the complex and expensive aircraft.
However, the commitments from the Netherlands and Denmark eventually succeeded in convincing the US to support the so-called “fighter coalition”.
In August, American diplomats outlined terms for the transfer, which included the completion of fight training and establishing sufficient logistical capability to support and maintain the sensitive single-engined fighters.
Those conditions appear to have been met, at least enough to support the operation of some F-16s by the UAF.
The Dutch defence ministry says the November opening of a European F-16 training centre in Romania also factored into the decision to move forward with the transfer.
“The cabinet has decided to ready the F-16s, personnel and budget can be allocated to prepare for the delivery,” it says.
No timeline was provided for the delivery.
The development comes as Ukraine is struggling to sustain its war effort, amid heavy casualties from the attempted summer counter-offensive and flagging support for Kyiv in the US Congress.
By contrast, the Netherlands continues to express unequivocal support for the beleaguered Ukraine.
“The ongoing Russian aggression requires our unwavering support,” says Ollongren.
“Dutch support for Ukraine will therefore continue unabated,” the defence ministry confirms. It notes that all its F-16s will be inspected, and if necessary modified or overhauled, before the fighters are turned over to Ukraine.
Story updated 26 December with additional fighter inventory data from the Dutch government
|
||||
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|
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3
| 79
|
https://sldinfo.com/2018/05/royal-netherlands-air-force-receives-new-uav-simulator-a-contribution-from-the-european-defence-agency/
|
en
|
Royal Netherlands Air Force Receives New UAV Simulator: A Contribution from the European Defence Agency
|
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[] |
[] |
[
""
] | null |
[
"Robbin Laird"
] |
2018-05-29T04:40:30+00:00
|
The Royal Netherlands Air Force (RNLAF) 306 Squadron at Leeuwarden Air Base received a desk-top simulator for UAV training. The simulator is part of the Medium Altitude Long Endurance (MALE) Remotely Piloted Air System (RPAS) Training Technology Demonstrator (TTD) project managed by the European Defence Agency (EDA) and is part of a network of training […]
|
en
|
Second Line of Defense
|
https://sldinfo.com/2018/05/royal-netherlands-air-force-receives-new-uav-simulator-a-contribution-from-the-european-defence-agency/
|
The Royal Netherlands Air Force (RNLAF) 306 Squadron at Leeuwarden Air Base received a desk-top simulator for UAV training.
The simulator is part of the Medium Altitude Long Endurance (MALE) Remotely Piloted Air System (RPAS) Training Technology Demonstrator (TTD) project managed by the European Defence Agency (EDA) and is part of a network of training simulators for unmanned aircraft.
The MALE was established to provide up to nine networked procedural trainers to the MALE RPAS community.
The multinational European MALE RPAS shares operational experience and maintenance of similar assets, logistics, training, doctrine, concepts and procedures.
Participating countries can share information and experiences directly with each other.
|
|||||
3572
|
dbpedia
|
2
| 19
|
https://www.statista.com/statistics/1033420/equipment-of-the-royal-netherlands-air-force/
|
en
|
Royal Netherlands Air Force: equipment, by category 2018
|
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[] |
[] |
[
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] | null |
[] | null |
This statistic displays the equipment of the Royal Netherlands Air Force in 2018, by category.
|
en
|
Statista
|
https://www.statista.com/statistics/1033420/equipment-of-the-royal-netherlands-air-force/
|
Services
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3572
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0
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https://military-history.fandom.com/wiki/Prince_Bernhard_of_Lippe-Biesterfeld
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en
|
Prince Bernhard of Lippe-Biesterfeld
|
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[] |
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[
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] | null |
[
"Contributors to Military Wiki"
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2024-08-14T13:00:00+00:00
|
Prince Bernhard of Lippe-Biesterfeld (Prince Bernhard Leopold Frederik Everhard Julius Coert Karel Godfried Pieter of Lippe-Biesterfeld) (German language: Bernhard Leopold Friedrich Eberhard Julius Kurt Karl Gottfried Peter Prinz zur Lippe-Biesterfeld; 29 June 1911 – 1 December 2004), later...
|
en
|
/skins-ucp/mw139/common/favicon.ico
|
Military Wiki
|
https://military-history.fandom.com/wiki/Prince_Bernhard_of_Lippe-Biesterfeld
|
Prince Bernhard of Lippe-Biesterfeld (Prince Bernhard Leopold Frederik Everhard Julius Coert Karel Godfried Pieter of Lippe-Biesterfeld) (German language: Bernhard Leopold Friedrich Eberhard Julius Kurt Karl Gottfried Peter Prinz zur Lippe-Biesterfeld; 29 June 1911 – 1 December 2004), later Prince Bernhard of the Netherlands, was the husband of Queen Juliana of the Netherlands and father of her four children, including the former monarch Queen Beatrix.
Although his private life was rather controversial, he was still generally regarded as a charming and popular figure by the majority of the Dutch for his performance as a combat pilot and his activities as a liaison officer and personal aide to the Queen during World War II and for his work during post-war reconstruction.
During World War II the German-born prince was part of the London-based Allied war planning councils and an active RAF wing commander flying both fighter and bomber planes into combat. He was a Dutch general and supreme commander of the Dutch Armed forces, involved in negotiating the terms of surrender of the German army in the Netherlands.
For proven bravery, leadership and loyalty during his wartime efforts he was awarded the rank of knight commander in the chivalric Military William Order, the oldest and highest honour in the Netherlands. After the War he was also made honorary Air Marshal of the RAF by Queen Elizabeth II. In 1969, Bernhard was awarded the Grand Cross, Special Class of the Order of Merit of the Federal Republic of Germany.
Bernhard helped found the World Wildlife Fund (later renamed World Wide Fund for Nature), becoming its first president in 1961, and in 1970 establishing the WWF's "1001 Club: A Nature Trust", as a fundraiser. In 1954, he was a co-founder of the international Bilderberg Group, which has met annually since then to discuss corporate globalization and other issues concerning Europe and North America. He was forced to step down from both groups after being involved in the Lockheed Bribery Scandal.
Early life[]
Bernhard was born Bernhard Leopold Friedrich Eberhard Julius Kurt Karl Gottfried Peter Graf von Biesterfeld in Jena, Saxe-Weimar-Eisenach, German Empire, the elder son of Prince Bernhard of Lippe (younger brother of Leopold IV, Prince of Lippe, the reigning Prince of Lippe) and Armgard of Sierstorpff-Cramm. Because the marriage of his parents did not properly conform to the marriage laws of the House of Lippe and was therefore morganatic, Bernhard was born with the title of "Count" only. In 1916, the Reigning Prince of Lippe, Leopold IV, granted Bernhard and his mother the title of "Prince / Princess of Lippe-Biesterfeld" and made the marriage of his parents dynastic retroactively.[1]
After World War I, Bernhard's family lost their German principality and the revenue that had accompanied it. But the family was still wealthy and Bernhard spent his early years at Reckenwalde, the family's new estate in East Brandenburg thirty kilometers east of the River Oder, (now the village of Wojnowo, Lubusz Voivodeship in Poland), near the city of Züllichau (Sulechów). He received his early education at home. When he was twelve, he was sent to board at the gymnasium in Züllichau and several years later to board at a gymnasium in Berlin, from which he graduated in 1929.
Bernhard suffered from poor health as a boy. Doctors predicted that he would not live very long. This prediction might have been the key to Bernhard's reckless driving and the risks that he took in the Second World War and thereafter. The prince wrecked several cars and planes in his lifetime.
Bernhard studied Law at the University of Lausanne, Switzerland and in Berlin, where he acquired a taste for fast cars, horse riding, and big-game hunting safaris. He was nearly killed in a boating accident and an airplane crash, and he suffered a broken neck and crushed ribs in a 160 km/h (100 mph) car crash in 1938.
While at university, Bernhard joined the Nazi Party. He also enrolled in the Sturmabteilung, which he left in 1934 when he graduated.[2] The Prince later denied that he had belonged to SA and to the Reiter-SS (SS Cavalry Corps), but these are well-documented memberships. Nevertheless, while he was not a fierce champion of democracy, the Prince was never known to hold any radicaldisambiguation needed political views or express any racist sentiments[citation needed]. The Prince eventually went to work for the German chemical giant IG Farben, then the world’s fourth-largest company (which survives today as BASF, AGFA, and Bayer). He lodged with the exiled Russian nobleman Count Pavel Kotzbue and his wife the American-born Allene Tew. After training, Bernhard became secretary to the board of directors at the Paris office in 1935.
Marriage and children[]
Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, was searching for a suitable husband for Juliana. As a Protestant of royal rank (the Lippe-Biesterfelds were a sovereign house in the German Empire), Bernhard was acceptable for the strictly religious Wilhelmina. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced in 1936, and they were married in The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship, and changed the spelling of his names from German to Dutch. The prince who was styled a Serene Highness, became a Royal Highness by Dutch Law. His appropriateness as consort of the future Queen would later become a matter of some public debate.
Prince Bernhard was father of six children, four of them with Queen Juliana. The eldest daughter is the former Queen of the Netherlands, Beatrix (1938). His other daughters with Juliana are Irene (1939), Margriet (1943) and Christina (1947).
He had two illegitimate daughters. The first is Alicia von Bielefeld (born 21 June 1952), whose mother has not been identified. A landscape architect, she lives in the United States. Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris in 10 July 1967), is his child by the French socialite and fashion model Hélène Grinda.[3] Although rumours about these two children had already spread, it was made official after his death.
Attitudes to Nazi Germany[]
Various members of his family and friends were aligned with the Nazis prior to the war, and a number of them attended the wedding. Protocol demanded that the prospective prince-consort be invited to an audience with his head of state, who at the time was Adolf Hitler. Hitler himself gives a rendering of the conversation he had with Bernhard in his Tischgespräche (Table Conversations). Table Conversations was a collection of monologues, remarks, and speeches Hitler gave during lunch or dinner to those invited to the table by him. Bernhard himself called Hitler a tyrant in a public speech on the BBC on 25 June 1940 after France fell to Germany.[citation needed]
The Prince’s brother, Prince Aschwin of Lippe-Biesterfeld, was an officer in the German army. Although the secret services on both sides were interested in this peculiar pair of brothers, no improper contacts or leaks of information were discovered. The Prince showed himself to be a loyal Dutch citizen and officer. He cut off relations with the members of his family who were enthusiastic Nazis. As a sign of his "Dutchness" he spoke only Dutch when negotiating the surrender of German forces in the Netherlands. The Prince was known to be very fond of smart uniforms and medals. He made a point of wearing his medals in the English court style, even though members of the Dutch armed forces wear their medals in the Prussian style.[citation needed]
The Prince’s mother was no admirer of the Nazis and got into trouble for refusing to hoist the swastika flag on her country seat at Reckenwalde.
World War II[]
Prince Bernhard began to make himself popular in the eyes of the Dutch people at the outset of World War II. During the German Invasion, the Prince, carrying a machine gun, allegedly organised the palace guards into a combat group and shot at German planes. The Royal Family fled the Netherlands and took refuge in England. In disagreement with Queen Wilhelmina's decision to leave the Kingdom, the young prince consort, aged 28, is said to have initially refused to go and wanted to oppose the Nazi occupation from within its borders, but eventually agreed to join her as head of the Royal Military Mission based in London. Once safely there, his wife Princess Juliana and their children went on to Canada, where they remained until the end of the war.
In England, Prince Bernhard asked to work in British Intelligence but the War Admiralty, and later General Eisenhower's Allied Command offices, did not trust him sufficiently to allow him access to intelligence information. However, on the recommendation of Bernhard's friend and admirer, King George VI, who was also of German aristocratic descent via his great-grandfather Prince Albert of Saxe-Coburg and Gotha, and after being personally screened by intelligence officer Ian Fleming on behalf of Churchill, he was later permitted to work in the Allied war planning councils.
"For Bernhard, the Prince of the Netherlands, the war was a frustrating business. Born a German, he had married Queen Wilhelmina's only child, Princess Juliana, and in due time made a conscious and meaningful transition of loyalties to his new fatherland. Because of this, and in view of the doubts his background initially evoked among some Britons, he longed more than anyone for a chance to get at Holland's aggressors." Erik Hazelhoff Roelfzema aka Soldier of Orange, decorated war hero.[4]
On 25 June 1940, three days after France fell to the German war machine, Bernhard spoke on the Overseas Service of the BBC, calling Hitler a German tyrant and expressing his confidence that Great Britain would defeat the Third Reich.
In 1940, Flight Lieutenant Murray Payne instructed the prince to fly a Spitfire. The Prince made 1,000 flight-hours in a Spitfire with the RAF's 322 "Dutch" squadron wrecking two planes during landings. He remained an active pilot throughout his life and flew his last airplane 53 years later, with his grandson and heir to the throne, who inherited his passion for flying.
In 1941, Prince Bernhard was given the honorary rank of wing commander in the Royal Air Force. As "Wing Commander Gibbs (RAF)", Prince Bernhard flew over occupied Europe, attacking V-1 launch pads in a B-24 Liberator, bombing Pisa and engaging submarines over the Atlantic in a B-25 Mitchell and conducting reconnaissance over enemy-held territory in an L-5 Grasshopper. Prince Bernhard was awarded the Dutch Airman's Cross for his "ability and perseverance" (Dutch: "bekwaamheid en volharding").[5]
He also helped organise the Dutch resistance movement and acted as personal secretary for Queen Wilhelmina.
Queen Wilhelmina erased the word "honorary" (the exact words were " à la suite") in the decree that promoted Bernhard to General. In this unconstitutional manner, she gave this Royal Prince a position that was never intended by either Parliament or her ministers. The minister of defence did not choose to correct the Monarch and the Prince took a real and important role in the Dutch Armed forces.
By 1944, Prince Bernhard became Commander of the Dutch armed forces. After the liberation of the Netherlands, he returned with his family and became active in the negotiations for the German surrender. He was present during the armistice negotiations and German surrender in Hotel de Wereld ("The World Hotel") in Wageningen in The Netherlands on 5 May 1945, where he avoided speaking German.[6][7] The Prince was a genuine war hero in the eyes of most of the Dutch and even kept cordial relations with the communists who fought against the Nazis. In the post-war years he earned respect for his work in helping to reinvigorate the economy of the Netherlands.
Postwar roles[]
After the war, the position of Inspector General was created for the Prince.
He was made a member of the boards of supervisors of Fokker Aircraft and KLM Royal Dutch Airlines, and within a few years he had been invited to serve as an adviser or non-executive director of numerous corporations and institutions. There have been claims about KLM helping Nazis to leave Germany for Argentina on KLM flights while Bernhard was on its board.[8] After a 1952 trip with Queen Juliana to the United States, Prince Bernhard was heralded by the media as a business ambassador extraordinaire for the Netherlands.[9]
With his global contacts, Bernhard in May 1954, was a key figure in organising a meeting at the Bilderberg Hotel in the Netherlands for the business elite and intellectuals of the Western World to discuss the economic problems in the face of what they characterized as the growing threat from Communism. This first meeting was successful, and it became an annual gathering known as the Bilderberg Group. The idea for the European Union, first proposed by Robert Schuman on 9 May 1950, was encouraged at Bilderberg.
Prince Bernhard was a very outspoken person who often flouted protocol by remarking upon subjects about which he felt deeply. Almost until his last day he called for more recognition for the Polish veterans of the Second World War who had figured greatly in the liberation of the Netherlands, but only after his death did the Dutch government decide to publicly recognize the important role of the Polish army in the liberation:[citation needed] on 31 May 2006, at the Binnenhof in The Hague, Her Majesty Queen Beatrix conferred the Order of William, the highest Dutch military decoration, on the Polish 1st Independent Parachute Brigade.
Scandals and insinuations[]
The Hofmans Affair[]
In the middle of the 1950s, Prince Bernhard was involved in what some considered a personal vendetta against Greet Hofmans, a faith healer and layer-on of hands. For nine years she was a friend and adviser of Queen Juliana, often residing at Palace Soestdijk. Originally, Hofmans was introduced to Queen Juliana on the initiative of Prince Bernhard in 1948 to treat the eye sickness of Princess Marijke Christina. This illness arose because Juliana was infected with rubella during pregnancy. Hofmans developed a great influence on the Queen, encouraging pacifist ideas. In the period of the Cold War this caused a crisis in the royal household. Reputedly it reached the point where it threatened the marriage of Juliana and Bernhard.
Outside the Netherlands, a great deal was written about the Hofmans affair. On 13 June 1956, an article appeared in the German magazine Der Spiegel with the title Zwischen Königin und Rasputin – "between the queen and her Rasputin", which painted a less-than-flattering picture of Hofmans. Later, Bernhard admitted that he personally provided the information for the article. It is thought that by doing this he hoped to have Hofmans removed from the court. The Prime Minister, Willem Drees, had to act and appointed a committee of "three wise men" (elder statesmen) to advise the royal couple. The Prince got what he wanted; Hofmans was banished, and various friends and supporters of the Queen in the Royal Household had to give up their office.
In 2008 the report of the "three wise men" has been made public and is part of the book "Juliana & Bernhard" by historian Fasseur, who was also granted access to the private royal archive by the Queen. Bernhard was reprimanded for leaking confidential information to the international press, but although both Juliana and the Queen Mother Wilhelmina mention their fear of a "German putsch" (i.e. Juliana's abdication followed by Bernhard's rule on behalf of their adolescent oldest daughter and successor to the throne) Juliana was forced to break all relations with Hofmans.
The book attempts to rehabilitate Bernhard, describing how the prince only resorted to bringing in the international press after repeated, desperate and often dramatic pleading with his wife to distance herself from the Hofmans clan. Fasseur said: "Bernard was obviously a free spirited chap, who independently went about his business. But he was still very much a family man. I got the feeling he was the only one that was seeing things were getting completely out of hand and tried to salvage the situation as much as he could."[11]
The royal family did not edit the book, nor did they have a preview before its printing. But after reading it they endorsed its accounts of the developments that led to Hofmans’ dismissal.
The Lockheed Scandal[]
Scandal rocked the Royal Family in 1976 when it was revealed that Prince Bernhard had accepted a US$1.1 million bribe from U.S. aircraft manufacturer Lockheed Corporation to influence the Dutch government's purchase of fighter aircraft. At the time he had served on more than 300 corporate boards and committees worldwide and had been praised in the Netherlands for his efforts to promote the economic well-being of the country. Prime Minister of the Netherlands Joop den Uyl ordered an inquiry into the Lockheed affair, while Prince Bernhard refused to answer reporters' questions, stating: "I am above such things".[12]
The Dutch and international press headlined the stories for months, providing proof of Prince Bernhard's Reiter SS membership and details of his numerous extramarital affairs, including the purchase of a luxurious Paris apartment for his mistress Hélène Grinda, with whom he had an illegitimate daughter, Alexia. (Bernhard also had a second illegitimate daughter, Alicia, in the USA.)
On 26 August 1976, a toned-down, but nonetheless devastating, report on Prince Bernhard's activities was released to a shocked Dutch public. The Prince's own letter of 1974, to Lockheed Corporation, demanding "commissions" be paid to him on Dutch government aircraft purchases was very damaging evidence of improper conduct by the inspector-general of the Dutch armed forces. Criminal charges were not pressed by the government out of respect for Queen Juliana, whose later abdication was tacitly understood to be directly related to her husband's conduct.[citation needed]
Prince Bernhard resigned as inspector-general of the Dutch armed forces. This meant that he was not allowed to wear a uniform in public, but it did not stop him from attending the 1979 funeral of Lord Mountbatten in London in full colours.
Prime Minister Joop den Uyl made a statement in parliament and told the delegates that the Prince would also resign from his various high-profile positions in businesses, charities, and other institutions. The Dutch states-general voted against criminal prosecution. Prince Bernhard turned over the presidency of the international World Wildlife Fund to Prince Philip, Duke of Edinburgh. The Dutch Royal family worked hard to rehabilitate the Prince's name, though other scandals were to be revealed in later years.
Project Lock[]
In 1988, Prince Bernhard and Princess Juliana sold two paintings from their personal collection to raise money for the World Wildlife Fund. The paintings sold for GBP700,000, which was deposited in a Swiss WWF bank account. In 1989, however, Charles de Haes, director-general of the WWF, transferred GBP500,000 back to Bernhard, for what De Haes called a private project. In 1991, newspapers reported what this private project was: Prince Bernhard had hired KAS International, owned by Special Air Service founder David Stirling, to use mercenaries – mostly British – to fight poachers in nature reserves.[13] The paramilitary group infiltrated organisations profiting from illegal trade in ivory in order to arrest them.
This Project Lock seemed to have backfired enormously, however. Bernhard’s private army had not only infiltrated in the illegal trade, they were also participating in it. To make things worse, Irish reporter Kevin Dowling discovered that the South African army was also involved in the trade, hinting at connections between the Bernhard’s army and the WWF and the struggle for maintaining apartheid. Moreover, he claimed members of the South African-run counterinsurgency unit Koevoet (Afrikaans and Dutch for "crowbar") had been trained under Project Lock.
In 1995, Nelson Mandela called upon the Kumleben Commission to investigate, among other things, the role of the WWF in apartheid South Africa. In the report that followed, it was suggested that mercenaries from Project Lock had planned assassinations of ANC members and that mercenaries had been running training camps in the wildlife reserves, training fighters from the anti-communist groups UNITA and Renamo. Although Prince Bernhard was never accused of any crime in its context, the Project Lock scandal dealt another damaging blow to the Prince's name.
Other controversies[]
Yet more controversy came on 30 October 2002, when he paid the fines of two Albert Heijn supermarket staff members, who were convicted of assaulting a shoplifter after they detained him.
In an interview published after his death, on 14 December 2004, Prince Bernhard admitted that he had accepted more than one million dollars (US) in bribes from Lockheed. He acknowledged it was a mistake and claimed that all of the money went to the WWF. He said: "I have accepted that the word Lockheed will be carved on my tombstone."[14] He also admitted to having fathered two illegitimate daughters in the years following his marriage.[15]
In February 2008, Joop den Uyl's biography claimed that the official report investigating the Lockheed bribe scandal also presented proof that the Prince had accepted money from yet another aerospace firm: Northrop. The former Prime Minister claimed he had not made the information public to protect the Dutch monarchy.[16]
The 2009 publication HRH: High Stakes at the Court of His Royal Highness by historian Harry Veenendaal and journalist Jort Kelder alleges that the prince in 1950 attempted to oust the young government of the newly founded Republic of Indonesia and place himself at the head of the Islands as viceroy similar to Lord Mountbatten's role in British India. This was particularly contentious as in 1949 the Netherlands had already officially recognised its former colony as an independent nation.[17]
Death[]
In 1994 he had a colon tumor removed and suffered severe complications due to respiratory distress. In December, his daughter Queen Beatrix rushed to the hospital straight after landing from a trip to Africa. By Christmas the prospect of death had faded and spring the next year he recovered enough to go home. His health problems continued in 1998 when he had a prostate swelling and in 1999 when he suffered difficulties breathing and talking. He did, however, attend the wedding of his grandson, right after having prostate surgery. In 2000, his life was endangered again when he suffered neurological complications and continued breathing problems. Two days after intensive medical (and media) attention the Royal Press Office issued a statement the Prince was reading newspapers again.
Over the following years Bernhard continued to shine at the military parades on the national liberation day celebrating the defeat of Nazi Germany. Only when his wife Juliana died in March 2004 the terribly upset Prince became exceedingly fragile. Up to the last moment it remained uncertain if he could attend the Royal funeral, which he eventually managed to attend. He said his final farewells to his war comrades on liberation day in May and in November that same year he was diagnosed with untreatable cancer.[18]
Prince Bernhard died of cancer at the age of 93 in an Utrecht hospital (the Universitair Medisch Centrum Utrecht – University of Utrecht Medical Centre) on 1 December 2004; until his death he suffered from malignant lung and intestinal tumors. On 11 December 2004, he was interred in a lavish state funeral at the Nieuwe Kerk, Delft. Bernhard's funeral was different from those of Prince Claus and Queen Juliana in that Bernhard's coffin was transported on the undercarriage of a cannon instead of in the traditional carriage used when the coffins of Prince Claus and Queen Juliana were transported to Delft. Together with the playing of many military marches and the forming of guards of honour by Second World War veterans this gave the funeral procession a military character as the late Prince, a Second World War veteran, had wished. As a final tribute to his former military role in the Royal Netherlands Air Force, three modern F-16 jet fighters and a World War II Spitfire plane performed a low fly-by during the funeral in a classic missing man formation.
Contemporary media coverage and popular culture[]
In the years after Bernhard died his life story still fascinates many and is the inspiration for literature, theatre, television and even comic books.[19] In 2010 fact and fiction of the life of Bernhard was portrayed in a Dutch television series. In a biographical dissertation by Dutch journalist and historian Annejet van der Zijl published in March 2010, Bernhard was called "a failure" in the history of the Dutch Royal Family and a "creature of his own myths".[20]
Titles and styles[]
29 June 1911 – 1916: Count Bernhard of Biesterfeld
1916 – 7 January 1937: His Serene Highness Prince Bernhard of Lippe-Biesterfeld
7 January 1937 – 6 September 1948: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld[21]
6 September 1948 – 30 April 1980: His Royal Highness The Prince of the Netherlands
30 April 1980 – 1 December 2004: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
Military ranks[]
Royal Netherlands Army
Captain (1936–1942)
Major general (1942–1943)
Lieutenant general (1943–1945)
General (1945–1976)
Royal Netherlands East Indies Army
Captain (1940–1943)
Lieutenant general (1943–1945)
General (1945–1950)
Royal Netherlands Air Force
General (1953–1976)
Royal Netherlands Navy
Lieutenant commander (1936–1940)
Captain (1940–1942)
Rear admiral (1942–1943)
Vice admiral (1943–1945)
Lieutenant admiral (1945–1976)
Royal Air Force
Honorary Air commodore (1941–1964)
Honorary Air marshal (1964–2004)
Royal New Zealand Air Force
Honorary Air commodore (1948–2004)
Retired from Active duty (1945)
Honorable discharge from the Armed forces of the Netherlands (1976)
Honours and awards[]
On 15 September 1964, Queen Elizabeth II appointed Prince Bernhard to the honorary rank of Air Marshal in the Royal Air Force.[22]
Dutch decorations
Grand Master of the Order of the Golden Ark
Grand Master and Knight of the Order of St. John of the bailiwick of the Netherlands
Commander of the Military William Order
Knight Grand Cross of the Order of the Netherlands Lion
Knight of the Order of the Gold Lion of the House of Nassau
Knight Grand Cross of the Order of the House of Orange
Airman's Cross
Foreign Decorations
Grand Star of the Decoration for Services to the Republic of Austria (1961) [23]
Knight Grand Cross of the Order of the Liberator General San Martín (Argentina)
Grand Cordon of the Order of Leopold (Belgium)
Croix de guerre 1939-1945 with palm (Belgium)
Knight Grand Cross of the National Order of the Southern Cross (Brazil)
Knight Grand Cross of the Order of the Star of Karađorđe (House of Karađorđević)
Knight Grand Cross of the Order of Valour (Cameroon)
Collar of the Order of Merit (Chile)
Czechoslovak War Cross 1939-1945
Grand Cross of the Order of Boyacá (Colombia)
Grand Cross with gold star of the Military Order of the Cross of San Carlos (Colombia)
Knight Grand Cross of the National Order of the Ivory Coast
Knight of the Order of the Elephant (Denmark, 1946)
Knight Grand Cross of the Order of Merit of Ecuador (Ecuador)
Knight of the Order of Abdon Calderón, 1st class (Ecuador)
Commander Grand Cross of the Order of the White Rose of Finland
Grand Cross of the Legion of Honour (France)
Commander of the Ordre des Palmes Académiques (France)
Croix de guerre 1939-1945 (France)
Médaille de l'Aéronautique (France)
Knight Grand Cross of the Order of the Redeemer (Greece)
Knight Grand Cross of the Order of the Seal of Solomon (Empire of Ethiopia)
Knight Grand Cross of the Order of the Queen of Sheba (Empire of Ethiopia)
Grand Cordon of the Order of Pahlavi (Empire of Iran)
Knight Grand Cross of the Order of Mahaputera (Indonesia)
Knight Grand Cross with Grand Cordon of the Order of Merit of the Italian Republic (23 October 1973)
Grand Star of the Order of the Yugoslav Star
Grand Cordon of the Order of the Pioneers of the Republic (Liberia)
Knight Grand Cross of the Order of the Star of Africa (Liberia)
Knight Grand Cross of the Order of the Oak Crown (Luxembourg)
War Cross, 1939-1945 (Luxembourg)
Collar of the Order of the Aztec Eagle (Mexico)
Member of the Order of Ojaswi Rajanya (Nepal)
Grand Cross with Silver Star of the Order of Ruben Dario (Nicaragua)
Knight Grand Cross of the Royal Norwegian Order of St. Olav
Collar of the National Order of Merit of Paraguay
Knight Grand Cross of the Order of the Sun with diamonds (Peru)
Special Knight Grand Cross of the Order of Merit of Peru
War Cross 1940, 3rd class (Kingdom of Greece)
Knight Grand Cross of the Order of the Bath (United Kingdom)
Knight Grand Cross of the Royal Victorian Order (United Kingdom)
Knight Grand Cross of the Order of the British Empire (United Kingdom)
Bailiff Grand Cross of the Venerable Order of St. John (United Kingdom)
King George VI Coronation Medal (United Kingdom, 1937)
Queen Elizabeth II Coronation Medal (United Kingdom), 2 June 1953
France and Germany Star (United Kingdom)
Defence Medal (United Kingdom)
Knight Grand Cross of the Order of Merit of Duarte, Sanchez and Mella (Dominican Republic)
Special class of the Grand Cross of the Order of Merit of the Federal Republic of Germany (West Germany, 24 November 1969)
Knight Grand Cross of the Order of August 23 (Romania)
Knight Grand Cross of the Order of the National Lion (Senegal)
Knight Grand Cross of the Order of Pius IX (Holy See)
Bailiff Grand Cross of Honour and Devotion of the Sovereign Military Order of Malta
Knight Grand Cross of the Order of Charles III (Spain)
Grand Cordon of the Honorary Order of the Yellow Star (Suriname)
Knight of the Royal Order of the Seraphim (Sweden)
Knight, First Class of the Order of Clouds favorable (Taiwan)
Knight of the Order of the Royal House of Chakri (Thailand)
Grand Cordon of the Order of Independence (Tunisia)
Chief Commander of the Legion of Merit (USA)
Bronze Star Medal (USA)
World War II Victory Medal (USA)
Grand Cordon of the Order of the Liberator (Venezuela)
Ancestry[]
References[]
[]
Official Biography (Summary) Official Dutch Royal Website
Prince Bernhard takes delivery of his second Corgi
Dutch Royal House official website
The World Wildlife Fund website
Official memorial
Article about Prince Bernhard during World War II on Go2War2 (Dutch)
The Mars en Mercurius website
Historic video footage Montgomery visit 1945.
Historic video footage Churchill visit 1946.
Historic video footage Eisenhower visit 1951.
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Learn more how we supported the Royal Netherlands Air Force with our subject matter expertise
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https://www.exsyn.com/cases/royal-netherlands-air-force
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Situation
The Royal Netherlands Airforce (RNLAF) operates and maintains several different aircraft, helicopters and weapons systems. Central depot maintenance is responsible to ensure continued fleet availability towards operating bases. However different systems are used within the organization to track maintenance execution on fleet types. This makes it difficult to gain an overall overview on fleet status, maintenance turnaround times, aircraft availability and bottlenecks in the maintenance process that impact aircraft availability.
Solution
Specialist of EXSYN collaborated with system specialists from the RNLAF in order to establish a detailed solution design for a custom build analytics dashboard. Prior to building the dashboard definitions were established for metrics to display per fleet type, formulas to be used as well as underlying data mapped to the new dashboard. The solution design document was delivered to the RNLAF to initiate the development of their mission critical dashboard.
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The Royal Netherlands Air Force Historic Flight Written by Henry Simpson, Young Historians Program founder Formed in 1969 by a mix of former and active Royal Netherlands Air Force pilots operating Piper J3 Cubs, the Royal Netherlands Air Force Historic Flight is now over 50 years old. Sander van der Hall is the head of relations for the Flight and he spoke to me about the Flight and the challenges they are facing in keeping the historic fleet airworthy.Compared to its humble beginnings the Fligh
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https://www.ddaysquadron.org/post/the-royal-netherlands-air-force-historic-flight
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Written by Henry Simpson, Young Historians Program founder
Formed in 1969 by a mix of former and active Royal Netherlands Air Force pilots operating Piper J3 Cubs, the Royal Netherlands Air Force Historic Flight is now over 50 years old. Sander van der Hall is the head of relations for the Flight and he spoke to me about the Flight and the challenges they are facing in keeping the historic fleet airworthy.
Compared to its humble beginnings the Flight “has developed itself over the past 50 years. We now have 26-27 aircraft, not all are flying but we hope to have half or over half flying soon depending on maintenance.” In addition, he elaborates that “we have 300 volunteers now” showing the size of the organization today.
Those who have seen the Flight perform at air displays will know their most famous aircraft. “The Spitfires and B-25 Mitchell are the crown jewels that we have” Sander remarks.
The first of the Spitfires, D-Day Veteran Mk.IX, MK732, was acquired by the Dutch Spitfire Flight in the early 1980’s and rebuilt to celebrate 322 (Dutch) Squadron RAF. Though they succeeded in returning the aircraft to Flight in 1993, costs eventually led to its incorporation into the Air Force and the Historic Flight in 1998 and the aircraft is still owned by the Royal Netherlands Air Force today, meaning only those who are active or recently retired Air Force pilots can fly it.
Sander highlights that all the aircraft are civilian registered though some of the fleet are owned by the military and operated by the Flight, which is a private organization, unlike their British counterparts, the Battle of Britain Memorial Flight, which is an actual RAF Squadron.
The Flight’s other active Spitfire is Mk.XVI TB885 which was presented to the Flight at Leeuwarden Air Base by its owner who retains ownership of the aircraft whilst the Flight operates it. He currently owns 3 Spitfires. The two others are a two seat T9 and a rare under restoration Mk.1
The B-25, built in 1944 as a J model, saw no combat operations before being converted to an N trainer aircraft for the USAAF. “There were quite a lot of owners after that,” Sander comments but eventually it was purchased and brought to Europe by the Duke of Brabant Air Force organization in 1990. However, the foundation later lost their hangar and eventually came to the Flight to help look after the aircraft. The two organizations began to work together in 2004 with the final merger in 2010. Today the B-25 is one of only 2 flying in Europe.
In terms of maintenance, (for the B-25,) Sander comments that the availability of parts is not an issue. “In the states you can buy everything as far as I know, a spare engine will cost around $100-135,000 but everything is available.” Personnel, not parts are the problem; “We are afraid this may be the last generation that can maintain the aircraft. We hope we can find young people in time for the old ones to transfer their knowledge.” Sander highlights this point as a major area of need in the classic aviation community.
The worst problems for the Flight have come from recent events. In the past few years COVID-19 has had a major impact on the Flight. “One of the difficulties with Covid is our funding has dropped tremendously” he explains. “When you are on an active military base, the first people they shut the door to are the volunteers.” This was a disastrous move for the Flight as it meant that at the start of 2022 effectively 2 years of work on the aircraft had been lost. “We couldn’t even do the maintenance,” he explains, “it was really bad.”
This has impacted the start to the 2022 season with lots of maintenance and return to flight work to be done. The main challenge now is getting a spare Wright R-2600 Cyclone engine for the B-25. It has been decided that the Mitchell should not leave the Netherlands without a spare engine available lest it be grounded and forced to wait months for a replacement to be shipped from the USA. This is greatly affecting the coming season. “It’s a vicious cycle” Sander explains, “I can find enough air shows in the UK and across Europe to send the B-25 to display and get money for the spare engine but without the engine, no shows, no money…”
Sander himself became involved in the Historic Flight at a young age. “I have been a member since I was around 18-19 years old.” The defining moment came when Sander took a back seat flight in a Harvard, “I asked, what do I have to do to get into the front seat?” He began helping the Flight by painting their hangars before he purchased a small trailer which he then renovated thinking it would be good for the promotion team at shows and events.
This preceded him becoming the right hand of the board member who was then head of relations, a post that he now occupies himself. It is his responsibility to arrange events for the Flight and for getting the aircraft to events in the Netherlands and beyond.
May is often a busy time of year for the Flight as May 4th marks their Remembrance Day and “May 5th is our Liberation Day. We perform flypasts at events, so we need to have those aircraft in the air.”
Sander also has several stories from his time with the Flight. “I am much involved with the veterans” he says as he recalls one particular event, “We took the B-25 and Spitfire to Duxford. We were standing outside the pilots’ tent at Duxford, one gentleman was asking “are you the pilot of the B-25…” He revealed to them that he flew the B-25 in WW2. “I asked him, Sir would you like to sit in your seat again? His voice changed instantly, “Oh that would be nice”” So Sander took him aboard the B-25, “finally when he sat in the chair he quipped, can I start her up again?” “A member of his family said, you have no idea what this means to him. As we were walking back the crowd were applauding the veteran. His family told me that his wife recently died, and he did not want to leave his house again, but they had convinced him to come out to Duxford. I was later told by email that after that his spirits were back.”
Another occasion he fondly recalls is when he helped organize a reunion at Dunsfold Airfield in the UK. “I came into contact with the son of a 320 (Netherlands) Squadron RAF pilot” who told him that they still had 4 living members of the squadron from that time. The squadron had flown B-25’s from Dunsfold during D–Day, bombing German positions in France. They organized a marquee at Dunsfold and transport for some from the Netherlands. “For the last surviving members I asked, could it (the B-25) go back into RAF Colours?” The aircraft normally wears the markings of a Dutch squadron based in Australia and operating in the Pacific during the war. Consequently, due to cost considerations, a compromise was reached by putting RAF roundels over the Dutch markings.
“I asked the crew, can we let their families in (the aircraft), so they can see where their fathers sat, and we had ages from 6 to 90 years old come aboard.” For Sander one moment stands out above all; “When the 4 living crew members came to the B-25 I was with one of them under the left wing. He grabbed my arm and with tears in his eyes said, “I’m not here for me, I am here for the comrades we lost.” “I knew then that we did the right thing to bring them over. It was the last time they would see Dunsfold as well.” In total alongside the veterans Sander thinks some 100 family members from the Netherlands and the UK attended over the 2 days they were there.
The Flight also maintains a good relationship with the RAF’s Battle of Britain Memorial Flight who helped set up a training program for pilots flying the Spitfire. “The cooperation between the two organizations is such that the BBMF now train our Spitfire pilots and the BBMF pilots train on our Harvard. After so many years we have become friends, very good friends indeed.” Sander remarked that after 3 years of lobbying they got a formation flight between the Lancaster and the B-25 but the Lancaster’s engine had issues, so they flew with 2 BBMF Spitfires instead.
Among the other aircraft they operate Sander is a fan of the Beech 18. “The Beech 18 is the limousine of the air. It’s a really easy aircraft to fly.” His most memorable flying experience was in the right seat of this machine at the Market Garden commemorations at Nijmegen alongside the 2 Spitfires. In the right seat “I was in charge of watching the altitude as we were making these fake attacks on the far side of the river. I had never been dive bombing with a Beech 18, not least other aircraft, and I can tell you it was pretty nice!” He recalls that they made their “attack” whilst the US 82nd Airborne Division’s daring river crossing was recreated underneath.
People who wish to help the Royal Netherlands Air Force Historic Flight can become “Flying Partners” who Sander explains “are invited 2-3 times a year to our base and where possible can fly in out aircraft as passengers.” I am grateful to Sander for taking the time to talk to me about the Flight and their operations.
Photo Caption:
Top Image Featuring Veterans from the Dunsfold event mentioned in thearticle, left to right they are Edward Hoenson, Camille Stritzko, Eduard Jacob,André Hissink, provided by the Royal Netherlands Air Force Historical Flight
Bottom Left Image: Harvard, provided by Royal Netherlands Air ForceHistorical Flight
Center Bottom Image: Beech 18, provided by Royal Netherlands Air ForceHistorical Flight
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52°07'63"N 005°16'59"E
Soesterberg Air Base station crest.
Runway 09/27 - 3000x50m/9840x150feet - asphalt (CLOSED 2008)
Runway 13/31 - 2132x45m/...feet - asphalt (CLOSED ca. 1998)
Runway 16/34 - 1600x45m/...feet - asphalt (CLOSED ca. 1970)
Soesterberg Air Base (ICAO: EHSB) was a Royal Netherlands Air Force military airbase located in Soest, 14 kilometres (8.7 mi) eastnortheast of Utrecht.
In 1910 two car dealers from The Hague decided to set up an airfield on a moor outside the village of Soesterberg. Soesterberg was established as an airfield in 1911, and in 1913 the Dutch Government bought the field and established the Army Aviation Branch (dutch: Luchtvaartafdeeling). The "Military Aviation Branch" eventually became the Koninklijke Luchtmacht (English: Royal Netherlands Air Force - RNLAF). It's first commander was a captain of the Engineer Corps: Henk Walaardt Sacré.
Throughout World War I Soesterberg served as the main airfield of the Luchtvaartafdeeling with several types of aircraft. Some were bought outright from their manufacturer, while others were interned when they diverted to Holland due to battle damage or other reasons.
Soesterberg village and the Soesterberg heath in 1902
Soesterberg, an RAF (Royal Aircraft Factory) BE-2 registered as LA24 (ex-RFC1677) an interned British aircraft during the Great War in 1915 (Nederlands Instituut voor Militaire Historie).
Aerial photo of a Handley Page V/1500 at Soesterberg, in 1919 during the ELTA (Nederlands Instituut voor Militaire Historie).
Aerial photo of Soesterberg in the 1920s.
Queen-mother Emma at Soesterberg in June 1928. Queen Emma frequently stayed at nearby Palace Soestdijk, later the home of her granddaughter Queen Juliana.
A Swedish Junkers G3 visiting Soesterberg in 1928 (NIMH)
After the war the airfield was slowly expanding. The Dutch government did not spend too much money on its air force however, until the second half of the 1930s. Recognising the threat of Germany in particular, it embarked on a modernisation programme. New fighters such as the Fokker D.XXI and G.1 were ordered, along with batches of Douglas DB-8a and Fokker T.5 bombers. All aircraft were delivered to Soesterberg to be sent to their units.
The Soesterberg "Vliegheide (flying heath) and Vliegkamp 'Flying camp'). The name of the airfield and the village come from De Soesterberg (the mountain of Soest), a distinct bump in an otherwise fairly flat dutch landscape.
Fokker T.5 medium Bomber '852' at Soesterberg, in 1938 (Nederlands Instituut voor Militaire Historie).
Fokker G.1 Mercury '302' at Soesterberg in 1939 (NIMH)
Douglas DB-8A/3N's at Soesterberg, March 1940 .
Map of Soesterberg, on the eve of World War II (10 May 1940, image via Peter van Kaathoven).
At the beginning of World War II the German force's blitzkrieg overran the country in five days, and Soesterberg was occupied by the German Luftwaffe on 15 May 1940. They built three hardened runways in addition to a large dispersal area to the north, a small dispersal area on the northwest side and a large dispersal area on the east side of the airfield.
Allied map of Soesterberg Air Base in 1942 (NIMH)
A variety of German aircraft was stationed there during the war, initially flying missions during the Battle of Britain, and later to practice bombing missions on nearby ranges and provide fighter defence against Allied bombing missions.
From 1944 onwards, Allied Air Forces caused enormous damage to the airfield by bombing it relentlessly. By September 1944 the Luftwaffe acknowledged Soesterberg airfield to be more or less useless. Still, what had not been destroyed by Alllied raids the Germans managed to destroy in the final months of the war.
The result of an Allied air strike on Soesterberg in March 1944 by B-26 Marauder bombers (Soestercourant)
Dornier Do217s prepare for takeoff during the German occupation of Soesterberg
Aerial reconnaissance photo showing the damage to Soesterberg Air Base on 9 February 1945. By this time, the Axis had next to no fighting force left, because of the combat pressure by the Allies (NIMH)
It took 6 years to rebuild the air base, which was finally declared operational in August 1951. The air base got an Air Defense tasking, and the first jet fighters of the Netherlands found their way to Soesterberg.
KLM Douglas C-54 Skymaster PH-TSA (ex-NGAT NL-540, ex-USAAF 42-72293) thundering over the 09 runway, ca. 1950. If you look across the runway, you see area where the original Vliegkamp Soesterberg was located before the war. Also worth noting are the two individuals sitting right next to the runway!
20 Sep 1951 aerial photo of the three Soesterberg runways. The repairs of the bomb damage from World War II are clearly visible (Nederlands Instituut voor Militaire Historie).
A formation of 15 B-47s overflies Soesterberg to celebrate 40 years of military aviation on 18 July 1953. Two Fairchild C-119 Flying Boxcars and the prototype Hawker Hunter are visible on the ground.
Meteor F.8s of 327Sqn demonstration team 'Diamond Four' at Soesterberg in 1954 ( Nederlands Instituut voor Militaire Historie).
Soesterberg in 1954 ( Nederlands Instituut voor Militaire Historie / NIMH).
Birds eye view of Soesterberg Air Base, after lengthening the main 09/27 runway, which occurred somewhere in the early 1950s. On the west side of the field the old third runway is just visible (NIMH).
In 1954 the United States and the Netherlands signed a bilateral agreement that covered the stationing of a squadron of air defense fighters of the USAF. Against all US policy the squadron was to be placed under daily operational command of the Royal Netherlands Air Force.
As a result of the stationing, the airbase was expanded to the east to make use of the single German-built flattened marguerite-like dispersal area and a longer NATO standard runway.
The parkings in the dispersal aera went by three names: The area that later became the 334 Sqn platform was known as 'Near-East'. The semi-marguerite became 'Middle East', and the area to the extreme east became the 'Far East'.
The bilateral agreement only covered the stationing of one squadron, althoug a second squadron was discussed. The offer for the second squadron was turned down however, when the Dutch government realised that the second squadron would only be stationed at Soesterberg in peace time. Under threat of war they would be taken from daily operational control by the Dutch and deployed elsewhere. The squadron brought F-86 Sabres of the 512 FIS with them, but 512FIS was soon redesignated 32 Fighter Day Squadron.
The arrival of the first F-86 Sabres of the 512th FIS -led by '52-5384'/'FU-384'- at Soesterberg Air Base (NIMH)
After only one year after their arrival, they traded in their F-86 Sabres for F-100 Super Sabres and were redesinated 32 Fighter quadron, with the squadron enlarged to 24 aircraft. In 1960 the 'Huns' were replaced with F-102 Delta Daggers, redesignating the squadron to 32 Fighter Interceptor Squadron. In 1968 it became 32 Tactical Fighter Squadron with the arrival of the F-4E Phantom-II. The F-4s were relieved by 4 models (A,B,C and D) of the F-15 Eagle, which remained in service until the unit was disbanded in 1994.
airfield spectators at Soesterberg, watching from the Van Weerden-Poelmanweg, just north of the "Middle East" dispersal area in 1956.
Resident aircraft and squadron members of -left to right- 700Sqn (RNLAF), 32FIS (USAFE) and 322Sqn (RNLAF) join for a photo at Soesterberg in 1958 ( Nederlands Instituut voor Militaire Historie).
Soesterberg AB in 1960. Notice the new runway overruns on the 09/27 runway ends (NIMH)
Vertical aerial photo of the three Soesterberg runways after the lengthening of the 09/27 runway, rotated by me to show the north side up
(RNLNavy collection via Nederlands Instituut voor Militaire Historie).
Skyblazers F-100s at Soesterberg (notice the 32FIS lettering on the bumper of the truck), early 1960s (photo by Bill Snell, via Mario Warnaar).
Delta Dagger 'FC-163'/'61163' taking off from Soesterberg in the early 1960s. The aircraft had arrived devoid of unit markings, but were soon given a green band with the squadron emblem above the serial number (NIMH)
Eight Delta Daggers of 32 TFS on the Soesterberg flight line in the mid 1960s. Although the red-white-blue tails proved to be very popular with the Dutch, they weren't carried all that long. ( Nederlands Instituut voor Militaire Historie).
Photo: www.sberg-sixties.nl
USAF F-4D Phantom II '65-0749' with external tanks, napalm canisters (possibly used as travelpods) and a gunpod on the centerline on display during the July 1968 Open Week (!) at Soesterberg AB (Nederlands Instituut voor Militaire Historie).
Although looking rather average in this photo, this particular Phantom-II actually had an interesting carreer. It was almost new when this photo was taken, having been delivered on 1 Dec 1966 and allocated to 50th Tactical Fighter Wing (USAFE) at Hahn AB (Germany) later that month. She went to 78th Tactical Fighter Squadron, 81st Tactical Fighter Wing, RAF Bentwaters, Suffolk (UK) in 1969. From there it went to 78th Tactical Fighter Squadron RAF Woodbridge UK, in June 1969 and on to 401st Tactical Fighter Wing (USAFE) Torrejon AB Spain.
When it's active Air Force carreer was over, she transferred to the 184th Tactical Fighter Group (Kansas ANG) at McConnell AFB, Jan 1980. In 1986 she came on strength with the 147th Fighter Interceptor Group 111FTS (Texas ANG) Ellington ANGB. Ultimately, she was flown to and stored at AMARC (todays' AMARG) as FP426 on 12 January 1990. Her flying days over, she seemed destined to become a spares source, like so many other aircraft at AMARC.
However: this Phantom was not done yet. In February 1997 she was taken out of the desert to be transferred to the Collings Foundation in October 1998 and she was returned to flying status as N749CF in August 1999. Repainted to replicate the Phantom Capt Steve Ritchie had used to achieve his fifth kill in Vietnam and based at Ellington Field, Houston(TX), Gen. Ritchie would take the aircraft to selected venues around the country as part of the Vietnam Memorial Flight until 2007. She was then repainted to match '63-7680'/'FP', the F-4C flown by Colonel Robin Olds on Operation Bolo. The Collings Foundation F-4D Phantom II was still active at the time this text was written.
Convair F-102A Delta Dagger of the 32 FIS (USAF), reg. 0-60977, on the platform. In 1968 the KLu (Royal Neth. Air Force) celebrated it's 55th anniversary ( Nederlands Instituut voor Militaire Historie).
The control tower at Soesterberg AB in 1970 (Nederlands Instituut voor Militaire Historie).
Ca. 1980 photo of Alouette III 'A-247' at Soesterberg (Photo: collection Nederlands Instituut voor Militaire Historie).
Introduction to the 32TFS in the 1970s, when 32 TFS still operated the F-4E Phantom-II. Note that in the refuelling part of the video, Phantoms are in some shots refuelling from KC-97Ls! (34:30min)
Soesterberg Air Base tower in 1976 (NIMH)
Soesterberg in 1978 (NIMH)
RNLAF 334Sqn Fokker F-27 Troopships at Soesterberg in 1978. Notice a USAF Phantom-II at the bottom of the photo (NIMH).
An RAF Alconbury based F-5E agressor lifts off from runway 27 at the intersection with 13/31 in 1981 (unknown photographer, collection Hermen Goud/Facebook, used with permission).
USAF Thunderbirds on the 13/31 runway after their display in 1984 (NIMH)
Undated map of Soesterberg, presumably late 1980s, as the A-28 highway (in red) is already shown, via Peter van Kaathoven.
USAF Demonstration team The Thunderbirds at Soesterberg 1984 (Nederlands Instituut voor Militaire Historie).
Soesterberg Air Base on a 1987 Soviet military map. While the map may seem remarkable, it is important to know that during the Cold War, Soviet (and other Warsaw Pact) airlines were not as limited in their movements in European airspace as western aircraft were in Eastern Europe. Still, the map does contain errors, some of them very obvious. For instance: the railway line west of the airbase (thick black line) did not exist since 1972. At the point where it crosses the A-28 highway a bridge was built, which for years was rumoured to contain the DPO/NATO fuel line to Soesterberg. Although technically possible (it is hollow), it did not (in Dutch). A bridge one kilometer to the east, much wider than required and partially covered by a green berm contains the NATO pipeline (atlassen.info)
'The 32nd', as they were known for short by the Dutch, or 'the Queens Own' as they called themselves, deserved a very good reputation within NATO and the Netherlands. In 1959, the 32d received the signature "Royal", the crown and wreath of the Dutch Royal Family (the House of Orange) were added to the emblem, giving it its unique look. This unique honour was granted in recognition of the unit's contribution to the defence of the Netherlands, and graphically illustrates the 32d's close ties with the Royal Netherlands Air Force. 32TFS had the unique distinction of being the only unit in the USAF whose emblem included the royal crest of another nation. This addition was only authorised as long as 32TFS remained in the Netherlands. The stand down ceremony of 32FW/32FS on 19 April 1994 was held in the presence of members of the house of Orange.
All-white Fokker F.27 Troopship 'C-11' on the Soesterberg platform in 1993 (Photo: collection Nederlands Instituut voor Militaire Historie).
Soesterberg, ca. 1992 (Terraserver, via Soesterberg.net).
Nearing the end of their careers in the early 1990s, many of the F.27s were painted white for UN missions, like this example at Soesterberg (Photo: collection Nederlands Instituut voor Militaire Historie).
The F-15A(MSIP)s of the 32nd Fighter Squadron commander and the 32nd Fighter Group commander pass over Camp New Amsterdam, the "American" side of Soesterberg Air Base, sometime in 1993 (NIMH)
The final three F-15s (two F-15A MSIPs and a single F-15B MSIP) at Soesterberg left the airfield for the USA on 13 january 1994. They can be seen taxying to the runway. After take off the three did a formation flight over the airfield accompanied by RNLAF F-16s as a farewell to their home for 40 years. 32FS officially stood down 3 months later. (photo RonaldV).
Approach chart for Soesterberg, mid 1990s
The first Cougar-II to arrive at is new home plate at Soesterberg in 1996 (Nederlands Instituut voor Militaire Historie).
The final 5 RNLAF Alouettes overfly Soesterberg in 1998. At the time, the Alouettes were expected to be withdrawn before the end of the century. Events would take a different turn however, and with the exception of the lead helicopter (A-253, which went into storage at the Millitaire Luchtvaart Museum), this formation (center row A-275, A-292, rear row A-247 and A-301) soldiered on until 2016, although they were upgraded to SA316B helicopters in 2014 and painted dark blue to reflect their new non-combat support role (NIMH)
In addition to the Americans (who referred to Soesterberg AB as 'Camp New Amsterdam' in honour of the first Dutch settlers in 'New Amsterdam', present day New York) the Royal Netherlands Air Force had continued to use Soesterberg. They based jets, helicopters and transport aircraft at the air base. Their jets left in the 1960s and the transport aircraft left in the early 1990s.
Finally in late 2008, after all the helicopter units had moved to Gilze-Rijen, a final ceremony was held to close the air base for good. The last jet aircraft to leave the base was a Greek F-4E Phantom, and the base formally closed on 31 December. Upon its closure in 2008 Soesterberg was the oldest active airfield in the Netherlands, and one of the oldest in the world. For much of its history (almost 40 years) the air base was linked to the United States Air Force, holding a front line squadron of jet fighters at the base.
Former 32FS operations room, which still existed just before the airfield closed (SlobberinWolfhounds.com).
One of the tabvees when the airbase was still active (2006-2007?) (SlobberinWolfhounds.com).
Part of the base is still in use as a glider field. The rest of the airfield is under conversion: part (the 'American side') will be restored as a nature preserve, although some HASes will remain, another part (the 'Dutch side' with the Group Helicopters hangars) will become the new Netherlands Defense Museum. Runway 09/27 will remain, to remind the people of the old air base.
USAF C-17A Globemaster III at Soesterberg in 2007 (Ton Vogels, via Panoramio).
Soesterberg, around 2006. Clearly visible is the original NATO semi-marguerite dispersal on the east side of the airfield. Somewhere between 1990 and this photo Soesterberg lost the use of runway 13/31 The outline of the old third runway can also still be seen, it ran from the end of runway 13 over the 09/27 into the later 32FG dispersal area (Bing maps).
View down the Soesterberg 09/27 runway, March 2011 (RonaldV.nl).
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Includes six decades of premier news, reporting and commentary about key developments in the art world. Coverage spans all forms of contemporary art, including painting, sculpture, installation, body art, video/audio art, performance art and more. Trial ends September 2024.
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Royal Netherlands Air Force
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The Royal Netherlands Air Force (RNLAF), Dutch Koninklijke Luchtmacht (KLu), is the military aviation branch of the Netherlands Armed Forces. Its ancestor, the Luchtvaartafdeling (aviation department) of the Dutch Army was founded on 1 July 1913, with four pilots. The aerobatic display team of...
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Military Wiki
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https://military-history.fandom.com/wiki/Royal_Netherlands_Air_Force
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Koninklijke Luchtmacht (KLu)Founded July 1913, independent force 27 March 1953Country NetherlandsAllegiance HM The King Willem-Alexander[1]Branch Air ForceSize 11.000 personnel,[2] 217 aircraftPart of Dutch Armed ForcesMotto(s) Parvus numero, magnus merito (Latin: small in numbers, great in deeds)CommandersCurrent
commander Lieutenant-general Sander SchnitgerInsigniaRoundelAir Force FlagAircraft flownAttack AH-64DFighter F-16Patrol Dornier 228Trainer PC-7Transport C-130 Hercules, CH-47 Chinook, AS-532 Cougar, NH-90, DC-10/KDC-10, Agusta-Bell 412, Gulfstream IV, Westland Lynx, Aérospatiale Alouette III
The Royal Netherlands Air Force (RNLAF), Dutch Koninklijke Luchtmacht (KLu), is the military aviation branch of the Netherlands Armed Forces. Its ancestor, the Luchtvaartafdeling (aviation department) of the Dutch Army was founded on 1 July 1913, with four pilots. The aerobatic display team of the Royal Netherlands Air Force is the Solo Display Team.
History[]
Origin in 1913[]
The Royal Netherlands Air Force (RNLAF) is the second youngest operational part of the Dutch Armed Forces, which consists of four parts: Navy, Army, Air Force and Military Police.
Dutch air power started in July 1913 with the founding of the Army Aviation Group (Luchtvaartafdeeling or LVA) at Soesterberg airfield (vliegbasis Soesterberg). When founded, the Army Aviation Group operated one aircraft, the Brik, which was supplemented with three French Farman aircraft a few months later.
These aircraft were soon outdated and the Dutch government ordered several fighter/reconnaissance Nieuport and Caudron aircraft to replace them.
1914–1918 WWI[]
The Netherlands maintained a neutral position during World War I and the Army Aviation Group did not take part in any action, instead developing the force's capabilities.
Pilot training was opened for ranks below officer, and technical, aerial photography, meteorological and navigation flights were established.
New airfields were established at Arnhem, Gilze-Rijen Air Base, Venlo and Vlissingen.
Between the wars[]
After the end of World War I the Dutch government cut the defence budget and the Army Aviation Group was almost dissolved. As political tensions in Europe increased during the late 1930s the government tried to rebuild the armed forces again in 1938 but there were many problems, not least the shortage of pilot instructors, navigators and pilots to fly the new multiple engine aircraft. Lack of standardisation and resulting maintenance issues added to the complexity of the rebuilding task.
World War II and late 1940s[]
As war loomed, in July 1939 the Army Aviation Group was renamed the Army Aviation Brigade (Luchtvaartbrigade).
In August 1939, the Netherlands government mobilised its armed forces, but due to limited budgets the Army Aviation Brigade operated only 176 combat aircraft of the following types:
16 Fokker T.V type bombers
36 Fokker D.XXI single-engine fighters
35 Fokker G.I twin-engine fighters
7 Fokker D.XVII single engine fighters
17 Douglas DB-8A-3N light bombers
20 Fokker C.X light bombers
33 Fokker C.V reconnaissance aircraft
20 Koolhoven FK-51 artillery observer aircraft
In May 1940, Germany invaded the Netherlands. Within five days the Dutch Army Aviation Brigade was taken out by the German Luftwaffe. All of the Brigade's bombers, along with 30 D.XXI and 17 G.I fighters were shot down; two D.XXI and eight G.I were destroyed on the ground. Two G.I were captured by German forces, one of which was later flown to England by a Fokker pilot. The Douglas bombers were used as fighters because no suitable bombs were available; these aircraft were poorly suited for this role and eight were shot down and three destroyed on the ground in the first hours of the conflict.
In spite of their numerical inferiority, the Dutch armed forces did enjoy success against the Luftwaffe, having 350 Luftwaffe aircraft destroyed, although many of these were lost to anti-aircraft fire and crashes at improvised landing fields in the Netherlands rather than due to action by Dutch fighters. The cost was high – almost 95% of the Dutch pilots were lost. In recognition of their actions Queen Wilhelmina granted the highest Dutch military decoration, the Militaire Willemsorde (MWO), to the Army Aviation Brigade collectively.
Some aircrews escaped to England and on June 1, 1940, 320 Squadron and 321 Squadron were established there under RAF operational command. Due to a shortage of personnel, 321 Squadron was absorbed by 320 Sqn in January 1941. Although their personnel were predominantly from the Navy Air Service, Army Aviation aircrew also served with 320 Sqn until the end of the war.
In 1941, the Royal Netherlands Military Flying-School was re-established, in the United States at Jackson Field (also known as Hawkins Field), Jackson, Mississippi, operating lend-lease aircraft and training all military aircrew for the Netherlands.
The separate Militaire Luchtvaart van het Koninklijk Nederlands-Indisch Leger (ML-KNIL; Royal Netherlands East Indies Army Military Air Service) continued in the Netherlands East Indies (NEI), until its occupation by Japan in 1942.[3][4] Some personnel escaped to Australia and Ceylon. 321 Squadron was re-formed in Ceylon, in March 1942, from Dutch aviators.
In 1942, 18 (NEI) Squadron, a joint Dutch-Australian unit was established, in Canberra, equipped with B-25 Mitchell bombers. It saw action in the New Guinea campaign and over the Dutch East Indies. In 1943, 120 (NEI) Squadron was established. Equipped with Kittyhawk fighters, it flew many missions under Australian command, including the recapturing of Dutch New Guinea.
In June 1943, a Dutch fighter squadron was established in England. 322 (Dutch) Squadron, equipped with the Supermarine Spitfire, saw action as part of the RAF. 322 Sqn aircraft featured the British RAF roundels as well as the Dutch orange triangle. 322 Sqn was successfully deployed against incoming V-1 flying bombs. From mid-1944, during the invasion of Normandy, it executed ground attack missions over France and Belgium.
In July 1944, the Directorate of Netherlands Airpower was established in London.
In 1947, its Chief of Air Force Staff was appointed.
1950s and 1960s[]
In 1951 several non-combat functions in the Army Aviation were opened to women.
On the 27 March 1953 the Royal Netherlands Air Force officially became an independent part of the Dutch armed forces, rather than part of the Army.
The Air Defense Command, (Commando Lucht Verdediging, abbreviated CLV) consisting of a command unit, five radar stations and six fighter squadrons, had been established. Its radar equipment as well as its air defense fighters all came from obsolete RAF stocks.
The Spitfire Mk.IX was used by 322 sqn until 1954, but was replaced as new squadrons were established.
The Gloster Meteor F Mk.IV was used by 322, 323, 324, 325, 326, 327 and 328 sqn from 1948–1957.
The Gloster Meteor F Mk.VIII was used by 322, 323, 324, 325, 326, 327 and 328 sqn between 1950–1959.
After the Netherlands joined NATO another new command: Tactical Air Command (Commando Tactische Luchtstrijdkrachten, abbreviated CTL) was established.
CTL consisted of seven new strike squadrons (306, 311, 312, 313, 314, 315 and 316 sqn), all equipped with Republic F-84G Thunderjet aircraft. These aircraft were supplied by the United States under the Mutual Defense Aid Program from 1952–1956. 311 was the first flying squadron to be stood up at Volkel on 1 May 1951.[5]
306, 322, 323, 324, 325, 326 and 327 Sqn operated the Hawker Hunter F Mk4 between 1956–1964, and the Hawker Hunter F Mk.6 between 1957–1968.
700, 701 and 702 Sqn operated the F-86 Sabre all-weather fighter between 1956–1964.
306, 311, 312, 313, 314, 315 and 316 sqn changed aircraft configuration from 1955–1970 as the Republic F-84F Thunderstreak and RF-84F Thunderflash became available.
New Guinea conflict[]
The Indonesian government claimed New Guinea following the end of the second world war. The Dutch government considered the area Dutch territory. Negotiations over the country were conducted for years, but tensions grew until Indonesia broke diplomatic relations with the Netherlands at the end of the 1950s.
In response, in 1958, the Netherlands deployed military reinforcements to New Guinea, including an Air Force detachment for the air defense of the island Biak as there was evidence that Indonesia was infiltrating the island in advance of a military operation.
The first Air Force contribution was the installation of two MkIV early warning radars on Biak and neighbouring Woendi island.
The political situation between the Netherlands and Indonesia continued to deteriorate and in 1960 the Dutch government deployed reinforcements. The operations were known by name as ’Plan Fidelio’. For the Dutch Air Force this meant the establishment of an Air Defense Command for New Guinea (Commando Luchtverdediging Nederlands Nieuw-Guinea – CLV NNG) consisting of:
one Hawker Hunter Mk.4 air defence squadron;
a radar navigation system at Biak, and;
a reserve airstrip at Noemfoer.
The Dutch government deployed a squadron consisting of 12 Hawker Hunter Mk.4 AD fighters and two Alouette II SAR helicopters. They were transported to Southeast Asia by the Karel Doorman. One year later the Dutch government deployed another 12 Hawker Hunter Mk6 AD fighters; these aircraft carried more fuel and had a larger combat radius.
In August 1962 Indonesia was ready to attack New Guinea. Despite reinforcements the Dutch defences would be insufficient to withstand the coming attack. Therefore, and because of international political pressure the Dutch government was forced to agree to the peaceful surrender of New Guinea. Dutch forces were withdrawn from the territory.
The establishment of 336 transport squadron is closely connected to New Guinea. Soon after activation this unit was deployed to New Guinea to take over air transport from the Dutch Navy. 336 Sqn deployed and took over three Navy Dakotas and three US supplied aircraft. 336 Sqn operated from Mokmer airstrip and transported more than 5,400 passengers between September 1961 and September 1962.
Cold War era, 1960s, 1970s and later[]
During the cold war era Dutch Air Force units played an important part in the West European defence against the opposing Warsaw Pact forces. The Dutch Air Force manned five fully operational self-supporting Missile Groups in West Germany (1 and 2 MslGrp were equipped with NIKE batteries, while 3,4 and 5 MslGrp were equipped with Hawk). Dutch fighters and other weapon systems also took a full part in NATO alert, standby duties and exercises through the years.
306, 311, 312, 322 and 323 Sqn changed configuration again from 1962–1983 after the dual role F-104 Starfighter was introduced.
313, 314, 315 and 316 Sqn switched over to the NF-5 Freedom Fighter from 1969–1992. The NF-5 was a development of the Canadair CF-5 fighter. Northrop incorporated some NF-5 features into the F-5E/F Tiger II.
Since 1979 all RNLAF fast-jet squadrons (originally 306, 311, 312, 313, 315, 322 and 323) have operated the multi role F-16 Fighting Falcon.
Former Yugoslavia[]
RNLAF F-16s participated in all operations over Yugoslavia from 1993 Deny Flight, including Deliberate Force in 1995 and ending with Operation Allied Force in 1999 from two bases in Italy. Initially from Villafranca AB in the north of Italy, later moving south to Amendola AB. During the operations over FRY RNLAF F-16s flew reconnaissance (306Sqn detachments from Volkel AB were in theatre throughout the operations), enforced the Bosnian no-fly zone, dropped bombs on Udbina AB (1994), successfully dropped an unguided bomb on a moving Serb tank during the fall of Srebrenica (1995), and took part in Deliberate Force later in the summer of 1995.
Between 1994 and 1997 Dutch GCI personnel, along with Canadian GCI controllers, provided many hundreds of hours of fighter control and surveillance as integrated members of USAF/ANG Air Control Squadrons. In May 1999 during the Kosovo crisis a pilot RNLAF F-16AM major Peter Tankink shot down[6] a Yugoslavian MiG-29 with an AMRAAM, but the force was more recognized for its high bombing accuracy. Allied Force was also the operational debut for the upgraded F-16AM. Besides the CAP mission, offensive bombing and photo reconnaissance missions were flown. KDC-10 tankers refuelled allied aircraft over the Adriatic Sea, and C-130 Hercules transports flew daily sorties from Eindhoven AB to logistically support the operation. Dutch F-16s also dropped cluster bombs on Niš killing 14 civilians. In total, RNLAF aircraft flew 1,194 sorties during operation Allied Force, which is about 7.5% of the total 37,000 sorties flown.
Operation Enduring Freedom and NATO in Afghanistan[]
In October 2002 a tri-national detachment of 18 Dutch, Danish and Norwegian F-16 ground attack aircraft and one Dutch KDC-10 tanker deployed to Manas Air Base in Kyrgyzstan in support of ground forces in Afghanistan as part of Operation Enduring Freedom. The RNLAF returned to Manas AB in September 2004 with five F-16 and one KDC-10 in support of the presidential elections of Afghanistan. This time the aircraft flew under the NATO ISAF flag.
In February 2006 four Dutch F-16s were joined by four Royal Norwegian Air Force F-16s in a detachment known as the 1st Netherlands-Norwegian European Participating Forces Expeditionary Air Wing (1 NLD/NOR EEAW). This was a follow up of the participation with the Belgian Air Force.[7]
As part of the expanded NATO ISAF mission in southern Afghanistan in August 2006, the Royal Netherlands Air Force had six F-16 ground-attack aircraft, three CH-47D Chinook of 298 Sq stationed at Kandahar Airfield. Additionally, a detachment of five AH-64D Apache helicopters had been stationed of Tarin Kowt, Uruzgan province. The F-16 flight is planned to stay operational in support of ground forces at least until 2014, providing Close Air Support and Recce Flights (specialised in counter-ied's)
On August 31, 2006 a Royal Netherlands Air Force (Michael "Sofac" Donkervoort) pilot was killed when his plane crashed during a mission to support British ground troops in Helmand province.[8]
In 2013 the Royal Netherlands Air Force provided Strategic Airlift Support with a DC-10 in support of French operations in Mali.
The RNLAF was hit hard by the Dutch defence cuts after the 2008 financial crisis. 311 Squadron was disbanded in September 2012, leaving four squadrons of F-16.[5]
Structure of the Royal Netherlands Air Force[]
Main Operating Bases (MOBs)[]
Leeuwarden Air Base[9]
322nd Squadron F-16
323rd (TACTES) Squadron F-16 (TACTES = TACtical Training Evaluation Standardisation)
920th Maintenance Squadron
921st Logistics Squadron
922nd Support Squadron
Volkel Air Base
312th Squadron F-16
313th Squadron F-16
900th Maintenance Squadron
901st Logistics Squadron
640th Squadron
601st Reserve Squadron
703rd USAF Munition Support Sqn.
Tactical Air Operations Base[]
Air Operations Control Station Nieuw Milligen
603rd Reserve Squadron
711th Squadron (Control And Reporting Centre (CRC) and Military Air Traffic Control Centre (MilATCC))
970th Support Squadron
In 2009 710 and 711 Sqn were merged into one Air Operations Sqn (711Sqn). The status of the base was changed to NATO status as an airmobile NATO Deployable Air control centre, Recognised air picture production centre, Sensor fusion post DARS radar unit became operational on the base in the same year.
Defence Helicopter Command[]
Gilze-Rijen Air Base
298th Squadron CH-47 Chinook
299th Squadron (Training and Standards)
300th Squadron Eurocopter Cougar
300th Squadron Royal Flight Aérospatiale Alouette III
301st Squadron AH-64 Apache
670th Security Squadron
930th Maintenance Squadron
931st Support Squadron
932nd Logistics Squadron
604st Reserve Squadron (partial)
Leeuwarden Air Base
303rd Squadron Agusta Bell AB 412SP (Search and Rescue)
Vlieland Heliport
303rd Squadron Agusta Bell AB 412SP (Search and Rescue)
Maritime Airstation De Kooij
7th Squadron NH90 (Training and Standards)
860th Squadron NH90 Ship-board Operations and Search and Rescue
990 Maintenance Squadron
991 Support Squadron
Deelen Air Base
11 Luchtmobiele Brigade training site.
Designated as a military aviation site. Only fully operational when used for military helicopter exercises, otherwise staffed only by security personnel.
Air Transport Base[]
Eindhoven Airport
334th Transport Squadron (KDC-10, DC-10, Gulfstream IV)
336th Transport Squadron (C-130H-30, C-130H)
602nd Reserve Squadron (partial)
940th Maintenance Support Squadron
941st Miscellaneous Support Squadron
Movement Coordination Centre Europe
European Air Transport Command
Common Support Base[]
Woensdrecht Air Base
Royal Netherlands Air Force Training Center (Koninklijke Militaire School Luchtmacht)
130th Squadron (Initial Military Training)
131st Squadron (Initial Military Flight Training) (PC-7)
132nd Squadron (Training and Doctrine, Management Training)
133rd Squadron (Training for Electronic and Technical specialists)
Air Force Meteorological Group
Air Force Logistics Center
960th Squadron Maintenance and Logistics Support Squadron
961st Support Squadron
604st Reserve Squadron (partial)
Miscellaneous units[]
600th Reserve Squadron (Training and Standards, Air Liaison Officers, Specialist Reserves)
Closed/former air bases[]
Soesterberg Air Base
Royal Netherlands Military Aviation Museum. A part of the base remains in use as a glider field. The former USAFE site will be in use by ground units. (Relocated from Kamp van Zeist to the former 298 and 300 Sqn hangaars, open in 2013)
Twente Air Base also known as Enschede Airport Twente
Ypenburg Air Base
Rank structure[]
Aircraft inventory[]
Aircraft Photo Origin Type In service[10] Notes Fighter Aircraft Lockheed Martin F-16AM/BM Fighting Falcon United States
Netherlands Fighter aircraft 223 From 1979 onwards 213 were license-built by Fokker of which 29 F-16A and 7 F-16B were sold to Chile, 6 F-16B were sold to Jordan. On the 17th of September 2013 it was announced that a further 7 F16's will be withdrawn from active service and will serve as spares to increase the readiness of the remaining 61 jets. Lockheed Martin F-35A Lightning II United States Fighter aircraft 2 + 6 Two aircraft were ordered for testing and evaluation[11][12] 1st F-35A F-001 was handed over to the RNLAF at 25 July 2013 at Fort Worth (USA). A total of 37 F-35A's will be ordered to replace the F-16.[13] Trainers Pilatus PC-7 Turbo Trainer Switzerland Training Aircraft 13 Originally painted yellow/red, now black with 2 yellow markings Transporters Lockheed C-130H-30 Hercules United States Transport aircraft 4 2x C-130H-30 and 2x ex-US Navy EC-130Q's, which were converted to C-130H by Derco Aerospace and Marshall Aerospace[14] All have been upgraded to common Digital Cockpit McDonnell Douglas KDC-10/DC-10 United States Aerial refuelling/Cargo 2/1 All upgraded to common Digital Cockpit. Boeing C-17 Globemaster III United States Strategic Transport 3 (shared) Shared within NATO's Heavy Airlift Wing and based at Pápa Air Base, Hungary. The Royal Netherlands Air Force has access to 500 flight hours per year. Gulfstream IV United States Utility aircraft 1 VIP transport, to be phased out in 2014 Dornier 228 File:Royal Netherlands Coast Guard MPA.jpg Germany Coastal patrol 2 Civil registrations but with military crews, North Sea area[15] Helicopters Aérospatiale SA316B Alouette III File:Alouette III SE3160 H75.jpg France VIP transport 4 Aerial photography and VIP transport[16] Potentially replaced by AB 412 Helicopters of Leeuwarden Air Base SAR Flight in 2015 Agusta-Bell 412 Italy Search and rescue 3 Supporting the RNLAF training area over Vlieland and the Wadden Sea, to be phased out in 2015 for SAR Operations, potential replacement of Royal/VIP Flight of Alouette III Boeing AH-64D Apache United States Attack helicopter 29 30 procured, 1 crashed in 2004. Being upgraded to Block II standard.[17] Eurocopter AS 532U2 Cougar Mk2 France Utility helicopter 17 Mid-Life Update programme as of 2009. In 2012 9 were put in storage and 8 remain operational, to be phased out in 2017 and replaced by CH-47F Boeing CH-47D/F Chinook United States Heavy lift helicopter 11/6 2 CH-47D were lost in battle over Afghanistan.
17 Operational of which 6 CH-47Fs were ordered in 2011 with options for 2 more[14] First two CH-47F delivered in September 2012.[18] NH Industries NH-90 European Union NATO frigate helicopter 20 Deliveries started in 2010. 12 NFH and 8 TTH (Navalised) to be used form LPD/LPH in support of Marines Unmanned aerial vehicles RQ-11 Raven United States Mini-UAV 72 Used by Koninklijke Landmacht and Korps Mariniers with Airforce roundels ScanEagle United States Reconnaissance / Surveillance 12 Used by Koninklijke Landmacht, Analog 1 ground station with 6 aircraft, Digital 2 ground stations with each 3 aircraft
Future[]
Between 52 and 68 F-35A Lightning II are expected to replace the F-16 fleet, before budget-cuts by the Dutch government the number was planned to be 85.[11][19] Two F-35A have been delivered for the testing program and for training pilots and maintenance crew. This first aircraft is stationed at a base in Florida, USA.[20]
On September 19, 2013 the MOD announced that it will buy 35 additional F-35A's between 2014-2023, with a total of 37 F-35A's. First aircraft to enter service in 2019, last in 2023.[21]
20 NH90 helicopters will replace the former Navy Lynx helicopters. The NH90 helicopters will be stationed at Gilze-Rijen (8 NH-90 Naval Transport version and SAR) and De Kooy (12 NFH-90 frigate-based anti-submarine warfare). Two more NH90 optional.
In 2012 plans were announced to replace all existing CH47D Chinooks (11) with new-build CH47F models as most cost-efficient instead of upgrading existing airframes.
MALE UAV flight of 4 (MQ-9 Reaper), including ground control station and fully airlift deployable expected to enter service in 2015
The Netherlands was the first country to sign up for the Production Sustainment and Follow On Development (PSFD) Phase of the F-35 Lightning II aircraft.[22]
Through the NATO Strategic Airlift Capability, the RNLAF has access to three C-17s.[23]
Plans to integrate closely with The Belgian Air Force include centralising all Transport Aircraft at Melsbroek (Brussels Airport) under Belgian supervison and all Helicopters (Air Force & Navy) under Dutch supervision at Gilze-Rijen Airbase to reduce operating cost, improve availability and knowledge (2013).
Replacement for F-16[]
The Netherlands Air Force wants to replace its F-16 fleet in the next decade. Candidates for the replacement were the Dassault Rafale, the Lockheed Martin F-16 Block 52/60, the Eurofighter Typhoon, the Saab Gripen and the Lockheed Martin F-35. In 2002 The Netherlands signed a MOU (Memoradum Of Understanding) to co-develop the F-35 as a 'Tier 2' Partner. That deal is worth around 800 million US dollars, advanced by the Dutch government on behalf of Dutch industries: After the demise of Fokker Aircraft, the government wanted to retain whatever aerospace industry it could.
In early 2008, a decision was put before Parliament to buy two test aircraft for Dutch pilots to train in the US. But instead, in April 2009 it was decided to buy just one test aircraft and defer the final decision as to what to buy to 2011, after the elections. The new government announced plans to acquire the second test aircraft in April 2011 in order to remain with the test program, but a next government and Parliament will review the whole process again while opposition to the F-35 is growing ever stronger. Reasons for this are ever rising costs, uncertainty about the exact cost of the aircraft, slips in the schedule of delivery and thus uncertainty about delivery dates. Also, Dutch industries have been complaining about their offsets from the USA.[24]
On September 17, 2013 it was announced that the F-35A is the official replacement for the Royal Netherlands Air Force F-16 MLU.
See also[]
Netherlands Naval Aviation Service
No. 322 Squadron RAF
Royal Netherlands East Indies Army Air Force
Solo Display Team
References[]
[]
Official website (Dutch)
Royal Netherlands Air Force
Military Flags
Squadron roundels
Parliament Chamber Notes on buying C-130 and selling F-60 aircraft[dead link]
(Dutch)
The Defense Security Cooperation Agency notified Congress of a possible sale to the Netherlands of CH-47F Chinook cargo helicopters[dead link]
(English)
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From air base runway to cycle path
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Whenever I show a cycle route on a former railway line there are always people who bemoan that lost railway. In this case that may be different: Soesterberg has a cycle route on an old air base runway. The entire former strictly closed military Air Base Soesterberg has become a very open public nature reserve…
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https://bicycledutch.wordpress.com/2021/09/29/from-air-base-runway-to-cycle-path/
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Whenever I show a cycle route on a former railway line there are always people who bemoan that lost railway. In this case that may be different: Soesterberg has a cycle route on an old air base runway. The entire former strictly closed military Air Base Soesterberg has become a very open public nature reserve (with a military aviation museum) after the province of Utrecht bought that former air base to give it back to nature. The name was changed from Air Base Soesterberg to Park Air Base Soesterberg (Park Vliegbasis Soesterberg).
billet en français
The aviation history in the town of Soesterberg near Utrecht started around 1910 when two car dealers got permission to fly aircraft from the heath. They organised air shows, pleasure flights over Utrecht and they even built their own airplanes. The “flying heath” drew a lot of attention initially, but the initiative was short-lived. After just a few years, in 1913, the Dutch government acquired the air field and its mainly wooden buildings to set up an “army aviation branch” that would eventually become the Royal Netherlands Air Force (RNLAF).
In World War II the Germans occupied the air base and they upgraded the airfield by building three hard-surface runways, they also built hangars and other amenities. However, everything was completely destroyed in 1944. After the war, it took 6 years to rebuild the air base, but the three runway layout was kept. The air base was completely operational again in 1951. US fighter jets were stationed on Soesterberg Air Base in 1954, under NATO agreements to help guard the air space of the Netherlands and other NATO countries in Western Europe. One of the runways had to be extended when super sonic air planes arrived. That runway became 3,077 metres long (10,100 Ft) and 45 metres wide. It was finished on 8 August 1956. This is the runway that is now used as a cycle way. (The shortest third runway was closed in the early 1970s and the second runway is still partly in use today for gliders.)
In 1969, a member of the 32nd Tactical Fighter Squadron Wolfhounds, stationed on Soesterberg Air Base, dedicated a movie to his unit. From the narration:
“We are stationed on part of Soesterberg Air Base, the oldest military air field of the Royal Netherlands Air Force, established in 1910. The American part of the base was named New Amsterdam in honour of the original Dutch settlement in the United States, now known as New York. Soesterberg Air Base performs a vital role in the NATO air defence posture. USAF’s 32nd TFS is operating under the Royal Netherlands Air Force Soesterberg unit. The 32nd TFS is the only USAF unit that operates under foreign command. […] Actually, we are a small American community within the Dutch community. As we are under Dutch command we proudly fly both Dutch and American flags in front of our head quarter’s building.”
In the 1980s, that American community consisted of around 1,600 army personnel, but with their families the total American population in Soesterberg was around 3,500 people. They had their own supermarket, with tax free American food products, a base chapel, a theatre, a bowling alley, schools and their own radio station and TV channel. In 1987, the Netherlands’ first drive through McDonald’s opened in Soesterberg, so that the American population there would feel even more at home.
Growing up in Utrecht, just 14 kilometres from the base, during the Cold War era, I remember the fighter jets flying over our home. I never really knew where the air base was located exactly, even though I now know I passed it often on a very nearby road. The base was hidden in the forest and was never shown on Western maps. Of course Russian military maps did show the exact location of the air base. It was absolutely no secret to the Russians. My father had been very interested in military aviation ever since he saw the WWII bombers fly over as a child. He would often go plane spotting at Soesterberg. I remember going with him to an open day at the air base in 1978. Apparently, I was not really interested enough though, because we only did that once. My father went alone to many other such events during the 1980s. At the end of his life he was even able to visit the Military Aviation Museum that was opened in 2014, after the air base had been closed in 2008.
The Americans had left the base in 1994, after nearly 40 years, when NATO restructured operations at the end of the Cold War. The air base was bought in 2009 by the Province of Utrecht, with the intention to turn the 380 hectares into a nature reserve. A lot of the former ammunition bunkers and other air base buildings have been left for nature to take over. Because the area had been closed to the public for so many years there is a diversity of endangered plants and wild life. That also has consequences for the former runway cycle path. It is closed from 15 March to 15 August every year, because the Eurasian skylark breeds in the grass next to that runway during those months. The rest of the year you can use the former runway to cycle, walk or roller skate. When you do, you could notice that although everything looks completely flat, there is actually a 14 metre height difference from beginning to end.
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THE NATIONAL INVESTIGATIONS COMMITTEE ON AERIAL PHENOMENA (NICAP)
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Approved For Release 2001/04/02 : CIA-RDP81 R00560R000 (UNIDENTIFIED FLYING OBJECTS) Published by THE NATIONAL INVESTIGATIONS- COMMITTEE ON AERIAL PHENOMENA (N I CAP) Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 NATIONAL INVESTIGATIONS COMMITTEE ON AERIAL PHENOMENA 1536 Connecticut Avenue, N.W. Washington, D.C. 20036 BOARD OF GOVERNORS Mr. J.B. Hartranft, Jr.; President, Aircraft Owners & Pilots As- sociation, Washington, D.C. Former Army Air Corps Lt. Colonel, founder of U.S. Air Guard (now Civil Air Patrol), graduate Uni- versity of Pennsylvania. Col. J. Bryan III, USAFR (Ret.); Writer and author, Richmond, Virginia. Former special assistant to Secretary of Air Force (1952-53), assigned to staff of Gen. Lauris Norstad, NATO (1959), editorial staff of national magazines, author of several books. Dr. Earl Douglass; Presbyterian clergyman, Princeton, N. J. Religious Columnist, member of New York Authors League. D.D., Tusculum College (1931), Litt.D., Catawba College (1941). Dr. Charles P. Olivier; President, American Meteor Society, Narbeth, Pa. Professor emeritus of astronomy, Univ. of Pennsyl- vania, contributor to Encyclopedia Britannica and Smithsonian Astrophysical Observatory reports on meteors. Dr. Marcus Bach; State University of Iowa, School of Religion. Author and playwright, member American Academy of Political and Social Sciences, contributor to scholarly journals and popu- lar magazines, Ph.D. University of Iowa (1942). Col. Robert Emerson, USAR; Research Chemist, Emerson Testing Laboratory, Baton Rouge, La. Member American Chemical Society Speaker's Bureau, graduate Chemical Warfare School Edgewood Arsenal, General Staff College Fort Leavenworth, other military schools. Mr. Frank Edwards; WTTV, Indianapolis, Indiana, radio-television commentator and author. Recipient of Amvets Service Award (1953) and VFW National Service Award (1945), former news analyst on Mutual Broadcasting System. Prof. Charles A. Money; Head, Department of Physics, Defiance College, Ohio. Author of Atoms For Peace proposal now on file in National Archives, M.S. Univ. of Chicago (1915), astrophysics, additional graduate work Universities of Michigan and Kentucky. Mr. Dewey Fournet, Jr., former Major USAFR; Baton Rouge, La. Former Air Force Headquarters Monitor of AF Project Blue Book UFO investigation, prepared analyses of UFO data for AF, liaison officer between Dayton project and Pentagon. Rev. Albert Bailer; German Congregational Church, Clinton, Mass. Author of children's books, graduate Nebraska Wesleyan Uni- versity and Boston University School of Theology. Rear Adm. H.B. Knowles, USN (Ret.); Eliot, Maine. Veteran of both World War I and World War II, held important submarine com- mands, graduate U.S. Naval Academy, Annapolis (1917). PANEL OF SPECIAL ADVISERS Science & Technology Dr. James C. Bartlett, Jr., astronomy, Baltimore, Maryland. Mr. Norman S. Bean, engineering, Miami, Florida. Mr. Robert C. Beck, Pres., Color Control Company, Hollywood, California. Mr. Jack Brotzman, physics, Naval Research Laboratory, Wash- ington, D.C. Dr. Hugh S. Brown, M.D., Spokane, Washington. Mr. A.L. Cochran, engineer, Richardson, Texas. Dr. Fred C. Fair, professor emeritus of engineering, New York University. Dr. Robert L. Hall, sociology & social psychology, program direc- tor, National Science Foundation, Washington, D.C. Mr. Frank Halstead, astronomy, former curator Darling Observatory, University of Minnesota. Dr. Leslie K. Kaeburn, biophysics, University of Southern Cali- fornia. Prof. N.N. Kohanowski, geology and mining engineering, Uni- versity of North Dakota. Mr. Delbert C. Newhouse, former Naval Aviation Photographer, Coronado, California. Mr. Ralph Rankow, photography, New York City. Mr. Frank G. Rawlinson, physics, NASA Space Flight Center, Greenbelt, Maryland. Mr. J.R. Reiss, research engineer, Lakewood, Ohio. Mr. Kenneth Steinmetz, astronomy, former head of Denver Moon- watch, Colorado. Mr. Walter N. Webb, astronomy, Charles Hayden Planetarium, Boston, Massachusetts. Aeronautics & Space Capt. C.S. Chiles, Eastern Airlines pilot, New York City. Mr. George W. Earley, administrative engineer, major aerospace firm, Connecticut. Mr. Samuel Freeman, past president National Aviation Trades Assoc., Bedminster, New Jersey. Mr. Morton Gerla, past director, N.Y. Chapter, American Rocket Society, Jamaica, New York. Capt. R.B. McLaughlin, USN, missile expert, Corona, California. Maj. John F. McLeod, USAFR, former Air Force pilot, Civil Air Patrol, Jacksonville, Florida. Capt. William B. Nash, Pan American Airways pilot, Frankfurt, Germany. Mr. W.R. Peters, former First Officer, Pan American Airways, Coral Gables, Florida. Mr. G.D. Sheridan, Jr., former Marine Corps pilot, Ponte Vedra, Florida. News & Public Relations Mr. James C. Beatty, civil defense and Ground Observer Corps, Santurce, Puerto Rico. Mr. Albert M. Chop, NASA public information officer, Space Flight Center, Houston, Texas. Mr, Lou Corbin, Chief WFBR News Bureau, Baltimore, Maryland. Mr. Lee R. Munsick, news and radio, Morristown, New Jersey. Mr. Leonard H. Stringfield, public relations, Ground Observer Corps, Cincinnati, Ohio. Mr. George Todt, columnist, Los Angeles Herald Examiner, California. Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 Approved For Release 2001/04/02 T UFO EVIDENCE (Unidentified Flying Objects) STATINTL Published by National Investigations Committee on Aerial Phenomena (NICAP) 1536 Connecticut Ave. , N. W. Washington 36, D. C. Richard H. Hall Washington D. C. May 1964 Editor Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 RDP81 R00560R0001 00010001 -0 COPYRIGHT NOTICE STATINTL Copyright 1964, National Investigations Committee on Aerial Phenomena. All rights reserved, except that newspapers, magazines, radio and television stations may quote up to 750 words without special permission. ACKNOWLEDGMENTS Art: Eric Aldwinckle, Eugene Bergeron, Richard Hall, James Kemple, Earl J. Neff (cover design), Dr. John Pagano, Edward L. Smith, Walter N. Webb. Editorial: Maj. Donald E. Keyhoe, USMC (Ret)., Consultant. Other research, proof-reading and typing assistants: Don Berliner, Mrs. Lelia S. Day, Carmen Johnson, Joan Lusby, Elizabeth Sabow. Scientific & Technical Consultants: West H. Armistead, Jr. (electronics engineer); Dr. James C. Bartlett, Jr. (astronomy); Dr. Fred C. Fair (engineering); Dr. Robert L. Hall (social psychology); Stanley J. Hryn (electronics); John F. McLeod (aviation); Max B. Miller (photography); David L. Morgan, Jr. (physics); Ralph Rankow (photography); J. R. Reiss (electronics engineer); L. D. Sheridan, Jr. (aviation); Walter N. Webb (astronomy). We are also indebted to Isabel Davis, New York City, whose extensive files on UFOs were opened to NICAP; and to the following per- sons for valuable help and advice during the preparation of this report: Ted Bloecher, Jose A. Cecin, Paul C. Cerny, George W. Earley, Alexander D. Mebane, Lee R. Munsick, Leonard H. Stringfield. The Ronald Press Company, New York, kindly granted permission to quote an important sighting from 200 Miles Up--The Conquest of the Upper Air, by J. Gordon Vaeth (c. 1956), which appears in Section I. We are also grateful to the NICAP Affiliates, Subcommittees and Associate Members whose support and encouragement, and practical help, made this report possible. Manufactured in the United States of America Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 CONTENTS Page INTRODUCTION ........................................................................................................................................................ i Abstract. Explanation of NICAP and its policies. Statement by Board of Governors. Section I. CROSS-SECTION DIGEST ............................................................................................................ 1 Sample cases showing general features of UFO reports. Section II. INTELLIGENT CONTROL .......................................................................................................... 9 Cases indicating intelligence: pacing of vehicles, reaction to stimuli, formation flights. Section III. AIR FORCE OBSERVATIONS .................................................................................................... 19 Sightings by Air Force pilots, navigators, other officers and men. Section IV. ARMY, NAVY & MARINE CORPS .............................................................................................. 29 Reports of other military personnel. Section V. PILOT & AVIATION EXPERTS ................................................................................................ 33 Observations by airline, military and private pilots. Section VI. SCIENTISTS & ENGINEERS ...................................................................................................... Observations by professional scientists and engineers, including astronomers and aeronautical engineers. Section VII. OFFICIALS & CITIZENS ............................................................................................................ 61 Sightings by police officers, civil defense and ground observer corps, cross-section of citizens' reports. Section VIII. SPECIAL EVIDENCE .................................................................................................................. 73 Electro-magnetic effects. Radar cases. Photographic evidence. Physical and Physiological effects. Sound. Angel's Hair. Section IX. THE AIR FORCE INVESTIGATION .......................................................................................... 105 Background of secrecy. Official regulations. History and analysis of the official UFO investigation. Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 CONTENTS (Con't) Page Section X. FOREIGN REPORTS .................................................................................................................... 118 A survey of reports from other countries, attitudes of foreign governments, and world-wide interest in UFOs. Section XI. THE UFO CHRONOLOGY ............................................................................................................ 129 Chronological listing of sightings, statements and events. Section XII. PATTERNS .................................................................................................................................... 143 Statistics and analyses of consistent physical appearance, maneuvers, flight characteristics, recurrent concentrations. Section XIII. CONGRESS AND THE UFOs .................................................................................................... 173 Survey of Congressional interest in UFOs. Section XIV. THE PROBLEMS. & THE DANGERS .................................................................................... 179 Discussion of the implications of UFOs, and what is needed in the way of a scientific investigation. ABSTRACT A synthesis is presented of data concerning Unidentified Flying Objects (UFOs) reported during the past 20 years through govern- mental, press and private channels. The serious evidence is clarified and analyzed. The data are reported by categories of specially trained observers and studied by patterns of appearance, performance and periodic recurrence. During the process of selecting the most reliable and significant reports, emphasis was placed on the qualifications of the observer and on cases involving two or more observers. This resulted in 746 reports being selected, after consideration of over 5000 signed reports and many hundreds of reports from newspapers and other publications. An overall look is taken at the UFO problem: The historical development of the mystery, Congressional attitudes and activity, con- sideration of the problems and dangers involved, and discussion of what is needed in the way of organized scientific research. Evidence is presented in support of the hypothesis that UFOs are under intelligent control, making plausible the notion that some of them might be of extraterrestrial origin. Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 INTRODUCTION In an article for Yale Scientific magazine, April 1963, Dr. J. Allen Hynek (Chief scientific consultant to the Air Force on UFOs) said: . .there are more reports per year now than there were in the early years of the `flying saucer era'. . . [UFO reports] have been coming to the Air Force at the rate of better than one a day over the past fifteen years. . . the daily press no longer carries such reports, except perhaps as fillers, because monotonously repeated items do not constitute news. But it is justthis repetitionthat is of potential scientific interest." Dr. Hynek added that the intelligence of the UFO witnesses has been "at least average," often "decidedly above average," and sometimes "embarrassingly above average." There are basically two explanations for the consistent, world- wide reporting of UFOs every year: (1) Widespread and presently unaccountable delusion on a scale so vast that it should be, in itself, a matter of urgent scientific study; (2) people are seeing maneuvering, apparently controlled objects in the atmosphere. Of the two hypotheses, the second appears to be more reasonable and it is solidly grounded in empirical observations. It is also borne out, in enough cases to warrant far more scientific inves- tigation, by instruments. [Section VIII]. However, the basic problem is to determine as conclusively as possible which hypothesis is correct. For obvious reasons, verification of the second hypothesis could be one of the most important discoveries of all time. This report is an attempt to clarify the reliable evidence of UFOs, and to remove the fog of mysticism and crackpotism which has helped to obscure the real issues. These issues are (1) the factual evidence for UFOs and its interpretation; (2) official secrecy and its effect on efforts to arrive at truth. Under no conditions is this report, or any part of it, to be considered an endorsement, acceptance or other recognition of any claims and beliefs of a philosophical, religious or spiritual nature. Diverse beliefs in these areas are being expounded by many cults, including individuals who use the UFO subject for the purpose of self-enrichment at the expense of an ill-informed public. This report presents documented facts on the physical aspects of UFOs, which we believe should be investigated scientifically. If our hypotheses are correct they stand independently of, and do not prove, unsubstantiated tales of rides in "flying saucers." Our investigations have found no evidence to support these claims, but considerable evidence of fraud. This does not mean that we believe a meeting with space men is impossible. It merely means that the public is being misled by some unscrupulous in- dividuals making these claims, whose false stories are be clouding serious evidence. NICAP and its Policies NICAP is a non-profit organization incorporated in the District of Columbia (1956). Our main goals and purposes are scientific investigation and research of reported unidentified flying objects, and encouragement of full reporting to the public by responsible authorities of all information which the government has accumu- lated on this subject. The U.S. Air Force is charged with the official investigation of UFOs, but has practiced an intolerable degree of secrecy keeping the public in the dark about the amount and possible significance of UFO evidence. [Section IX]. There- fore, we have urged Congressional hearings to help clarify the evidence and encourage a full scientific review, with the public being kept fully informed. NICAP policy is set by a Board of Governors [see inside front cover] and carried out by the executive staff. Investigations are carried out by Subcommittees (field units) of specially trained and equipped personnel. Affiliates in four states also assist with investigations, and public relations work. Panels of Special Advisers assist with evaluations of data. The executive staff are the only salaried employees. NICAP is supported by membership fees and donations. (Asso- ciate Membership is $5.00, covering six issues of the member- ship bulletin, The UFO Investigator, published approximately bi- monthly). Members assist the investigation, on their own in- itiative, by submitting newspaper clippings, first-hand reports, and other leads to information. The current membership is approximately 5000, covering all 50 states and about 25 foreign countries. A Panel of Foreign Advisers (including lawyers, en- gineers, and other professionals) aids in data gathering on a world-wide basis. NICAP has a secondary interest in all aerial phenomena, and has contributed to scientific studies of meteors and ice-falls. Data has been furnished to the American Meteor Society, various college and university departments, individual scientists, and to many hundreds of students at all levels. A recently formed NICAP Youth Council is encouraging young people to pursue a scientific interest in UFOs, aerial phenomena, and space travel. Various beliefs and attitudes have been attributed to NICAP erroneously by some of our opponents in the past several years: That we are engaged in a vendetta against the Air Force for pur- poses of sensationalism; that we accuse the Air Force of being involved in a vast conspiracy (sometimes, it is said, on an international scale) to suppress from the public proof of the reality of extraterrestrial visitations, etc. These are irrespon- sible distortions of our views. We are presenting serious, documented facts as evidence of an important phenomenon, the reality of which is denied by the Air Force. We are dissenting from the official (Air Force) position. A phrase coined by the NICAP Director--"The Silence Group" - - has been misused by people on both sides of the issue. The term was used to apply to one faction within the Air Force which favors suppression of UFO information from the public. This view was supported in a book by Capt. Edward J. Ruppelt, chief of the Air Force UFO project, who similarly described a continuing struggle between two factions within the Air Force--one of which favored complete secrecy. The question of whether the Air Force is suppressing information about UFOs does not rest on a conspir- atorial view of history. [Section IX] We have no quarrel with the Air Force and its important mis- sion of national defense. Our criticisms are directed entirely at its allegedly scientific investigation of UFOs and public infor- mation policies on the same subject. If the United States Marine Corps were responsible for the UFO investigation, and handled it in the same manner, we would criticize its policies on the sub- ject for the very same reasons. It is claimed that the reality of UFOs has been disproved, but we are asked to accept this conclusion on authority alone without access to the data which would allow independent evalua- tion by the scientific community. We are asked to accept this conclusion in the face of evidence, such as contained in this report, which has often been "explained" in strange ways. [Section IX]. Merely on the basis of examining the explanations advanced by the Air Force for specific cases, one can find substantial reason to question the scientific adequacy of the official inves- tigation. This has. nothing to do with the motivation of the investigators, who no doubt are perfectly honest and sincere. Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 0 ADDroved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 At the heart of h matter is the effect of an authoritarian military system on scientific investigation. Science requires free and open discourse among scientists, individual initiative, and an atmosphere of inquiry not restricted by arbitrary regulations. Virtually all of the Air Force analyses have been conducted in secrecy, affording the scientific community as a whole no opportunity to cross-check and review the methods and reasoning used. Only end results have been released to the public, and often (without explanation) these have been counter-to-fact. Statement by NICAP Board of Governors "Although a large percentage of reported UFOs canbe explained in terms of conventional objects and events, the residual un- explained cases constitute a separate and important problem. (The word "UFO" hereafter refers to the residual cases). These UFOs have proved to be a consistent phenomenon, with significant new reports made each year. A large number of the reports come from reputable and competent observers, honest and intelligent citizens. "Given the evidence in this report, it is a reasonable hypo- thesis that the unexplained UFOs are: * real physical objects, rather than the result of imagination, hallucination, illusion or delusion; * artificial, rather than purely natural, such as meteorological and astronomical phenomena; * under the control (piloted or remote) of living beings. "To date serious scientific attention to UFOs has been limited by several factors including: * the Air Force practice of artificially reducing the significance of the data through the use of counter-to-fact explanations of sightings and issuance of misleading statistics; * the Air Force practice of implying, through its public relations program, that all available information has been disseminated and there is no need for further investigation; * the lack of governmental recognition, through the Congress or the Executive Branch, that a scientific problem exists which ought to be thoroughly probed. 'We believe the following steps should be taken to rectify an unsatisfactory situation: (1) The evidence in Air Force files (after deletion of legitimate security information such as data concerning the capabilities of radar) should be made freely available to any interested cit- izens. (2) There should be a Congressional inquiry into the Air Force's Project Blue Book to establish, a. the amount and kind of UFO information in the files, and whether all significant non-security data has been made public; b. the scientific adequacy of the in- vestigation (whether there has been a consistently objective, scien- tific study of the evidence, or whether it has been erratic and influenced negatively by high-level policy decisions, lack of funds, or other factors). "The foremost question which remains is: What are the UFOs? The importance of these objects, if the above hypothesis is correct, is readily apparent. In order to settle this question, we strongly recommend that a much larger scale and more thorough scientific investigation be undertaken." Rev. Albert H. Bailer, Congregational Minister, Clinton, Mass. Col. J. Bryan III, USAF (Ret.), Writer, Richmond, Va. Mr. Frank Edwards, WTTV, Indianapolis, Indiana. Col. Robert B. Emerson, USAR, Research Chemist, Baton Rouge, La. Mr. Dewey J. Fournet, former Major, USAF, Baton Rouge, La. Rear Adm. H. B. Knowles, USN (Ret.), Eliot, Maine. Prof. Charles A. Maney, Department of Physics, Defiance Col- lege, Ohio. Trained or Experienced 5 Good 22% Average 25% QUALIFICATIONS OF OBSERVERS Trained or Experienced------- 288 (Scientists, professional pilots....) Good------------------------- (Private pilots, police...) 125 Average---------------------- (Other reliable citizens) 143 Radar (no visual)------------ 19 575 In a separate statement, Dr. Charles P. Olivier (President of the American Meteor Society), Narberth, Pa., reiterated his reasons for serving on the Board of Governors. Dr. Olivier does not take a position about the nature of UFOs, and his prime reason for supporting NICAP is to help dispel secrecy and en- courage scientific investigation of the phenomenon: "In serving as a NICAP Board Member, my only purpose is to help in forcing further scientific investigation. UFOs have not been fully studied scientifically due to suppression of pertinent data and subjecting reports of trained and reputable people to ridicule. It is possible UFOs might eventually have serious effects upon our planet and its inhabitants, either for good or ill. I have no personal theory to advance or refute. In view of the importance of the subject, no matter what the outcome, I would be glad to see a very full inquiry, and the old secrecy fully removed. What I want is the whole truth brought out. I do not know what it is." In preparing this report, it has been our aim to establish the facts to the best of our ability, and to present them for study. In so doing, we hope to encourage a more careful, detached examina- tion of detailed specific cases. Itwillbe found that some explana- tions which have been advanced for specific cases have been super- ficial, often glossing over details which contradictthe explanation. Detailed interpretation of specific cases is difficult, and often depends on one or two facts. For anyone wishing to examine Approved For Release 2001/04/02 : ibIA-RDP81 R00560R0001 00010001 -0 Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 divergent interpretations of some of the cases in this report, we suggest two books which present the skeptical position: Flying Saucers and the U.S. Air Force, Lt. Col. Lawrence J. Tacker, (Van Nostrand, 1960). The World of Flying Saucers, Dr. Donald H. Menzel, (Doubleday, 1963). Both books argue that UFOs have been adequately investigated, and that there is no evidence indicating they are anything other than misidentified conventional objects or phenomena. This report contains a total of 746 UFO sightings. The main chronology [Section XI] lists 575 cases, with cross-references. (Statistics based on the main chronology are reported in Section XII) The witnesses in 50% of these cases were trained or ex- perienced observers. An additional 171 cases are included in separate chronologies [Section XII] which show the major con- centrations of UFO sightings. The reports come from 46 states, the District of Columbia, Puerto Rico, Canada, Mexico and Central America, 6 South Amer- ican countries, 10 European countries, 4 African countries, 5 Asian countries, Australia and New Zealand, major oceans and numerous islands. States with the highest frequency of sightings, as indicated by the selective process used, were: (1) California; (2) Ohio; (3) New Mexico; (4) Florida; (5) Illinois. Other countries: (1) England; (2) France; (3) Canada; (4) Japan; (5) Brazil. Of the 575 cases, two UFOs were observed in 41 cases, three UFOs in 30 cases, more than three UFOs in 81 cases. The re- mainder were observations of single objects. Richard Hall Washington, D. C. May 1964 Approved For Release 2001/04/02 :''CIA-RDP81 R00560R0001 00010001 -0 Approved For Release 2001/04/02 : CIA-RDP81 R005r60R000100010001-0 SECTION I. A Cross-section of significant cases and guide to additional examples in other sections. Most people are unaware that UFO sightings, many by exception- ally good witnesses, have been reported regularly in recent years. Contrary to popular belief, the reports have continued into the 1960's. The last fully publicized series of sightings was in November 1957 [Section XII; November 1957 Chronology]. At that time the cases involving electromagnetic effects on automobile motors and lights made headlines all over the country for two weeks. Before that, UFO sightings were reported and discussed widely through 1952; in that year, the Air Force (officially charged with investigation of UFO reports) investigated a record number of cases-1,501. UFOs violated the restricted air spaces over Washington, D.C., on two consecutive weekends is July, were tracked on radar, and pursued by jet interceptors [Section XII; July 1952 Chronology]. Since 1957, the newswire services and national radio and tele- vision have rarely mentioned UFO sightings. As a result, few people outside the immediate area of occurrence ever learn about a report. Local newspapers and stations continue to report UFO activity, but it has been considered "local" rather than "national" news, in general. The misconception that UFOs are no longer being sighted, and other erroneous beliefs, are challenged in this Section. Sample reports are given, representing a cross-section of the entire report, and providing a digest of the type of evidence which constitutes the UFO problem. The cases also were chosen to furnish examples of features of UFO sightings, such as maneuver patterns [Section XIII and UFOs tracked by instruments [Section VIII]. ARE UFOs STILL BEING SEEN? This is probably the most common question asked by casually interested persons. The answer is "yes." But the sighting reports do not receive the publicity they once did. [See Section XI for chronology of recent sightings]. A grayish disc-shaped object which hovered, wobbling on its axis, then evaded pursuit, was sighted October 2, 1961 at Salt Lake City, Utah, airport. Private pilot Waldo J. Harris, a real estate broker, investigated the object in his light aircraft as 8-10 ground personnel at the airport watched. Mr. Harris signed a NICAP report form on October 10, and later answered additional questions by a NICAP Subcommittee member. His report: "I was preparing to take off in a Mooney Mark 20A from the North- South runway at Utah Central Airport when I noticed a bright spot in the sky over the southern end of the Salt Lake Valley. I began my take-off run without paying much attention to the bright spot as I assumed that it was some aircraft reflecting the sun as it turned. After I was airbourne and trimmed for my climb-out, I noticed that the bright spot was still about in the same position as before. I still thought it must be the sun reflecting from an airplane, so I made my turn onto my cross-wind leg of the traffic pattern, and was about to turn downwind when I noticed that the spot was in the same spot still. "I turned out of the pattern and proceeded toward the spot to get a better look. ' As I drew nearer I could see that the object had no wings nor tail nor any other exterior control surfaces protruding from what appeared to be the fuselage. It seemed to be hovering with a little rocking motion. As it rocked up away from me, I could see that it was a disc shaped object. I would guess the diameter at about 50 to 55 feet, the thickness in the middle at about 8 to 10 feet. It had the appearance of sand- blasted aluminum. I could see no windows or doors or any other openings, nor could I see any landing gear doors, etc., protruding, nor showing. "I believe at the closest point I was about 2 miles from the object, at the same altitude or a little above the object. It rose abruptly about 1000 feet above me as I closed in, giving me an excellent view of the underneath side, which was exactly like the upper side as far as I could tell. Then it went off on a course of about 170 degrees for about 10 miles where it again hovered with that little rocking motion. "I again approached the object, but not so closely this time, when it departed on a course of about 245 degrees climbing at about 18 to 20 degrees above the horizon. It went completely out of sight in 2 or 3 seconds. As you know I can keep our fastest jets in sight for several minutes, so you can see that this object was moving rather rapidly. (1800) S (1) UFO hovered with rocking motion at about 6000 ft. south of the airport. (2) UFO rose abruptly estimated 1000 ft. as Harris closed in. (3) UFO quickly moved away an estimated 10 miles, stopped and hovered, rocking motion.(SSE). (4) As Harris closed in second time, UFO took off at high speed on 245? course (WSW) climbing at an angle of about 20?, completely out of sight in 2-3 seconds.(Copy of observer's sketch). Approved For Release 2001/04/021: CIA-RDP81 R00560R0001 00010001 -0 Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 "All the time I was observing the object, after getting visual confirmation from the ground, I was describing what I saw on radio unicom frequency. I was answering questions from the ground both from Utah Central, and Provo. The voice at Provo said that they could not see the object, but at least 8 or 10 people did see it from the ground at Utah Central Airport. "As to seeing it again, I was returning to the field after it had departed when I was asked over radio if I still could see the ob- ject, and I reported that I could not. They said they had it in sight again. I turned back and saw it at much greater distance only for about a second or two when it completely vanished. The guys on the ground said it went straight up as it finally left, but I didn't see that departure." On the NICAP report form, Mr. Harris pointed out that the UFO at one time "passed below the horizon in front of mountains to the south." This fact rules out any astronomical explanation. Later that month, an engineer in Pennsylvania saw a formation of four disc-shaped objects, with apparent lights or ports on the rims. HAVE SCIENTISTS REPORTED UFOs? LocelI'Y ?f Obrawli- Ligonier, Pa. lbw Isna did psi e. 1ite ebj.c:] 0 !bun NILL STeMED C,, seer Alva O.er,eEO. LIGONIER C?"e'r,RSY 516H]ING REPORT ON UNIDENTIFIED FLYING OBJECT(S) rhi, ben i vlud.r gw+Nem .4.4 by '6. 0,I.d S:a., Al, Fen. and by Whet v, sd F?r.e' Ins..tlaerip apa.b,, ad addlYaal gw+riau ro which ww.n w :eed" fo, full awlwri- by NIGP. Alt., all The in-ion he, bean fully ,tidied, rha .salmon of ea Evelwrien Psel wi I1 6 published by NICAP I. in -alp bimd empa.in a. in enotb., psbli-ri-. Pb..,. Try Is on., es man, gnniem a pselbl.. S6.sld yes ,.d ddiYonal Is.., ple em nthet. -ref p.-,. PI-. pi,' a ryp?wrin. Yea sehroc? I. of e,.?, wlw ?r,,1 h saniI.ly app.ci?rd. ThW yes. Add.. 228 Ridge Ave., Derr Pa. Oeos (Div. of Carrier Corp.) Y, ,?N- Engineer edwori- Pennsylvania State University r.laphse OXbov 4-2678 Special T.robe WlI.ry S.6., U. S. Army, C.I.C. D.. elOWo inlet October 30, 1961 Ti- 12:20 AM 116.10 N.. ls,ra Eastern Me de.alb w-r6., ceeIrioa ad rtepp?.1 py; I..., biphr deyliphr, nl Mrim?, duk, .,c. Nighttime -sporadic cloud ~lr n epprmxima[e~y 1/2 full. burl- o! tie Sun o. Moon in .l?ri- me r6. obi cr and ro y-. Moon E-N-E position about 30 above horizon - objects passed just below mo - they If e., ar niehr, :willel, a dawn, wn N.? rsoer teen ddbI.? were below cloud c over mentioned M- W-- Then ne:? Then on obis.,] 4 If e, pie ,ell hoer ?'-Y. ad draw a.b.h of rhes above. dies!- er tewa, .1 -Y. ye. e., Idlv,iq Me d.rc,ib. 06. objerr0) In 4rol I. b: I.r?nn, did N (Nay) wpaw elid, ar ady e a eua N Ileh6 a I, .-Ivl , aa] Meale w .ddli-I+h-l. -1111, if ieumry, see attached sheet. Ww the abj.cl(l) brlph., 'b, de b?ckpsmd of r6. Ay? Yes. If e, enema de briehm.m wish d. Sun, Moan, h-dNeh., ... See attached sheer. Did the abj.rN,) - (Me .lasses., ify--reels. des,".) MRECriON EPIRAVE~-_ S NATIONAL INVESTIGATIONS COMMITTEE ON AERIAL PNENOMENA 1536 Co.:ecriarl Awns. N. W. W.,hirpron 6, D. C. by-,road .rill ?, -yrla] No. swde,ly sped w and ,.dr awayar-y tl.mv No. Br-k w ltn pee a, eyld.] Seemed to explode, but obviously did not. GIs. Ml eek?] No. t-Tasty ri.isle hall] No. Dnv aryrbim O No. C6.nwbiehmw] Yee. C6.,,.. dba's? No. Cleves la] No change in color, only in intensity of color. Didtb sbjaer6)?rwryri:.p.e in(t4,-Weird eI, eeytbl,ssIf e,pie.labia. sing diems., Js, ..,ifp.Wbb. sae .`tamed Shear. Wes ,6.n.y.id] Yes. Ifs, Pleaiwd""ee.d seed. Approx. 15 mph from West to Seat Did y- shirty the ebl.c'(1) rOba etc pt I I.em-nt a axe, ale, wlddrl?ld, eled?.Pas, :71.d.. , ,aa..le ?.] w6.] Observed objects through c at windshield - ope- and out i h n t e open. Did ne m u) hew scr my.ad] No. VA W kid]. Me ell if tie obi.er0) wes (.are) - F~ e, N. LI b hr,w. shandy eerli ed. Sell-Nmi.e] self-luminous b. Dsll Dni.67 R.N?c:iny] d. r.n,paanr] Did r6. obpotl,I riw e, 1.11 whit. I. neuon] They oscillated in a seemingly sidevard motion from direction of travel. Tell r6. spy.,.,? dze of rh. obj..t(,) when compered wlrh r6. tellewi? held ar eta'. I?ryrh: P1,6 ad d. Nickel peep b. p- *.. Moil dollar H. G.pdrsir Dime !. Silterdoll?r I. tarp, 0,, if ..+i.,, aiw?ppenm ,i.. 1. Inch,-...I., held le en:', broth. Ito did wu happen n,uric. the ebiacr(N] An interested in astronomy. Noticed the 4 objects in a ralght line across sky, all f sae magnitude 6 altitude - er seld y om.. when w?. yes ed [her a"? s? delnper4. lee? onfigurations a celestial like this. Driving first ighting, c fbw did The ebl?nHd dlepp-, fro?ri?w] Objects seemed to float over untain top. Cof piom en r6.pe+p-d ofabr6. obla(.) eiA a plan wear elrcnl:le Theate eppmanr.lA,W.~COmpares more vi th speed r . I paced them in ar arty p Jerellel a[ about 20 mph. sp+,?'i W.r6..-r smwesrsrel al,...n1.:1.-l-.,.--..-w-_. ,_-:_ '._ .. Me .time. r6. di+m.. of :ha ebl?cH-0. 1/2 to 3/4 mile When -+'6. .I?wrlon eI Nr ebiacr6) in r6. 'by? Ne .S,b an ,he b.el,yb.,..k.rch: Nm:e, and addmw.ofrepl~l,s,rwm,, If-y. None. Tried to get Wm. Huskey of Rector, Pa. out it. n.'"e a. seeep`ar ,M Pin . o4YN,: ;:?gp,Rce lye$p. n~cxi . q~ Sh.sAbn iron which Ma oblenthl appaa..d ad divpp.md fret: law; N+a di:+c,len of In sauna es., ,s way mad,, ma+., rlllaps, ,el led,, sd es6., la:de,erk+ wl-Nn ? il.. 3a. I. den 5,e,Ilre,y, Sor?mm.nlol, a raumch hatellarlan in the am] Nearest civilian airport about 10 miles from a Cl. New ye s.enarh., ,bl el. .,an -1d-rllld-tea] If e, pie dnviba has v,,,, tan, ,lip ? Tepees rh-r el papa.. Yes - e to hed sheep. 30. M. ?nclo,ephor.ervph., mare, i N,.. re- olippI-+, -o, sT t die a .I?dd- pmgmm. (Include rim., ,.rl- and der., if -dbl.) ,ryp,di? lid, se .L.ila ebu,...... e, wry ah., b-kamad memorial. W .,11 leNm ,6. teed.! Is y-. None. 13. Were you m.-.1d by all Fe to ltseo4aron] BY mry elver 5.4..l, .nn, n-ry, ar I-ol afli.lal,] If n, pl-m abr. r6.:-ne and.c.4e,'irl?al,M?p-r, hi. olDw, ad d.all,erowham ad.h-r6. quasi-ir,. rock plan. Did n t report to Air Force. Have read J. Keyhoeh Its S disagree vi [h A.F. hendlinss of eitua- Wn ws ed.d o, hid -::e ...-I a dl.cw r6. I.Ida.] If_, wn -y ram-+w elficldl eNan m-NaW ] Platy Lion. .lab.'. co.fully. 34. Wl ,buld 116. p-leis, q q 1.1 m. yaourN nee IGP. In mr.,.oos,if wirh Ibis npoN. willThkis-?eprionyoawill 6.ic. by -mwap. adnr n+pwuibla le r?pen ,i kin eburwN lbe.wr, yew p.f.r, ll ,mr:a mdld.elel. Plwu -. yet c.6.561,,. r6. pop., ,era-nr blew. In arty as, plead. 011 I, all pal. of Ne Iaa, fa.ur awn ,.aeNd?etlel mil.,. T6.nk sou Is, yore -apemen-. 35. Da. el !il lire 501 Ibis .p.N: November 16, 1961 Skeptics have often claimed in public forums that "no as- tronomer has ever seen a UFO," sometimes implying that this proved UFOs do not exist. Astronomers, other scientists, and experienced observers of many types have often made reports [Section V, VI]. One detailed report by trained observers, describing a man- euvering elliptical UFO, has been reported briefly in the literature. The full, copyrighted story is here reproduced, with permission of the publisher. [J. Gordon Vaeth, 11200 Miles Up - The Conquest of the Upper Air," Second Edition, Revised Printing. Copyright (c) 1956, The Ronald Press Company, N. Y., ppg. 113-116.] The General Mills, Inc., balloon personnel, who launched and tracked most of the large plastic research balloons during the 1940's and 1950's took little stock in UFO reports until April 24, 1949. "On that date, a balloon crew was at the White Sands Proving Ground in New Mexico, together with personnel from the U.S. Navy Special Devices Center for a special Skyhook flight to be undertaken for that Office of Naval Research activity. The author was present as Navy representative in charge of the ground handling and balloon phases of the operation. "As part of this particular project, a balloon launching site had been established three miles north of Arrey, New Mexico. Charles B. Moore, Jr., an aerologist, graduate engineer and balloonist, and four enlisted personnel from the Navy Unit, White Sands Proving Ground, had set up facilities there to ob- serve and record local weather data preparatory to the Special Devices Center Skyhook operation. Instrumentation on hand con- sisted of a stop watch and a ML-47 (David White) theodolite, a tracking instrument consisting of a 25-power telescope so mounted as to provide readings of vertical (elevation) and horizontal (azimuth) bearings. "At 10:20 A.M. on April 24th, this group of five released a small 350-gram weather balloon for observation of upper wind velocities and directions. The balloon was followed by Moore with the theodolite until immediately after the 10:30 reading, when he relinquished the tracking instrument to look up to find the balloon with the naked eye. "Searching the sky for the balloon, he thought he had found it when he s i i d' t' ' 1e i rec ion Approved For Release 2001/04/02 : CIA-RDP81 R0O5 6DRDOO1U0UWO1gO Approved For Release 2001/04/02 the theodolite was pointed (45 degrees elevation and 210 degrees azimuth). The object was moving east at a rate of 5 degrees of azimuth change per second. "When the difference in angle between the theodolite and the supposed balloon became apparent, Moore took over the theodolite and found the true balloon still there, whereupon he immediately abandoned it and picked up the unidentified object as it came out of the sun. At the time, the sun was at a computed bearing of 60 degrees elevation and 127 degrees azimuth. The object was moving too fast to be kept in the scope through cranking the theodolite around; one of the men, therefore, had to point the theodolite while Moore observed the object through the telescope. "The object was an ellipsoid about 2-1/2 times as long as it was wide. It had a length of about .02 degrees subtended angle and was gleaming white in color. It did not have metallic or reflected shine. Toward the underside near the tail, the gleaming white became a light yellow. "The object, readily visible to the naked eye and seen by all the members of the group, filled the field of the theodolite's 25-power scope. Its rapid movement, unfortunately, prevented Moore from obtaining a hard or clear focus, and no good detail was observable. "The azimuth angle decreased as the object continued on a north heading (it originally came out of the southwest). Becoming smaller in size it moved to an azimuth reading of 20 degrees to 25 degrees, at which point the azimuth held constant. Coinci- dentally with this constant azimuth, the elevation angle suddenly increased from 25 degrees minimum to 29 degrees, at which point the object was lost to sight. It disappeared in a sharp climb after having been visible to Moore and his group for about 60 seconds. "Fifteen minutes after the object had disappeared, Moore sent up another pibal weather balloon to check wind values. .This balloon burst after an 88-minute flight to 93,000 feet and traveled only 13 miles in a southerly direction during that time. This was positive proof that the object could not have been a balloon moving at such angular speed below 90,000 feet. "The object was seen under conditions of a cloudless sky and no haze. It left no vapor trail or exhaust. It was observed from an isolated mud flat in the New Mexico desert where there was extreme quiet; no noise of any kind was heard in connection with the sighting, and there were no cars, airplanes, or other noises nearby which might have blotted out sound coming from the object. "As the day progressed and airplanes flew over and near the balloon launching site, Moore's group was able to identify them by appearance and engine noise. They saw nothing again that day which bore any resemblance to the white elliptical, unidentified object. "Moore's sighting was an extremely fortunate one in that tracking instrumentation was set up and a weather balloon air- bourne at the time. It represents one of the best substantiated and authentic unidentified object sightings on record. "The foregoing discussion of 'flying saucers' does not represent any desire by the author to become involved in this controversial subject. The saucers have been mentioned because there has been in a number of cases a close relationship between reported sightings and the flight trajectories of Skyhook balloons. The description of Moore's instrumented sighting of an unidentified object has been included because it is authentic, details have not been previously published, and it occurred during a Skyhook operation. "The author, and indeed Moore himself, make no claim that the unidentified object was a 'flying saucer.' The details have been set forth. Let the reader take the sighting for what it is worth and evaluate it for himself!" [1.] Dr. Seymour L. Hess, who sighted a UFO in 1950, is a meteor- ologist and astronomer. He is currently head of the Department of Meteorology, Florida State University, and is considered an ex- pert on planetary atmospheres. [2.] See letter next col. Another sighting by General Mills, Inc., personnel in the vicinity of White Sands, New Mexico, was reported by Capt. Edward J. Ruppelt, former Chief of the Air Force Project Blue Book UFO investigation. [3.] Two General Mills employees and four others at Artesia, New Mexico, were watching a Skyhook balloon, January 16, 1951. Suddenly they noticed two tiny specks on the horizosipprovedl`i'or` elease ~hbdbqedts shot 4/02 : CIA-RDP81 R00560R0001 00010001 -0 I saw the object between 12:15 and 12:20 P.M. May 20,1950 from the grounds of the Lowell Observatory. It was moving from the South-east to the Northwest. It was extremely prominent and showed some size to the naked eye,that is, it was not merely a pinpoint. During the last half of its visibility I observed it with 4-power binoculars. At first it looked like a parachute tipped at an angle to the vertical, but this same effect could have been produced by a sphere partly illuminated by the sun and partly shadowed, or by a disc- shaped object as well. Probably there are still other configurations which would :ive the same impression under proper inclination and illuminatisn. I could see it well enough to be sure it was not an airplane (no propeller or wings were apparent) nor a bird. I saw no evidence of exhaust gases nor any markings on the objects Most fortunately the object passed between me and a small bright cumulus cloud in the Northwest. Thus it must have been at or below the cloud level. A few seconds later it disappeared, apparently into the cloud. Against the sky it was very bright but against the cloud it was dark. This could be produced by agrey body which would be bright against the relatively dark sky, but dark against the bright cloud. Alternatively, if the object were half in sunlight a:d half shadowed the sunlit part might have had no detectable contrast with the cloud while the shadowed part ap- peared dark. I immediately telephoned the U.S. Weather Bureau (2-3 miles S.W. of the Observatory). They were estimating the cloud to be 6000 feet above the ground. Now estimates of cloud heights are rather risky, no I obtained their observations of temperature and dew point, and from the known lapse rates of these quantities in a convective atmosphere, calculated the cloud base to be at 12,000 ft. I believe this latter figure to be the more accurate one be- cause later in the afternoon the cumulus clouds thickened but at all times remained well above the tops of our nearby mountains. These are about 6000 feet above us. Thus, having some idea of the object's elevation and its angular diameter through the binoculars (about equivalent to a dime seen at 50 ft. with the naked eye), I calculated its size to be 3 to 6 ft. for a height of 6-12 thousand feet, and a zenith -;Is of about 450. This size estimate could easily be in error bya factor or two, but I am sure it was a small object. The clouds were driftin_ from the SW to the NE at right angles to the motion of the object. Therefore it must have been powered in s ome way. I did not time it but for that elevation I would estimate its speed to be about 100 miles per hour, perheps as hih as 200 m.p.h. This too means a powered craft. However, I could hear no engine noise. straight toward the balloon, tipped on edge revealing their disc shape, circled the balloon once and flew off over the horizon. In comparison with the known size of the balloon, the discs were estimated to be 60 feet in diameter. A particularly detailed account of a lens-shaped disc was ob- tained from an experienced engineer by the NICAP Assistant Di- rector in personal correspondence during 1955. [4.] Date: October 1954, about mid-month Location: Cherry Valley, New York Time: About 4:00 p.m. Witness: Major A. B. Cox, graduate of Yale University, mem- ber of the American Society of Mechanical Engin- eers, and Society of American Engineers. Excerpts from letter dated December 28, 1955 from Major A. B. Cox to Richard Hall: "The sky was more or less covered with streaks or layers of clouds, with blue sky between, so that the rays of the sun came through almost horizontally, the time being not far from sunset in the Valley. I was walking in a NE direction, having been an air- plane spotter for a long time, I have formed the habit of looking at the sky, quite naturally. "I happened to be looking at the West in the direction of my farm buildings, perhaps a half mile distant, and saw something which at first glance was about over my farm buildings. It was quite low, and did not seem to be more than a few hundred feet above the earth. I thought at first it was a large airplane not moving very swiftly. . . . It was moving horizontally in a direction parallel to my own direction. Then I noticed that it seemed to make no noise, and then I could not see any wings or tail or fuselage generally. "It seemed to be a large disc or lens-shaped object, and in comparison with the objects below I estimated it to be perhaps 30 or 35 feet in diameter. . . . It was moving like a wheel sliding sidewise and not rotating, and in perspective presented an elliptical appearance such as any circular object would when viewed from an angle; the degree of ellipticity varying as it came up and then passed me. I must have seen it for 20 seconds or a little more. Then it got ahead of me and it presented the appear- ^~~ kcb2 chi R0~i c,6e, 6661 UUU1 oU01 -6 The color Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 was grey, and I think perhaps a little darker on the rim or edge; not much but enough to make the edge sharply defined. "Suddenly it stopped and seemed to be going in a direction more or less at right angles to its first motion, but still in an upright direction. . . This sudden stop interested me as an en- gineer, because any sudden retardation or acceleration requires in so large an object the application of a very considerable force, and seemed a much shorter turn and a more rapid turn than any airplane I had ever seen could be capable of. "It then began to ascend in a direction of perhaps at right angles to its first direction and at an upward angle of perhaps 30 or 35 degrees from the horizontal. . . . There were some fleecy clouds above it, and it entered them and was lost to sight for perhaps a second or so, to emerge into vision again above this first layer of clouds. Its direction had not changed, and shortly after it entered some more layers of cloud, which were thicker, and was lost to view." ARE UFOs INTELLIGENTLY CONTROLLED? The definitive answer to this question must await a full-fledged investigation by scientists using appropriate instrumentation, as NICAP advocates [Section XIV]. However, the accumulation of reports by good observers and some of the special evidence such as radar trackings [Section VIII] strongly suggest this hypothesis. How else can one explain the maneuvers of the disc which pilot Waldo Harris attempted to investigate? The "curiosity" evidenced by the two discs which circled the Skyhook balloon? The powered flight indicated by the reports of Dr. Hess, Engineer Cox, and others? Section II discusses this question in detail. How else can one explain reports such as the following of objects approaching at meteorlike speed, then hovering or man- euvering? When these reports come from pilots, scientists, engineers, and police officers they deserve far more serious, scientific attention than they have yet received. Date: May 13, 1952 Location: National City, California Time: Approximately 8:55 p.m. PDT Witnesses: Donald R. Carr, aeronautical engineer, and at least six others in separate locations, including a teacher who is a former Navy pilot. Excerpts from Mr. Carr's report. [5.] "I saw what I thought was the trail of a large meteor appear, approximately 5 degrees of arc East of a line between the two pointers and almost exactly in the center of the bowl of the Big Dipper. [See diagram.] The trail was of a red color and appeared to be coming down at about an angle of 20 degrees to my line of sight and in a southwesterly direction. Only the red trail was visible for about two seconds and then a small white dot became visible, from which the trail was eman- ating. The speed appeared to be meteoric and so I still thought the object was what is commonly called a 'shooting star.' [After 2 or 3 seconds] the white object had an apparent diameter of 1/64 to 1/32 inch. The trail faded and the object still continued coming down. The speed appeared to be decreasing and I noted a certain erratic quality to the flight of the object, which now ap- peared to have a self-luminous or fluorescent quality. . . [for about 10 more seconds] the object was following a gradual curved path in process of levelling off. . . [then] the object was flying level on a course almost due West. . . . I estimated the altitude of the object at this point of its trajectory to be from 10,000 to 15,000 feet. Its speed at this time appeared to be within the range of known aircraft speeds. To the naked eye the object appeared as a sphere of about 1/16 inch diameter. . . . Through the [6 power] telescope the object presented a larger disc but the brightness did not appreciably increase. . . . In level flight the object seemed to dart from side to side in an oscillating motion without diminishing of forward speed. . . . After travel- About 9:25 p.m., Mr. Carr observed what appeared to be the same object returning from the North, and circling West. It passed over downtown San Diego, where bright ground lights seemed to reflect off a metal hull. "It is my conviction," Mr. Carr stated, "that since this ob- ject followed an apparently controlled course it was not moving under the influence of gravity, and must have been guided by an intelligence unknown to us. Its dive from an extreme altitude at possibly meteoric speed, its deceleration, levelling off, and circle of the city twice indicate that it arrived from interplanetary space and was under intelligent control." The former Navy Pilot, Harold Strawn, with a group of students in La Mesa also witnessed the meteoric appearance, the levelling off and circling. SIDE-TO-SIDE OSCILLATION DESCENDED IN GRADUAL CURVE, SLOWING UP A INCREASING IN APPARENT NORTH PATH OF OBJECT IN SKY FROM WITNESS CARR'S DESCRIPTION -WNW A multiple visual and multiple radar sighting, similarly sug- gesting controlled flight, occurred August 12, 1953; near Rapid City, South Dakota. The UFO was first spotted hovering in the eastern sky by the Ground Observer Corps. It moved in over the city, then back to its original position. Then ground radar began tracking the UFO, and an F-84 was scrambled and vectored in on the object, chasing it for 120 miles. Both the UFO and the jet showed plainly on the GCI radar screen. Each time the jet began to close in, the UFO would move ahead with a burst of speed. When the pilot gave up and turned back to base, the UFO turned and followed. A second F-84 scrambled and chased the UFO 160 miles, ob- taining a radar lock-on. The UFO again stayed just out of reach. When the pilot switched on his radar-ranging gunsight, and the red light blinked on showing something real and solid was ahead of him, the pilot was scared. ("When I talked to him, he readily admitted that he'd been scared. . .he asked the controller if he could break off the intercept." [6., p. 305].) This time the UFO continued on course to the north. The Ground Observer Corps on the path ahead was notified, and reported seeing a light speed- ing north. At the climax of the sighting, when the pilot became frightened, ground radar showed the jet and the UFO; the pilot's gunsight radar showed the UFO, and the pilot could see with his own eyes a speeding unidentified light in front of him. A NICAP member later queried the Air Force about the case, and received a written reply on September 17, 1958 stating: "Photos of the radar scope and gun camera photos were made but were not sufficiently clear for evaluation. The Ellsworth Air Force Base case is still listed as unknown or unsolved." [7.] NICAP Note: The fact that the gun camera photos showed an image at all is further proof that something real and solid was outspeeding jet interceptors. In conjunction with the multiple radar and multiple visual observations, an image on the film is close to complete proof of the reality of UFOs. ling a course almost due West for approximately one mile, the Capt. W. J. Hull, veteran Capital Airlines pilot, was a UFO object turned toward the Northwest and appeared to circle over skeptic. He had written an article entitled "The Obituary of the San Diego Bay and Point Loma and disappeared travelling North Flying Saucers" for The Airline Pilot magazine. At 10:10 p.m., at a constant altitude and speed. During the entire time the November 14, 1956, Captain Hull was a pilot of Capital Flight object was visible there was absolutely no apparent sound created No. 77, approaching Mobile, Alabama, enroute from New York by it. Despite its terrific speed in its dive there was no shock City [8.] Suddenly, he and his co-pilot, Peter MacIntosh, noticed a bri wave or noise from its 2001/04/02 CIA l DP 1 R00v60R00010 0~f00bl'-oshield. The 4 Approved For Release 2001/04/02 plane was on a southwesterly course, and the object, looking like a meteor, was falling across their path from left to right. But instead of burning out, the "meteor" halted abruptly directly in front of the plane. "What the hell is it, a jet?" MacIntosh shouted. As the UFO remained a constant distance in front of the plane, Captain Hull grabbed his microphone and called Mobile Tower: "Bates Tower, this is Capital 77. Look out toward the north and east and see if you can see a strange white light hovering in the sky." Mobile quickly answered that a thick cloud layer was obscuring vision, and asked Captain Hull if he thought the object was in the vicinity of Mobile. "Affirmative," Hull replied. "It is directly ahead of us and at about our altitude or slightly higher. We are right over Jackson and have descended to 10,000 feet. . . " Immediately after the radio exchange, the UFO began to move. It darted back and forth, rising and falling, making extremely sharp turns, sometimes changing course 90 degrees inan instant. The color and size remained constant. "MacIntosh and I sat there completely flabbergasted at this unnerving exhibition," Captain Hull reported. After 30 seconds or more, the UFO ceased its violent maneuvers and again appeared to hover ahead of the plane. About this time Mobile Tower called back: "Capital 77, we are trying to raise the Brookley AFB Tower." At this moment, the UFO began another series of "crazy gyrations, lazy 8's, square chandelles. . . " and then shot out over the Gulf of Mexico rising at a steep angle. It diminished rapidly to a pinpoint and disappeared in the night. (Elapsed time: At least two minutes.) "The one thing which I can't get over," Captain Hull stated, "is the fact that when it came, it came steeply downward; when it departed after its amazing show, it went steeply upward!" December 19/20 of 1958 was a cloudless night in Dunellen, New Jersey. At 12:55 a.m., Patrolmen LeRoy A. Arboreen and B. Talada were on night patrol, cruising west on Center Street. From an area elevated about 15 to 20 feet they had an unobstructed view to north, south, and west. In a signed report to NICAP, [9] Patrolman Arboreen (ex- Navy man and graduate of the New Jersey State Police Academy) described the experience: "This object came at us from the west. At first it looked like a red hot piece of coal about the size of a quarter held at arm's length. In a matter of seconds it was as large as a ruler held at arm's length. That is when it came to a complete stop. . . "The shape of the object was distinct. (See illustration.) The body of the object was solid bright red and it gave off a pulsating red glow completely around the object. The object hovered a few seconds, then made a left turn and again hovered for a few seconds, then went straight up like a shot. We watched it until it completely faded beyond the stars." In this matter-of-fact manner, the two officers described an occurrence which is totally inexplicable. Meteors do not hover or shoot upward. No known aircraft is elliptical, and glows bright red in flight, not to mention the observed performance. CIA-RDP81 R00560R0001 00010001 -0 Nor does any known phenomenon descend through the atmosphere like a meteor, then circle around, as Engineer Carr observed. Nor does the gyrating light observed by Captain Hull, descending, pacing the airliner, then ascending, have any natural explanation. HAVE UFOs BEEN SEEN IN OTHER COUNTRIES? This surprising misconception, that UFOs are exclusively a native phenomenon of the United States, is completely refuted in the Foreign Reports Section [X]. Part of the reason for this erroneous belief is the lack of information on foreign sightings reported by newswire representatives abroad. In 1962, for in- stance, a major concentration of sightings occurred in Argentina [Section XII, Argentine Chronology], beginning in May and lasting almost all year. A few of the May sightings were reported briefly in the New York Times (June 3, 1962) from a Reuters dispatch, but in a manner implying that the sightings lasted only one day. In general, U.S. news coverage of these sightings was practically nonexistent. Reuters apparently was the only news agency to report them at all outside of Argentina. Most major countries of the world for years have had either official or unofficial investigations of UFO sightings [Section X]. American servicemen overseas have contributed many reports. At 11:20 a.m. March 29, 1952, an Air Force pilot was flying a T-6 north of Misawa, Japan. It was a bright cloudless day. Lt. D. C. Brigham was in the T-6 target plane in a practice intercept mission, with a flight of two F-84's pursuing him. As the first F-84 overtook him at 6000 feet, Brigham noticed a flash of sunlight behind it and saw a small shiny disc-shaped object gaining on the interceptor. The UFO curved toward the F-84, decelerating rapidly to the Thunderjet's air speed (150 to 160 mph) and flipping up on edge in a 90 degree bank. Then it fluttered along close to the interceptor's fuselage (between the two aircraft) for 2 to 3 seconds, and pulled away around the starboard wing, flipping once, apparently as it hit the slipstream. Finally, the object passed the F-84, crossed in front, pulled up abruptly, accelerated, and shot out of sight in a near vertical climb. Lieutenant Brigham estimated that the UFO at its closest point was 30 to 50 feet away from his plane. It was round, shiny as polished chromium, and seemed to be about 8 inches in diameter. Throughout the observation, the disc rocked back and forth in 40 degree banks at about one-second intervals. [See Section XII, Flight Characteristics.] Lieutenant Brigham saw no exhaust or protrusions, but reported a ripple in the apparently metal skin around the edge of the disc. [10] Foreign pilots, scientists, and engineers also have observed UFOs many times. Around sunset June 30, 1954, south of Goose Bay, Labrador, a British Overseas Airways (BOAC) airliner was paced by a large "parent" object and about six satellite objects [See Section X, Foreign Reports]. Later that night (about 2:15 p.m. local time near Oslo, Norway), two UFOs operating in tandem were observed and filmed under especially favorable conditions. [11.] A solar eclipse was in progress, and three planes carrying scientists and technicians on a scientific ex- pedition were flying through the moon's shadow. About 50 people in the three aircraft saw two "enormous" silvery discs swoop down from some clouds 15 to 20 miles away (estimate based on fact UFOs were in sunlight). The objects sped along the horizon keeping an exact distance from each other, one slightly behind and above the other, both with forward edge tilted down. The observers detected apparent rotation, as the UFOs levelled off and disappeared into the distance after about 30 seconds. The chief cameraman of the expedition, John Bjornulf, managed to expose about 10 seconds of movie film which showed the UFOs. The films, released by Gaumont, a British firm, were shown on American television September 26, 1954. Still photographs of the UFOs have also been printed. Ernest Graham, one of the witnesses, stated that 50 persons afterwards wrote reports on what they had seen. [12] Another unexplainable disc was observed, tracked on radar, and chased by two U. S. Air Force jet pilots somewhere in the Far East. [13.] Approved For Release 2001/04/02 s CIA-RDP81 R00560R0001 00010001 -0 Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 "On December 1956 two USAF jet pilots were practicing ground radar positioned intercepts on each other in the vicinity of During one run, the report states, the intercepting pilot picked up a large unexplained radar blip; he estimated the UFO to be as large as a B-29 bomber. Radar showed it to be 20 miles away and 30 degrees to the left. . "Pilot called the GCI [Ground Control Intercept] site to ask if they had a target which would correspond to the unidentified blip. After receiving an answer in the negative, he asked for and received permission to determine the nature of the source of the radar return." The pilot closed in at over 700 mph; at 8 miles range a round object became visible exactly where the radar showed it. The apparent size was very large. The pilot described it as "the size of a lead pencil eraser if placed against the windscreen." [Using figures supplied by North American Aviation, the dia- meter of the UFO was computed to be about 350 feet.] [14.] The pilot got a radar "lock-on" (automatically guiding his plane toward the UFO). As he continued to close in, his radar was suddenly jammed by a strong interference. Using anti- jam procedure, the pilot switched frequency. For 10 seconds, this eliminated the mysterious interference pulses, thentheybegan again. But the pulsations were not strong enough to break the radar lock-on, and the jet held its course. "The jet closed to within 5 nautical miles of the object and could not close further. When the pilot was closest to the uni- dentified object, it appeared to make a shallow left turn. It had the appearance of being circular on the bottom." The color of the UFO was described as a golden tan, with no reflection from the sun. After the UFO began turning, the pilot's radar indicated that the object was "moving up and away at from 1,500 to 1,800 knots [1,700 to over 2,000 mph]." The Air Force report states that this is an estimate, since the UFOs' rate of departure was faster than the jet's radar could track. The blip "disappeared by moving rapidly off the top of the scope." The Intelligence Report shows that the jet and all of its equip- ment was immediately checked, and all systems were satisfactory. Under "Comments of the interrogation officers," the Report states: "The observing pilot, Lt. , had many flying hours as of the time of the incident. Over half had been logged in this type of jet. He appeared to be conscientious and reported the incident in a straightforward, slightly embarrassed manner, saying that he would doubt the possibility of such an occurrence if it hadn't actually happened to him. "The fact that no unidentified tracks were observed by ground radar should not be given much weight in evaluating this report. Both the jet aircraft involved required IFF in order that the con- trolling GCI site could plot them." [??IFF" is an identification code transmitter system developed in World War II called "Identification, Friend or Foe." The fact that IFF signals were required for ground radar to plot the jets indicates that the Air Force planes otherwise would not have shown up on the ground radar.] The above sample cases contain examples of most of the recurring features of reported UFOs: V Reports from competent observers such as scientists and pilots. J Flight characteristics such as a disc wobbling on its axis. V Maneuver patterns such as hovering andterrific acceleration. '/Physical evidence such as radar trackings and electro- magnetic effects. Typically, the majority of reports describe disc-shaped or el- liptical objects. [See Section XII, Patterns, for additional de- tails.] COULDN'T THEY BE U.S. OR SOVIET SECRET DEVICES? When a person who has been a skeptic first becomes con- vinced that UFOs are, or might be, real, his usual first reaction is that they must be secret devices. While space activity in the past six years undoubtedly has caused some false UFO reports, the activity of secret test devices on the other hand would nec- essarily be confined to restricted test areas. The arguments against the secret device theory, then, are: a. Test devices of one nation would not be observed worldwide [see Section X, Worldwide UFO Reports]. b. If secret devices were operational in the scope necessary to account for UFO reports, the technology implied would cause all current jets and rockets to be completely outmoded. Yet, the direction of our research and experimentation does not reflect such a breakthrough. c. Perhaps most damaging to the secret device theory is the fact that UFOs apparently have been observed for a very long time [see Section XI, Chronology]. Soviet aerial technology through and after World War H was not impressive. German technology at the end of World War II was impressive, and this has caused advocates of this theory to attribute UFOs to captured German scientists and engineers working secretly for the U.S. or Russia. American technology was making rapid strides at the close of the war, but our hottest operational aerial devices were propeller-driven aircraft, and our few guided missiles were hardly out of the laboratory. However, NICAP examined this possibility thoroughly, con- sulting scientists and engineers (including Prof. Dr. Hermann Oberth, famous German rocket expert) and found not the slightest evidence to confirm the rumors of secret devices developed by former Nazi scientists. The antiquity of UFO sightings, especially, rules out the pos- sibility of any sort of test devices, secret or otherwise, account- ing for more than a handful of UFO reports. Explorer Nicholas Roerich, on an expedition in the Himalayan Mountains, August 5, 1926, and others in his caravan, saw a shiny oval-shaped object [15.] While watching a soaring eagle, they noticed the object far above moving south at high speed and observed it through binoculars. The UFO then made a turn to the southwest and moved out of sight in the distance. An early postwar observation by an unusually well-trained observer was reported to NICAP Board Member, the Rev. Albert Baller: [See photostat]. Rev. Albert Roller I+:uns on Street Greenfield, Mass. Dear Mr. Haller: Be: "Flying Saucer"eighting. The circumstances of the sighting of an unknown flying object by me were as follows:- It was I. May 1946, at my wife's family home, at La Grange, 4 miles north of Titusville, Florida, where I was spending my terminal leave as Lieutenant j.g. 5.5.N.R., having just returned from the Pacific and Far East. I had spent over a year aboard a destroyer escort as senior watch officer, gunnery officer and radar officer, and was very familiar, both in training and practice to ship and aircraft recognition, night and day under combat circumstances. I was picking oranges in the forenoon about 100 feet from the house, when a distinct wavering whistling noise of a fast moving body through air made me look up. flying from west to east at about 1000 feet elevation, Possibly less, at the speed of a light plane - say 125 m.p.h. It appeared dark against the bright cloud layer which had a ceiling of perhaps 1500 feet - there was no blue sky showing. The sight astonished me, as the only sound was its passage through the air. There was no sound of any engine, it had no wings or other appendages, no props, and no trail of smoke in back. It appeared about 15 or 20 feet long, perhaps less, and as I watched it owed smoothly in an are to the southeast and vanished forever in a lower cloud bank. My wife and the rest of the family heard this queer noise and all rushed out to see what it was, and my wife glimpsed it as it vanished in the clouds, confirming my story. I had never heard of flying saucers and had no Idea what e had s , but assumed that it was some secret device of the Air Force, A never reported It. It w not a MAD (magnetic airborn detector) used for anti- submarine work, as it w attached to no cable to a plane above, and there n e the noise of no other plane or blimp at the time that could have been hidden, say, in the clouds above. So that is the story of my "Flying Football", still as much a mystery today as it was to as 9 years ago. Sincerely yours, [~ [I n Approved For Release 2001/04/02 : 6CIA-RDP81 R00560R0001 00010001 -0 Approved For Release 2001/04/02 : CIA-RDP81 R00560R000100010001-0 NOTES: 1. For other examples of UFO sightings by General Mills balloon personnel, see J. J. Kaliszewski reports, Section VI. 2. Sample contributions to astronomy literature: Hess, Dr. Seymour L., "A Meteorological approach to the question of water vapor on Mars and the mass of the Martian atmos- phere," Publications of the Astro- nomical Society of the Pacific, 60, 289, (1948). "Some Aspects of the Meteorology of Mars," Journal of Meteorology, 7, 1, (1950). "Blue Haze and the Vertical Structure of the Martian Atmosphere," The Astrophysical Journal, 127, 743, (1958). 3. Ruppelt, Edward J., The Report on Unidentified Flying Ob- jects, (Doubleday, 1956), p. 161. 4. Letter on file at NICAP. 5. Report on file at NICAP. 6. Ruppelt, Edward J., op. cit., p. 303; True, May 1954. 7. Air Force letter on file at NICAP. 8. Quotes taken from Capt. Hull's report to John DuBarry, former associate editor of True magazine, published in CSI News- letter by a New York UFO group of which DuBarry is presi- dent. 9. Report on file at NICAP. 10. From U.S. Air Force Intelligence Report. 11. Chapman, Robert, London Evening News, December 21, 1955; Frame from movie film reproduced in RAF Flying Review, London, July 1957. 12. It is not known whether any of these reports have been pub- lished. 13. All quotes taken from unclassified U.S. Air Force Intelligence Report. Exact date, names, and location were deleted in ac- cordance with Air Force policy. 14. The average distance from the pilot's face to the windscreen was determined to be 2.27 feet for the F-86-D Sabrejet, and about 2.50 feet maximum for most jets in operation at the time. The average pencil eraser is one-fourth of an inch in diameter. If the pilot's face was 2.50 feet from the wind- screen, the diameter of the UFO was about 352 feet. Even allowing for appreciable error in the pilot's estimation of size, the true size of the UFO would be well over 100 feet diameter. 15.Roerich, Nicholas, Altai-Himalaya, (Fred Stokes, N.Y., 1929), Part II, ppg. 361-362. Approved For Release 2001/04/0;: CIA-RDP81 R00560R000100010001-0 Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 SECTION II INTELLIGENT CONTROL What is -intelligence"? In reference to human behavior, we usually use the word to mean the application of logic and reason to understand nature or solve human problems. However, we observe "intelligence" by observing the behavior of people as they go about their affairs. We infer that they are intelligent or un- intelligent by noticing their apparent awareness of their environ- ment, and how they cope with problems in their environment. We note their behavior as individuals, and in groups. The ability of people to act in concert to accomplish mutual goals generally is considered to be intelligent activity. In regard to the question of whether aerial devices are intel- ligently controlled, how is intelligence indicated by the perfor- mance of aircraft? If we did not know that the airliners and military jets we see coursing through the sky were guided by pi- lots, how would their actions lead us to suspect this? First, we might observe some jets rendezvousing, joining formation, then proceeding to act in concert. Then we might see a jet depart from its course and circle a balloon, apparently curious about it, before continuing on its way. Finally, we might notice indications (smoke trails, mechanical parts, high performance, etc.) which suggest to us that these are powered mechanical objects. This would imply intelligent construction and guidance. UFOs have shown all of these features: V Inquisitiveness, and reaction to environment. \/ Powered flight. \ /Formations in coordinated flight. Reasoning by analogy to human devices and intelligence, the hypothesis that UFOs are intelligently operated is explored below. Caution is required in using this method of reasoning, because it is conceivable that actions which we normally associate with intelligence may not seem so to alien beings, and vice versa. However, there is a good chance that there would be an overlap of "intelligent behavior" between human and alien beings. In particular, we should expect any intelligent beings to be fun- damentally curious about things in their environment. Curiosity underlies the acquisition of useful knowledge, which is necessary to intelligence. In addition to the evidence advanced in this section, other sections contain data showing (a) that UFOs show repeating pat- terns suggesting a unique and unexplained phenomenon [Section XII], (b) that the observed objects and patterns have no counter- parts among atmospheric phenomena which could account for them in terms of known events [Section XII: Maneuvers and Flight Characteristics], and (c) that the hypothesis of intelligently op- erated devices is reasonable, and adequate to explain the data. Inquisitiveness and Reaction to Environment In case after case, UFOs singly or in formation have paced or followed automobiles, trains, airplanes, and rockets. Often the UFOs have circled the device and taken "evasive action" when pursued. A Monon Railroad freight train was proceeding through Clinton County, Central Indiana, October 3, 1958. About 3:10 a.m. a formation of four odd white lights crossed ahead of the train. The UFOs turned and traversed the full length of the train, front to back (about a half mile) observed by the entire crew. After passing the rear of the train, the objects swung east, 1 d the conductor shone a bright light on them. Immediately, the UFOs sped away, but returned quickly and continued to pace the train. Total time of observation: about 1 hour 10 minutes. Finally the UFOs moved away to the northeast and disappeared. The coordinated maneuvers in formation, reaction to a bright beam of light, and pacing of the train, all suggest some form of intelligence. [1] Similar cases of vehicles being paced by UFOs also have been reported by experienced observers such as pilots and missile trackers. At White Sands, New Mexico, June 10, 1949, a missile had just been launched when two circular UFOs appeared. As the missile accelerated to about 1,430 mph, the UFOs climbed after it, passed through its exhaust, passed the missile and climbed out of sight. Five separate observation and tracking posts, scattered around the nearby mountains and not in communi- cation with one another, reported observing this performance. One of the posts tracked a similar UFO several minutes later, as it sped west against the wind. [2] Inquisitiveness and Reaction Fifty sample cases in which UFOs displayed apparent awareness of their environment, charted here, are divided into two basic types: (a) UFOs which paced vehicles or otherwise appeared to be inquisitive about human devices; (b) UFOs which evaded or otherwise reacted to human devices. (All reports on file at NICAP.) turned back and followed the train. The bright glow concea e the exact shape of the UFOs, but they appeared flattened and some- times flew on edge. Operating part of the time in-line abreast with coordinated motions, the objects followed the train until Approved For Release 2001/04/02 : (!IA-RDP81 R00560R0001 00010001 -0 Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 INQUISITIVENESS AND REACTION CASES Date & Location Reported Shape or Appearance Witnesses (b) 7-23-48 near Montgomery, Ala. Cigar (a) 10-1-48 Fargo, N.D. Disc Pilot, control tower operators (b) 11-18-48 near Washington, D. C. Oval Pilot, ground crew (b) 3-26-50 near Washington, D. C. Disc (a) & (b) 4-27-50 Goshen, Ind. Red disc Pilot, passengers (a) 5-29-50 near Washington, D. C. Ellipse, bright body light Pilots (a) 1-16-51 Artesia, N.M. 2 discs Balloon tracking crew (a) 1-20-51 Sioux City, Iowa Cigar with body lights Pilots, passengers (b) 9-11-51 near Sandy Hook, N.J. Disc (b) 10-9-51 near Paris, Ill. Oblate spheroid (a) 1-29-52 Wonsan, Korea Disc Bomber crew (a) 3-29-52 near Misawa, Japan Disc (a) 6-18-52 California Not specified Bomber crew (a) & (b) 7-13-52 Ball of light Nr. Washington, D.C. Action Came head-on toward airliner, veered to side, shot straight up into clouds. [Section V] "Dogfight" with National Guard plane, intricate maneuvers, head-on passes, finally shot up out of sight. [Section V] Led USAF pilot through "astounding maneuvers." When pilot flashed landing lights on UFO, it streaked away. [Section III] Pilot spotted UFO below him, dove to- ward it, object shot up into overcast. [Section V] Overtook airliner, paced it alongside, fled when plane turned toward it. [Section V] Approached airliner head-on, circled it completely stopping once on each side, suddenly sped away. [Section V] Two discs approached rapidly from hor- izon, tipped on edge and circled balloon, then sped away. [Section I] Circled, came head-on toward airliner which was investigating, abruptly re- versed direction and paced plane for few seconds, finally shot straight up. [Section V] First seen descending by USAF pilots in T-33; when pursued levelled off, ac- celerated, outsped jet and curved away. [Section III] Pilot saw UFO hovering motionless, turned directly toward it, object shot away. [Section V] Paralleled USAF bomber for 5 minutes, pulled ahead, shot away at angle. [Section III] Made pass at USAF F-84, slowed and paced it, passed in front, climbed away vertically. [Section I] Paced USAF B-25 for 30 minutes [Of- ficially reported to AF UFO Project; see Section III] Approached airliner and hovered. When pilot switched on all lights, UFO "took off, going up and away." [Section XII; July 1952 Chronology] (b) 8-1-52 Dayton, Ohio Round Pilots Jets climbed up to investigate hovering UFO, it streaked away at high speed. [Section III] (a) 8-28-52 LeRoy, N.Y. Disc Family Observed from ground making tight vertical circles around airliner. [3] (a) 9-19-52 To liff E l Disc Airbase ground Followed meteor jet to base, descended pc e, ng and observers , hovered rotating, suddenly sped away. [Section X] Approved For Release 2001/04/02 lb CIA-RDP81 R00560R0001 00010001 -0 Approved For Release 2001/04/02 : CIA-RDP81 R00560R000100010001-0 Date & Location Reported Shape or Appearance Witnesses (b) 10-11-52 Newport News, Va. Disc (a) & (b) 12-29-52 Northern Japan Circular (a) 1953 Anaco, Venezuela Round gray (b) 1-28-53 near Albany, Georgia Circular (a) & (b) 2-16-53 near Anchorage, Alaska Bright red light source Transport crew Action Hovered in one spot 20 minutes. As jet interceptors neared, UFO tilted up and shot away. Paralleled USAF F-84; when jet tried to close in, UFO sped away disappearing in seconds [Section III] Approached airliner, paced it for 40 minutes, ascended out of sight. [Section X] USAF F-86 pursued UFO; it sped up (confirmed by radar) and disappeared. [Section III] Approached USAF C-47, stopped and hovered 5 minutes; when plane gave chase, UFO accelerated and quickly van- ished. [Officially reported to AF UFO Project; see Section III] (b) 2-17-53 Red light source Air Base ground Observed near end of runway climbing; Elmendorf AFB, observers jet gave chase; UFO accelerated "notice- Alaska ably" and climbed vertically away. [Of- ficially reported to AF UFO Project; see Section III] (a) & (b) 8-12-53 Light source Rapid City, S.D. (b) 3-24-54 Florida Missile range Round (a) & (b) 6-23-54 Ohio Round white light (a) & (b) 6-30-54 near Goose Bay, Labrador Large dark object with smaller satellites Airliner crew (b) 9-7-54 Origny, France Luminous disc (a) 10-3-54 near Waben, France Light source Motorists, others (b) 11-26-54 Millville, N.J. Disc, with 4 body lights forming rectangle Several (a) & (b) 2-2-55 near Merida, Venezuela Round, "ports" above & below central ring (a) 5-25-55 London, England Round, luminous (a) & (b) 11-14-55 Globe of white light San Bernardino, Calif. USAF F-84 chased UFO, turned back and UFO followed. Second jet gave chase, turned back, UFO continued on course seen by Ground Observer Corps post. [Section I] Descended and hovered at 3,000 feet. Marine Corps jet banked toward UFO, it accelerated and sped away. [Section IV] Followed Air National Guard F-51 from Columbus to Vandalia; "took off" when pilot gave chase. [Section V] Paralleled BOAC airliner for 80 miles; disappeared when F-86 interceptor neared to investigate [Section X] Disc maneuvered up and down, hovering; as it hovered, motorists turned headlights on it. UFO took off at high speed and dwindled into distant speck. UFO followed car at estimated distance of 100 yards, slowed when car did; fi- nally accelerated and sped away, observed by independent witnesses. Circled town; when search-light hit it, UFO sped away (large V-formation of round UFOs sighted 70 miles to NE same night). Approached airliner; when plane turned toward it, UFO dove, leveled off, sped away. Radio transmitter failed as pilot tried to report sighting. [Section X] Sped toward B-47 from SW, hovered above it about 5 seconds; glided away to SE, reversed direction and hovered 8 seconds, suddenly shot away to SW. Approached small plane; pilot blinked landing lights, UFO blinked twice in seeming response. UFO came closer, pilot blinked lights three times; UFO blinked three times, "suddenly backed up in mid-air." [Section VI 11 Approved For Release 2001/04/02 : CIA-RDP81 R00560R000100010001-0 Approved For Release 2001/04/02 : CIA-RDP81 R00560R000100010001-0 (b) 12-56 Circular Far East (a) 3-8-57 Large object with 3 brilliant Beaumont-Houston, white body lights Texas (b) 11-5-57 Cylinder Transvaal, Africa (a) & (b) 5-5-58 Top-like San Carlos, Uruguay (b) 5-17-58 Orange light Ft. Lauderdale, Fla. (a) & (b) 10-3-58 4 objects, elongated near Rossville, Ind. (a) 1-13-59 Blindingly brilliant light Pymatuning Lake, Pa. USAF F-86 investigated unidentified radar blip. Experienced radar interfer- ence as he saw and tried to close on cir- cular UFO. When pursued, object shot up and away [Section I] Approached and passed plane S to N, hovered; moved away when plane neared. Swooped up and down at high speed. [Section V] Hovered, tracked by South African Air Force searchlights; witnesses said UFO "withdrew" behind clouds when light hit it. [Section X] Approached plane, hovered (pilot felt heat); when plane attempted to close in, UFO darted away and disappeared. [Section X] Approached from N at low altitude; high- powered spotlight turned on it, UFO flared brilliantly, shot out of sight. Approached ahead of train, traversed full length, swung around and followed for over an hour. Once darted away when conductor shone spotlight at them. [Section II]. Approached truck, hovered above it (truck electrical system failed); after 3 to 4 minutes, UFO shot away. [Section VIII] (a) & (b) 7-14-59 Luminous object Pilot, airport observers Followed Brazilian Air Force B-26, Minas Gerais State frightening pilot; hovered near airport Brazil after plane landed. When airport per- sonnel fired flares in direction of UFO, it changed color then shot up and dis- appeared. [Section X] (a) 7-2-60 near Bright light source Maiquetia, Venezuela Followed airliner on parallel course angling toward plane; suddenly shot away at terrific speed. [Section X] (a) 5-61 near Luminous disc Rio de Janeiro, Brazil Observed circling at sea level; UFO as- cended "with incredible speed" to level of plane, circled plane, followed it for over an hour. [Section X] (b) 10-2-61 Disc Private pilot, airport Hovered near airport; private pilot ap- Salt Lake City, Utah observers proached to investigate, UFO moved up like an elevator and away to S, hovered again; finally rose and shot away to West. [Section I] (a) 10-21-61 Four light sources near Datil, N.M. One UFO flashed ahead of car on Highway 60; as car entered dark canyon, UFO was there; object split into four parts which paced car. As car neared service area, objects flashed up into sky and disappear- ed. (b) 9-20-62 Object with two body lights Hawthorne, N.J. (b) 9-24-62 Bright light source Hawthorne, N.J. Night watchman Hovered over quarry; watchman approach- ed in jeep to investigate, UFO maneuvered out of headlight beams. Hovered, moved away when police shone spotlight on it. Approved For Release 2001/04/02 :1clA-RDP81 R00560R0001 00010001 -0 Approved For Release 2001/04/02 : CIA-RDP81 R00560R000100010001-0 Powered, Controlled Flight Many observations by competent observers (including engineers and aeronautical experts) suggest that the UFOs they saw were powered objects. The observations sometimes have included visual signs of mechanical-functional construction, in addition to other indicators of the UFOs' being, literally, machines. Most of the cases cited previously in this section contain descriptions of observed "maneuvers." However, the following group of reports by unusually well-qualified observers is worth special mention. UFO Formation Tracked Above Security Area at over 4,500 mph. During the Fall of 1949 at a key atomic post, five apparently metallic objects in formation were tracked by radar. The UFOs crossed the 200-mile scope in less than 4 minutes. The officer in charge, who held a top military post, reported to Intelligence that this was a legitimate radar contact with unidentified objects. [4] (Official secrecy conceals other details of this case, in particular information on tracking and other detection of the UFOs by separate military posts. Nevertheless, it tends to sub- stantiate the many other reports by reputable people of UFOs, and UFO formations, moving at spectacular speeds). Technicians at Secret Test Base Observe Mechanical UFO At Muroc AFB (now Edwards AFB) and adjacent Rogers Dry Lake, scientists and engineers test and develop the latest aircraft, including secret projects. Although thoroughly familiar with anything that flies, the base technical personnel had no explanation for the UFOs which maneuvered over the area July 8, 1947. Twice that morning, disc-shaped objects were observed cavorting overhead. Then about 11:50 a.m., a crew of technicians at Rogers saw a round white, apparently metallic object descending, moving west northwest against the wind. They observedthick projections on top which crossed each other at intervals, suggesting either rotation or slow oscillation. In their official report they stated: "It was man-made, as evidenced by the outline and functional appearance." [5] (Next day, near Boise, Idaho, a disc-shaped object maneuvering in front of a cloud bank was observed from a plane by Dave Johnson, aviation editor of the Idaho Statesman. See Section VII.) Top Astronomer Reports "Novel Airborne Device" On July 10, 1947, one of the country's top astronomers re- ported an elliptical UFO. At 4:47 p.m. in southern New Mexico, the astronomer observed a smooth ellipse with firm regular outline, motionless near some clouds, but wobbling. [See Section XII; Flight Characteristics.] The UFO then moved into the clouds, reappeared and rose quickly at an estimated speed of 600 to 900 mph. In his report to the Air Force, the astronomer stated: "The remarkably sudden ascent convinced me it was an absolutely novel airborne device." [4] Scientist Observes Powered UFO A very similar observation was made nearly three years later by an eminent meteorologist and astronomer. On the grounds of Lowell Observatory, Arizona, May 20, 1950, Dr. Seymour L. Hess, now head of the Department of Meteorology, Florida State University, noticed a disc (or partly illuminated sphere) moving across the front of some cumulus clouds at about 12:15 p.m. Studying the UFO with four-power binoculars, Doctor Hess could see no evidence of exhaust or markings on the object. "The clouds were drifting from the southwest to the northeast at right angles to the motion of the object. Therefore it must have been powered in some way. . . I would estimate its speed at 100 mph., perhaps as high as 200 mph. This too means a power- ed craft. However, I could hear no engine noise." [Full state- ment, Section I.] High-Speed Disc Arcs Above Airliner Airline pilots, although not necessarily technically trained in the sense of being scientists or engineers, are experienced ob- servers of the sky, familiar with most atmospheric and astrono- mical displays. At 9:29 p.m., March 31, 1950, a Chicago & Southern Airlines plane was flying at2,000feeton a southwesterly course near Little Rock, Arkansas. Captain Jack Adams and Co-pilot G. W. Anderson, Jr., suddenly noticed a distinct circular object, apparently disc-shaped approaching from the left. The UFO passed in an arc above their plane, proceeding north at an estimated 700 to 1,000 mph. Eight to 10 lighted windows or ports were visible on the underside, and "the strongest blue-white light we've ever seen" flashed intermittently from the top. The pilots told official investigators they believed they had witnessed some secret experimental craft. To this date, the sighting remains unexplained. [6] Aeronautical Engineer Amazed by UFO Performance Another particularly well-qualified observer was "amazed" by a UFO performance he witnessed on the night of July 16, 1952. Paul R. Hill, an aeronautical research engineer of Hampton, Virginia, at 9:00 p.m. saw two amber-colored lights speed in from the south over the Hampton Roads channel. The UFOs slowed and circled rapidly around each other. Two similar ob- jects then approached and joined the first two, one from the south and one from the north, and the formation moved off toward the south. "Their ability to make tight circling turns was amazing," Mr. Hill said. [Full report in Section VI.] Formations and Coordinated Flight A prime indicator of intelligence behind the maneuvers of UFOs is the observation that they often fly in formation, which requires coordination and mechanical control. (Aircraft and birds also fly in formations, but these can often be ruled out as cause of the sightings.) In UFO reports, the formations are of three general types: (a) Geometrical (V's, lines, etc.); (b) clusters, and (c) object with smaller objects maneuvering around it. (a) Geometrical 1904: Circular UFOs Maneuvered Near Ship One of the earliest formation cases was reported February 28, 1904, by a ship in the North Pacific off San Francisco. Three members of the crew of the USS Supply, at 6:10 a.m. local time, sighted an echelon formation of three "remarkable meteors" which appeared near the horizon below clouds, moving directly toward the ship. As they approached, the UFOs began soaring, rose above the cloud layer, and were observed climbing into space, still in echelon. The lead object was egg-shaped and about the size of six suns (about 3 degrees of arc). The other two were smaller and appeared to be perfectly round. They remained visible for over two minutes. [7] (Meteors, of course, do not travel in echelon formation, change course and climb, nor re- main visible for two minutes). Precise Formation, Sharp Turn Near Airliner Perhaps the most detailed and instructive formation case on record is the sighting by Capt. William B. Nash, Pan American Airways pilot, and his co-pilot, William Fortenberry, July 14, 1952, near Newport News, Virginia. [See Section V.] In addi- tion to being an example of precise formation flight, the report contains several other elements suggesting intelligent control. When an in-line formation of discs made an abrupt stop, two of the rear objects overrode the front one. This could be interpreted as a sign of pilot error or lag in reaction time. After the six discs flipped over and reversed course, two more sped up and joined the formation. Approved For Release 2001/04/02':3CIA-RDP81 R00560R000100010001-0 Approved For Release 2001/04/02 : CIA-RDP81 R00560R0001 00010001 -0 GEOMETRICAL FORMATION CASES (All reports on file at NICAP) Date Location Witnesses Number Type 2-28-04 North Pacific Crew, U.S.S. Supply 3 In-line, echelon Changed course, climbed 6-23-47 Cedar Rapids, Iowa Railroad engineer 10 In-line Fluttered 6-24-47 Mt. Ranier, Wash. Pilot 9 In-line Zig-zag, skipping flight 7-4-47 Portland, Ore. Police, Pi '1 t 0 2 Unspecified Unspecified Oscillating motion Oscillating motion 1948 Scientist 3 In-line Last zig-zagging [Section VI] 3-30-50 Selma, Ala. Radio engineer & others 3 In-line Middle disc pulled ahead, shot up out of sight 11-27-50 Evansville, Wis. Pilot 6 Echelon 8-11-51 Portland, Ore. Pilot 3 V Flew north in perfect formation 2-20-52 Greenfield, Mass. Minister 3 V [Section VII]. 3-10-52 Oakland, Calif. Inspecting engineer 2 Side-by-side One on steady course, one swaying back and forth. [Section VI] 5-13-52 Greenville, S.C. Amateur astronomers "several" Diamond Wobbled in flight 7-14-52 Newport News, Va. Airline pilots 6 + 2 In-line Flan nvpr 12n aouvaoa r,, roe a: 1., - --w===r=~ _, 4. rierunauucat engineer 4 Varied; in-line 2 made tight circling turns [Section VI] 7-17-52 Staten Island, N.Y. Citizens 5 V Nev. v UFOs were delta shaped [Section III] 8-1-52 Albuquerque, N.M. Scripps-Howard staff writer About 10 Cluster, V, 2 rows in-line Shifted formation with precision. [Section VII] 8-5-52 Baltimore, Md. Amateur Astronomer 2 + 2 Paired [Section VI] 10-12-52 Palo Alto, Calif. A/C maintenance man 6 V Edges of discs glowing. [Section VI] 11-22-52 Bocaranga, Africa Missionary 4 Rectangle Sometimes moved singly, returned to formation 2-22-54 York, Pa. GOC 14 Unspecified 3 10 54 - - San Francisco, Calif. Pilot, executive 12 V 3-24-54 Baltimore, Md. Civil Defense official 14 V; in-line Changed to in-line as airliner passed, 5 5 54 - - Minneapolis, Minn. Astronomy students Unspecified V 5 6 54 - - Heppner, Ore. Several Unspecified V Oscillating motion 5-15-54 Southampton, England Amateur astronomer 18 V "Windows" visible in some through telescope 6 30 54 - -
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https://www.nationalguard.mil/News/Article/3112799/dutch-wrap-up-32-years-of-flying-with-tucson-air-guard/
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Dutch Wrap up 32 Years of Flying with Tucson Air Guard
|
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2022-08-02T00:00:00
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MORRIS AIR NATIONAL GUARD BASE, Ariz. – U.S. and Dutch dignitaries and Air National Guard Airmen and Royal Netherlands Air Force personnel celebrated the end of an era as the RNLAF landed their last
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en
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/Portals/31/favicon.ico?ver=iXLtor0suvMbtiVsz6VzPA%3d%3d
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National Guard
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https://www.nationalguard.mil/https%3A%2F%2Fwww.nationalguard.mil%2FNews%2FArticle-View%2FArticle%2F3112799%2Fdutch-wrap-up-32-years-of-flying-with-tucson-air-guard%2F
|
MORRIS AIR NATIONAL GUARD BASE, Ariz. – U.S. and Dutch dignitaries and Air National Guard Airmen and Royal Netherlands Air Force personnel celebrated the end of an era as the RNLAF landed their last F-16 at Morris Air National Guard Base July 29, culminating a 32-year international training relationship.
“Arizona has developed an ever-lasting relationship with the Netherlands that will continue to strengthen interoperability between the United States and foreign partner nations across the globe,” said Brig. Gen. Jeffrey Butler, 162nd Wing commander. “This has been a partnership that extends beyond any other witnessed in National Guard history.”
The Dutch were the first in a long line of foreign partners to train at Morris ANG Base, flying an average of 2,000 hours per year in the F-16 and graduating four student pilots every nine months as part of the 148th Fighter Squadron.
“I was a student in the 148th Fighter Squadron in 1991,” said Lt. Col. Joost Luijsterburg, RNLAF detachment commander. “That was 31 years ago, and now I’m going to close this unit. ... It is the end of an era.”
The RNLAF is transitioning from the F-16 to the F-35. Luijsterburg has already assumed command of the Dutch F-35 detachment at Luke Air Force Base, Arizona, and has been acting as dual commander of both detachments.
The international training relationship between the Tucson Guard and the Dutch is a prime example of effective diplomacy that can occur at the state level.
There is also a Department of Defense National Guard Bureau State Partnership Program that was established more than 25 years ago. It now includes 85 National Guard partnerships with 93 nations.
“The National Guard has a vested interest in growing its partnerships with foreign countries, and we do that better than anyone else, right here in Tucson, Arizona,” said Butler. “Our international training mission provides expertly trained coalition war-fighting partners for the United States and our NATO allies — and that is both necessary and reassuring in today’s environment.”
The long list of foreign and domestic distinguished visitors at the event indicated the importance of this bilateral arrangement.
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https://theaviationist.com/2022/03/11/two-new-f-35as-for-rnlaf/
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Two New F-35As For The Royal Netherlands Air Force Have Made Their First Flight Recently
|
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2022-03-11T00:00:00
|
Two new F-35As destined to the RNlAF have flown for the first time in Italy.
|
en
|
The Aviationist
|
https://theaviationist.com/2022/03/11/two-new-f-35as-for-rnlaf/
|
Two new Lightning II aircraft destined to the RNLAF have flown for the first time in Italy.
The Koninklijke Luchtmacht (Royal Netherlands Air Force), has already been delivered 24 F-35A Lightning II aircraft. The RNLAF has a plan to procure a total of at least 46 F-35As, 37 of those have already been ordered, to replace the current fleet of F-16 MLU. The first operational F-35s arrived in the Netherlands from the Cameri FACO (Final Assembly and Check Out), in northwestern Italy, in 2019.
The Netherlands have become the eighth country with the RNLAF being the 12th military service to declare IOC for its F-35 fleet when, on Dec. 27, 2021, the Netherlands MOD and Royal Netherlands Air Force have declared Initial Operational Capability (IOC) for their F-35A fleet. On that date, Dutch crews had surpassed more than 9,085 flight hours, with 55 pilots and 262 maintainers supporting the fleet.
The 24th F-35A was delivered to 322 Squadron at Leeuwarden Air Base in January, although the first aircraft for the second Dutch Lightning unit, the 313 Squadron have already begun arriving at Volkel Air Base also.
On Feb. 24, 2022, two RNLAF F-35A Lightning II from Leeuwarden Air Base in the Netherlands were deployed to Graf Ignatievo AB, to reinforce NATO’s presence in Eastern Europe. The Dutch Ministry of Defence had previously announced the plan to deploy two of its 5th generation jets to Bulgaria between March and April, but the Russian invasion of Ukraine changed the initial plan.
Meanwhile, test flights for the new F-35As for the RNLAF have begun. On Mar. 1, 2022, the airframe F-025 (AN-25) has made its maiden flight, followed, on the next day (Mar. 2) by F-026 (AN-26). These are the 25th and 26th aircraft destined to the KLu.
In both test flights, the Lightnings has a Eurofighter F-2000A sporting the markings of the 51° Stormo (Wing) of the Aeronautica Militare (Italian Air Force) but flown by a pilot of the RSV (Reparto Sperimentale Volo – Italian Air Force Test Wing) as chase aircraft.
The shots in this article were taken by photographer and friend Paolo Rollino during the recent test flights from Cameri AB.
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https://www.britannica.com/topic/The-Royal-Air-Force
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Royal Air Force (RAF) | Facts, History, & Aircraft
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1998-07-20T00:00:00+00:00
|
Royal Air Force, youngest of the three British armed services, charged with the air defense of the United Kingdom and the fulfillment of international defense commitments. During World War II, pilots of the RAF distinguished themselves in the Battle of Britain and conducted a strategic bombing campaign on Germany.
|
en
|
/favicon.png
|
Encyclopedia Britannica
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https://www.britannica.com/topic/The-Royal-Air-Force
|
Royal Air Force
British air force
Recent News
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Royal Air Force (RAF), youngest of the three British armed services, charged with the air defense of the United Kingdom and the fulfillment of international defense commitments. It is the world’s oldest independent air force.
Origins of the Royal Air Force
Military aviation in the United Kingdom dates from 1878, when a series of experiments with balloons was carried out at Woolwich Arsenal in London. On April 1, 1911, an air battalion of the Royal Engineers was formed, consisting of one balloon and one airplane company. Its headquarters was at South Farnborough, Hampshire, where the balloon factory was located.
Meanwhile, in February 1911 the Admiralty had allowed four naval officers to take a course of flying instruction on airplanes at the Royal Aero Club grounds at Eastchurch, Kent, and in December of that year the first naval flying school was formed there. On May 13, 1912, a combined Royal Flying Corps (RFC) was formed, with naval and military wings and a Central Flying School at Upavon on Salisbury Plain. The specialized aviation requirements of the Royal Navy made it appear, however, that a separate organization was desirable, and on July 1, 1914, the naval wing of the RFC became the Royal Naval Air Service (RNAS), with the land-based wing retaining the title Royal Flying Corps.
By this point, the balloon factory had been renamed the Royal Aircraft Factory, and it undertook the design and manufacture of airframes and engines. A series of aircraft with the general designation “BE” (Blériot Experimental) resulted and did excellent service in the earlier stages of World War I. A number of private British designers also entered the field, and most of the aircraft in use in the British and Empire Air Services in the latter half of the war were products of British factories.
World War I
Upon the outbreak of World War I, the RFC, possessing 179 airplanes and 1,244 officers and men, sent an aircraft park and four squadrons to France on August 13, 1914. Air-to-ground wireless telegraphy allowed aircraft to be used for reconnaissance and spotting for artillery. Soon, however, specialized types of aircraft were produced for fighting, bombing, reconnaissance, and aerial photography. Speeds increased from 60 to 150 miles (97 to 241 km) per hour and engine power from 70 to more than 400 horsepower before the end of the war.
The growth and versatility of the air forces had demonstrated that air power had a separate and essential role to play in modern warfare, independent of, but in closest cooperation with, the older services. Practical recognition of this fact was given, shortly before the end of the war, by the creation of the Royal Air Force. On April 1, 1918, the RNAS and RFC were absorbed into the RAF, which took its place beside the navy and army as a separate service with its own ministry under a secretary of state for air. The RAF carried out its first independent operations during the closing months of the war in a series of strategic bombardments of targets in France and Germany by a specialized force of heavy bombers. The strength of the RAF in November 1918 was nearly 291,000 officers and airmen. It possessed 200 operational squadrons and nearly the same number of training squadrons, a total of 22,647 aircraft.
The interwar years
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The peacetime pattern for the RAF provided for 33 squadrons, of which 12 would be based in the United Kingdom and 21 overseas. Since the prospect of another European war was regarded as remote, the squadrons at home served as a strategic reserve for overseas reinforcement and as service training units for personnel prior to their posting to squadrons abroad. The preponderance in numbers of the overseas squadrons resulted largely from the system evolved by the air staff and adopted by the government of making use of air power as an economical method of maintaining order throughout the British Empire. During the 15 years from 1920 onward, relatively small air forces repeatedly crushed incipient uprisings in Somaliland, in the Aden protectorate, and on the northwest frontier of India. In Iraq, between 1920 and 1932, the RAF exercised military control of the country with a force of eight squadrons of aircraft and two or three companies of armoured cars.
To train permanent officers for the flying branch of the service, a cadet college was established at Cranwell, Lincolnshire, in 1920. The RAF staff college was opened in 1922 at Andover, Hampshire. The need for trained mechanics, possessed of the various skills peculiar to a military aviation service, was met by the School of Technical Training at Halton, Buckinghamshire, where boys 15 years of age were received as apprentices for a three-year course in their chosen trade. In order to ensure a constant supply of pilots and to build up a reserve, a short-service commission scheme was introduced in 1919. Young men were commissioned for four years (subsequently increased to six), of which the first year was spent in training, followed by service in active squadrons. At the conclusion of their engagement, they passed to the reserve of air force officers for a further period of four years. Some years later a medium-service scheme, with 10 years’ regular service followed by a period in the reserve, was introduced as an alternative. In 1925 an organization known as the Auxiliary Air Force was formed. Its members gave part-time service, undergoing flying and technical training on weekends and during holiday periods. By the outbreak of World War II, this force possessed a number of highly trained fighter squadrons, which did such good service throughout the war that the prefix “royal” was added to its title at the end of hostilities.
By 1923 the prospects of permanent peace in Europe appeared less certain, and a substantial increase in air defense expenditure was decided upon. The first steps toward implementing this decision were taken in 1925, when a new command, the Air Defense of Great Britain, was set up, with a proposed ultimate strength of 52 squadrons of fighters and bombers stationed in the United Kingdom. There were, however, delays in the buildup of the force, and eight years later, when Adolf Hitler attained power in Germany, the RAF possessed only 87 squadrons, regular and auxiliary, at home and overseas. With the rapid deterioration of the international outlook in Europe, expansion was greatly increased and accelerated. From 1936 onward the aircraft industry received powerful financial aid from the government to enable additional factories to be built to increase production, while many automobile firms turned their works over to the construction of complete aircraft or their components. To provide the crews for the additional aircraft, the RAF Volunteer Reserve and the Civil Air Guard were formed to give training at civilian schools and flying clubs. University air squadrons, the first of which had been formed soon after World War I to teach undergraduates to fly and to encourage them to join the RAF as regular officers, greatly expanded their activities. The Auxiliary Air Force, meanwhile, formed captive balloon units to provide protective barrages for heavily populated areas and especially vulnerable points. A part-time Observer Corps (later the Royal Observer Corps) had been formed some years earlier to give warning of impending attack by enemy aircraft and was now considerably expanded.
The Women’s Auxiliary Air Force (WAAF), a re-creation of the Women’s Royal Air Force (WRAF) of World War I, came into being as a separate service in June 1939, out of the Auxiliary Territorial Service, an army-sponsored organization which had been formed a year earlier and had recruited special air force companies. (In 1949 the WAAF became the WRAF once more.) Finally, though this did not occur until 1941, the Air Training Corps (ATC) replaced the air defense cadet units and the school air cadet corps of the immediate prewar years. In it boys received some preliminary air force training with a view to their eventual entry into the RAF.
World War II and the Battle of Britain
At the outbreak of war on September 3, 1939, the first-line strength of the RAF in the United Kingdom was about 2,000 aircraft. These were grouped as follows: Fighter Command, concerned with home defense, with a small component detached to the expeditionary force in France until that country was overrun in June 1940; Bomber Command, for offensive action in Europe; and Coastal Command, for the protection of maritime routes, under the operational direction of the navy. There were also Balloon, Maintenance, Reserve, and Training commands. Army Cooperation Command was created in 1940 and Ferry Command (subsequently expanded into Transport Command) in 1941.
In order to provide the numbers required to crew the rapidly expanding front line strength and to compensate forthe heavy casualties suffered, training programs were undertaken in many parts of the Commonwealth early in the war. Canada, Australia, and New Zealand combined to operate the Empire Air Training Scheme, under which each of them recruited and trained pilots, navigators, and radio operators for service with the RAF. In addition, since the United Kingdom was the main base for operations against the Axis forces and was itself under constant threat of air attack, flying training became virtually impossible there, and great numbers of aircrew pupils were sent to Canada, South Africa, and Southern Rhodesia (now Zimbabwe) to receive their training at schools specially established for the purpose. From June 1941 (six months before the United States entered the war) until the end of hostilities, British aircrew were also trained at civilian-operated schools in the United States.
In the course of the war, techniques were developed for landing individuals or bodies of troops behind enemy lines by means of parachutes or gliders. The RAF cooperated with the army in the training and transport of parachutists and in towing troop-carrying gliders, whose soldier-pilots flew and landed them in the selected area when cast off by the towing aircraft. One other innovation was the formation of the RAF regiment for the protection of aerodromes against enemy attack. Armed with light antiaircraft weapons as well as with the ordinary infantry armament, they were trained on commando lines. They normally served under the orders of the local air force commander but were so organized that they could fit smoothly into the army command structure in the face of a widespread enemy threat.
The RAF would conduct operations around the globe throughout World War II, but nowhere was its role more conspicuous than during the Battle of Britain. On July 10, 1940, the German air campaign began when the Luftwaffe attempted to clear the English Channel of British convoys. In this they were partially successful because their low-flying aircraft could not be detected on British radar. On August 8 the Germans expanded their attacks to British fighter airfields in southern Britain, and by the end of August night raids were being carried out throughout the kingdom. On August 25 the Germans accidentally bombed London, and the British at once retaliated with a token attack on Berlin. Hitler and Luftwaffe chief Hermann Göring then decided to break the morale of Londoners as they had done to the citizens of Warsaw, Poland, and Rotterdam, Netherlands. On September 7, 1940, the Germans began a series of raids on the capital city that Luftwaffe commanders believed would see the end of the RAF, for they hoped that British Air Chief Marshal Hugh Dowding would send all his available forces to defend London. Instead, Dowding utilized Chain Home, the most advanced early-warning radar system in the world, to dispatch his limited resources to meet threats as they appeared. At the end of September, Göring, having already lost more than 1,650 aircraft, was forced to change to high-altitude night raids that had limited strategic value. Not only had the RAF won the battle over Britain, but it had also defeated a project to invade Britain by sea by destroying the barges and landing craft that the Germans had been assembling. Above all, Dowding proved that an air force could, contrary to accepted military doctrine, fight a successful defensive battle. Of the RAF’s conduct in the Battle of Britain, Prime Minister Winston Churchill declared, “Never in the field of human conflict was so much owed by so many to so few.”
In the meantime, great air forces were built up in North Africa, Italy, Burma (now Myanmar), and elsewhere. In the seesaw battles in North Africa, the British learned a great deal about highly mobile air warfare. Air Chief Marshal Sir Arthur Tedder developed not only a mobile logistical system but also the technique of leapfrogging squadrons from airfield to airfield so that he always had operational units while others were redeploying. Beginning in March 1940, the RAF began to bomb targets in Germany, and the British strategic bombing campaign against German cities, industry, and infrastructure would continue throughout the war. With the conclusion of the battle for North Africa, the RAF Desert Air Force transitioned to support the Allied campaign in Italy, and the RAF was instrumental in the success of the Allied invasion of Normandy. Transport aircraft were widely used in campaigns all over Asia to convey vast quantities of food, ammunition, and even vehicles and guns. Isolated bodies of troops in difficult terrain were supplied for protracted periods entirely by parachute. It was mainly by means of the airlift that the Burma campaign was carried to a successful conclusion. These monumental undertakings were reflected by an equally dramatic expansion in numerical strength. By the time the war ended, RAF personnel numbered 963,000, with 153,000 women in the WAAF.
Post-World War II developments
When the wartime forces were demobilized in 1945, the total strength of the RAF was reduced to about 150,000. The subsequent deterioration in the international outlook led to a fresh expansion in 1951. By 1956 the total strength was up to 257,000, but by the early 1960s it had again retracted to about 150,000 (including 6,000 women in the WRAF), the majority of whom were stationed in the U.K. or in Europe as part of NATO forces. The RAF regiment remained after the war as a regular arm of the service, tasked with securing airfields and providing forward air control personnel to British army and Royal Marine ground forces. The WRAF became a regular service in 1949, and in April 1994 it was merged with the RAF.
RAF troop strength had declined significantly by the second decade of the 21st century as part of an overall force-reduction strategy implemented by the British military. With some 35,000 troops and fewer than 150 fixed-wing combat aircraft, the RAF was a smaller, more-focused force than it had been in previous years. Despite its reduced size, the RAF remained a potent instrument for projecting British influence across the globe, as demonstrated in wars in Afghanistan and Iraq. The RAF also participated in the 2011 NATO air campaign in Libya and conducted operations against the Islamic State in Iraq and the Levant (ISIL).
Aircraft and equipment of the Royal Air Force
Though most of World War II was fought in the air with aircraft powered by piston engines, the last year of hostilities witnessed the entry on both sides of the newly developed jet engine, which by the early 1960s had almost entirely ousted the piston engine in the RAF. The great increase in speed and climb conferred by jet engines pointed to their value in fighters, and it was in this field that reequipment first took place, the early Meteors and Vampires leading on to the Vulcans, Lightnings, and V/STOL (vertical/short take-off and landing) Hawker Harriers of the mid-1960s. The bomber force was built up as the strategic deterrent, and by 1966 its main armament consisted of Handley Page Victor B.2 and Vulcan B.2 medium bombers, of which a number were armed with Blue Steel air-to-surface nuclear standoff missiles. Over time, the RAF phased out its strategic bomber force entirely, and in 1969 its nuclear deterrence mission passed to the Royal Navy’s nuclear submarine fleet.
The reequipment of the bomber force led to fierce controversy over the respective merits of the British TSR 2 and the U.S. swing-wing F-111A; the government decided on the latter, but its order was later withdrawn for economic reasons, and no major reequipment then took place. The Panavia Tornado, a multirole sweep-wing combat aircraft, entered service in 1979 and would serve as the backbone of British air power for the next 40 years. In addition to the Tornado, the RAF fielded the Eurofighter Typhoon, a delta-wing multirole aircraft that entered service in 2003. The Tornado was retired in 2019 and replaced with the F-35 Lightning, a multirole aircraft also known as the Joint Strike Fighter.
Throughout the 1960s and ’70s, Britain’s strategic transport force consisted of Britannias, Belfast long-range freighters, and VC-10 troop transports, each of the last-named capable of carrying 150 men or a number of armoured vehicles. As these aircraft were retired, there were no obvious successors, and during the Falkland Islands War the British military was forced to rely on civilian aircraft for its transport needs. In time this shortfall was addressed with the addition of such planes as the C-17 Globemaster and the C-130 Hercules.
Increasing use was made of helicopters, especially for tactical support of the army. In 1999 the British military’s battlefield rotary-wing aircraft were gathered under the umbrella of the Joint Helicopter Command (JHC). This interservice command was created to better coordinate the attack, rescue, and support capabilities of British helicopter forces.
The Editors of Encyclopaedia Britannica
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In conversation with Commander of the Royal Netherlands Air Force, Dennis Luyt: 'Change doesn't happen in the boardroom'
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This article is published in Dutch in the TF Magazine 2023-1, you can find it here. It has been translated using AI technology. ‘Change doesn’t happen in the boardroom’ In flight overalls, called “the pajamas” in the corridors, Dennis Luyt welcomes us to the Air Force tower in Breda. We speak to him in the […]
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Transformation Forums
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https://www.transformationforums.com/in-conversation-with-commander-of-the-royal-netherlands-air-force-dennis-luyt-change-doesnt-happen-in-the-boardroom/
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This article is published in Dutch in the TF Magazine 2023-1, you can find it here. It has been translated using AI technology.
‘Change doesn’t happen in the boardroom’
In flight overalls, called “the pajamas” in the corridors, Dennis Luyt welcomes us to the Air Force tower in Breda. We speak to him in the middle of a period of conversion to state-of-the-art new equipment, but behind him, in a display case, the past is honored. For example, there is a bust of General Cornelis Jacobus Snijders, the booster of military aviation in the Netherlands at the beginning of the last century. Also hanging there is the Air Force banner with the cravats, a kind of pennants, on which the completed missions are listed. Luyt himself carried the banner during a ceremony on Veterans Day last summer. There, the king presented the cravate for deployment to Afghanistan. With Luyt having received functional age resignation as of April, this will now fall to his successor, André Steur.
The Air Force is in the midst of transformation. Almost all the equipment is being replaced. The F-16s are making way for F-35s, three of the four helicopter types are getting advanced successors, there will be new transport aircraft and the first unmanned reconnaissance aircraft, the Reaper, has been put into service. The organizational structure is also undergoing a shake-up. Not the ten air bases will soon form the hub of the organization, but four commands. ‘We are building a next-level air force based on fifth-generation weapon systems,’ Luyt summarizes the changes. ‘At the heart of it is that we no longer operate with a piece of iron with which to deliver a blow, but with smart digital equipment.’
‘A next-level air force is being built based on fifth-generation weapons’
These changes in equipment and organizational structure have profound implications for employees. For example, recruitment, selection and work in the Air Force are going to be done differently. That process is now in full swing.
How do you begin such a process?
‘By being clear. Telling what we are now, what we will be soon, and what the journey towards that looks like. We started doing that in 2017 by creating a roadmap together. We then defined thirteen building blocks, a nice lucky number. These include digitalization, a new HR policy and a different organizational model. When you’ve fixed all those building blocks, you’ve come from one side of the pond to the other.
How did people react to the plans internally?
‘At first, people found it exciting. The special thing about the Air Force is that we are a very traditional organization with clear command structures. At the same time, there is always the realization that what is good enough today is not good enough tomorrow. You already notice that at the level of missions. Before a mission we always ask the question: what do we set ourselves as goals, and what do we want to learn? Afterwards, we do a good debriefing to see if we succeeded. It is no different with such an organization-wide transformation. It is however noticeable that some need a push and others need space.’
Is there room for that space?
‘Yes. We in the Air Force are used to working autonomously in small teams. When you fly in formation, rank and file don’t matter. Then a lieutenant can tell me the unadulterated truth afterwards. During missions like that, we are not hierarchical. The same is true in this transformation. If you formulate the why and the what well, you can very well leave the interpretation to the people themselves. ‘
Can you give an example of this?
‘We wanted to enrich data, to increase our predictive capability. There was nothing here like that yet. We then put a club of employees together with experts from KPN in a building outside the organization. We gave them a bag of money and ten problem sets and said: we’ll come back in six months. All this time we didn’t interfere with anything. It was amazing how far they had come. Based on their work, we can now predict noise complaints, for example. From now on, we ring people’s doorbells in advance and say, “Madam, you don’t know yet, but then and there it gets a little noisier here.” Then you’re at the front end of the problem instead of the back end. We can also plan maintenance better now. We have much more insight into what breaks down when. This is typically something we knew was in there but needed space.
Has the transformation also affected your own performance?
‘Yes, it has been a nice journey of discovery for me as well. I’ve learned that you don’t have to be on top of everything or know everything best yourself. Above all, you have to create energy and encourage people.’
How did you master that?
‘By trial and error. It’s actually not in my nature, nor is it typical of the Air Force. As an organization with a force mandate, we benefit from a lot of control. You don’t want to leave anything to chance in our operational missions as fighter pilots, things have to be right down to the second. But both the new technology and the new generation of personnel require a different approach. I see it in my children: they like work when they are given leeway. Something doesn’t have to succeed right away, as long as they learn from it. The trick, I have learned, is to let things happen from trust.’
Is that also possible in the short term, for things that have to happen quickly and efficiently?
‘That always remains a struggle. This week, F-35s had to go to Poland to defend the airspace on NATO’s eastern flank. The day after the Russian invasion of Ukraine, we also immediately flew F-35s, F-16s and tanker aircraft in that direction. You then have to be able to deliver in one day. That remains our strength. But even with that, we say to the commanders: this is the intention, but it’s up to you how you do it. But it’s no easy job to keep the transformation going at the same time.’
Has the transformation been delayed by the war in Ukraine?
‘No, that’s the special thing. Especially since we were struggling with vacancies and Covid at the same time. We responded to the latter immediately, partly by strictly separating teams. I hardly interfered with that either. It’s amazing what such a club of people is capable of. Although it’s not a big pink cloud either. You do have to be clear in your intentions and keep talking to each other.’
Are they used to that in the Air Force?
‘Not everyone. So we deliberately made room for dialogue, so that even people who don’t talk easy could speak up. By being present a lot, I contributed to that. I still regularly visit squadrons and sometimes fly and tinker with them for a day. Then you hear a lot, including unvarnished opinions. The average airman has his heart on his sleeve. It’s still a balancing act though, because I can’t lead during that time. In the boardroom, you can easily spend a whole day doing important things. But that is not where the change takes place. By being visible in the workplace, I help the change more.’
‘I still regularly visit squadrons and fly and key with them’
Recently, the up-and-coming generation has its own voice in the Air Force. In 2021, Young Lumara was established, a shadow body that functions under the Air Force Council (Lumara), the highest body of the armed forces component. Solicited and unsolicited, Young Lumara members can offer advice. The fact that there is a long waiting list for it shows how strong the desire is among young people to participate. ‘We, older people, are still very much stuck in being a fighting force,’ Luyt says of it. ‘The young people emphasize that we need to take responsibility in other areas as well, such as around sustainability.’
Young Lumara’s suggestions include making air bases energy neutral and electrifying the vehicle fleet. Partly as a result, Eindhoven Air Base has been given a solar park. ‘That also provides power to the neighboring neighborhood, so we immediately create support in the area.’
As part of the transformation, a diversity plan was also created. The tight labor market and the new equipment demand it, says Luyt. In addition to fresh and varied inflow, more challenging career paths are needed. The problem is that the Air Force cannot operate autonomously in this area. ‘Defense’s personnel system dates back to year zero,’ Luyt says of it. ‘It’s very traditional, you can’t use it to respond to the customization that the current generation demands. For example, we would like to reward more on the basis of knowledge and development rather than on the basis of rank, but that is not possible now. We are talking about that now Defense-wide and with the unions. Fortunately, pilots are possible, because in these you have more leeway. For example, we have commanders experimenting with local recruiting, selection and training. That’s power to the edge, and that fits the transformation.’
In doing so, the Air Force is also seeking cooperation with the market. For example, Randstad and Manpower Group are now helping with recruitment. ‘We have to become more creative, and sometimes you need other parties to do that,’ says Luyt.
Will the collaboration with stakeholders be different because of the transformation?
‘We used to outsource things we couldn’t do ourselves. Now we address that more by partnering. The collaboration with KPN and with Randstad and Manpower are good examples of this. That is exciting, you accept that you are dependent, but it is also a way to learn. In partnerships we try to build new pieces of the air force, for example by starting joint start-ups. We then scale up such initiatives internally.’
We come to talk about his position, Commander of the Royal Netherlands Air Force. Can you call him the CEO of the Air Force, and is that comparable to being CEO of a large company? ‘Yes, it is. With 8,000 men, we may be a small armed forces component, but we are a versatile executive and learning company, with many different components and branches in all kinds of countries. We are on many bases abroad and have a large footprint in the US. So you can perfectly compare us to a multinational company.’
Could you run a multinational company?
‘I don’t know. I always tell my people: you can do more than you think. What I have learned here I can apply anyway in a transformation elsewhere. What I will do next I don’t know yet, but in any case I want to share my experiences in operationalizing a change strategy. Helping organizations move forward has always been my motivation. I am now working on a program for supervisors and commissioners at Erasmus University. As part of that, I’m walking around a hospital; that’s a great experience. But I want to catch my breath later, have quality time with Nicole, my wife, and with my first grandchild. With a smile: ‘Other than that, I’m growing my hair out, going to play guitar and buy a campervan. After that, we’ll see.’
What kind of leader are you?
‘I hope they see me as someone who has really taken the Air Force a step forward. Not from an ivory tower but as a booster and by bringing focus. After the cuts, there was a lot of negativity and noise. Experiments, such as the move into the space domain, we had to pay out of our own pockets. That was often rowing against the current, but we did it. I’ve brought more entrepreneurship into it, and I hope that with the wider budget that’s there now, they’ll continue with that.’
What is the fire that burns in Dennis Luyt?
‘I like helping people. And I like taking people and organizations across the pond. I was stuck with my nails on the edge of the cockpit until someone said, “Luyt, you can do other things, too. With slight reluctance, I was then put into a staff job. At one point I was responsible for all defense plans. I sometimes thought: I can’t do this at all, but then you notice that there is a whole team behind you that helps you to do it together. Gradually I discovered that I was capable of much more than I thought. Actually I am an operator pur sang, it is unique that I could step out of my comfort zone like that. Very few organizations can do that.’
What advice do you have for your successor?
‘I hope the foundation is solid enough to let him define the other side of the next pond. The future is fuzzy, but at least the Air Force is moving into space. There will also be an increasing combination of manned and unmanned flights. Furthermore, there is plenty to do to continue to attract talent to the Air Force. André really doesn’t have to be bored…’
The Royal Air Force and Dennis Luyt
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The Royal Netherlands Air Force (RNLAF), Dutch Koninklijke Luchtmacht (KLu), is the military aviation branch of the Netherlands Armed Forces. Its ancestor, the Luchtvaartafdeling (aviation department) of the Dutch Army was founded on 1 July 1913, with four pilots. The aerobatic display team of...
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Military Wiki
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https://military-history.fandom.com/wiki/Royal_Netherlands_Air_Force
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Koninklijke Luchtmacht (KLu)Founded July 1913, independent force 27 March 1953Country NetherlandsAllegiance HM The King Willem-Alexander[1]Branch Air ForceSize 11.000 personnel,[2] 217 aircraftPart of Dutch Armed ForcesMotto(s) Parvus numero, magnus merito (Latin: small in numbers, great in deeds)CommandersCurrent
commander Lieutenant-general Sander SchnitgerInsigniaRoundelAir Force FlagAircraft flownAttack AH-64DFighter F-16Patrol Dornier 228Trainer PC-7Transport C-130 Hercules, CH-47 Chinook, AS-532 Cougar, NH-90, DC-10/KDC-10, Agusta-Bell 412, Gulfstream IV, Westland Lynx, Aérospatiale Alouette III
The Royal Netherlands Air Force (RNLAF), Dutch Koninklijke Luchtmacht (KLu), is the military aviation branch of the Netherlands Armed Forces. Its ancestor, the Luchtvaartafdeling (aviation department) of the Dutch Army was founded on 1 July 1913, with four pilots. The aerobatic display team of the Royal Netherlands Air Force is the Solo Display Team.
History[]
Origin in 1913[]
The Royal Netherlands Air Force (RNLAF) is the second youngest operational part of the Dutch Armed Forces, which consists of four parts: Navy, Army, Air Force and Military Police.
Dutch air power started in July 1913 with the founding of the Army Aviation Group (Luchtvaartafdeeling or LVA) at Soesterberg airfield (vliegbasis Soesterberg). When founded, the Army Aviation Group operated one aircraft, the Brik, which was supplemented with three French Farman aircraft a few months later.
These aircraft were soon outdated and the Dutch government ordered several fighter/reconnaissance Nieuport and Caudron aircraft to replace them.
1914–1918 WWI[]
The Netherlands maintained a neutral position during World War I and the Army Aviation Group did not take part in any action, instead developing the force's capabilities.
Pilot training was opened for ranks below officer, and technical, aerial photography, meteorological and navigation flights were established.
New airfields were established at Arnhem, Gilze-Rijen Air Base, Venlo and Vlissingen.
Between the wars[]
After the end of World War I the Dutch government cut the defence budget and the Army Aviation Group was almost dissolved. As political tensions in Europe increased during the late 1930s the government tried to rebuild the armed forces again in 1938 but there were many problems, not least the shortage of pilot instructors, navigators and pilots to fly the new multiple engine aircraft. Lack of standardisation and resulting maintenance issues added to the complexity of the rebuilding task.
World War II and late 1940s[]
As war loomed, in July 1939 the Army Aviation Group was renamed the Army Aviation Brigade (Luchtvaartbrigade).
In August 1939, the Netherlands government mobilised its armed forces, but due to limited budgets the Army Aviation Brigade operated only 176 combat aircraft of the following types:
16 Fokker T.V type bombers
36 Fokker D.XXI single-engine fighters
35 Fokker G.I twin-engine fighters
7 Fokker D.XVII single engine fighters
17 Douglas DB-8A-3N light bombers
20 Fokker C.X light bombers
33 Fokker C.V reconnaissance aircraft
20 Koolhoven FK-51 artillery observer aircraft
In May 1940, Germany invaded the Netherlands. Within five days the Dutch Army Aviation Brigade was taken out by the German Luftwaffe. All of the Brigade's bombers, along with 30 D.XXI and 17 G.I fighters were shot down; two D.XXI and eight G.I were destroyed on the ground. Two G.I were captured by German forces, one of which was later flown to England by a Fokker pilot. The Douglas bombers were used as fighters because no suitable bombs were available; these aircraft were poorly suited for this role and eight were shot down and three destroyed on the ground in the first hours of the conflict.
In spite of their numerical inferiority, the Dutch armed forces did enjoy success against the Luftwaffe, having 350 Luftwaffe aircraft destroyed, although many of these were lost to anti-aircraft fire and crashes at improvised landing fields in the Netherlands rather than due to action by Dutch fighters. The cost was high – almost 95% of the Dutch pilots were lost. In recognition of their actions Queen Wilhelmina granted the highest Dutch military decoration, the Militaire Willemsorde (MWO), to the Army Aviation Brigade collectively.
Some aircrews escaped to England and on June 1, 1940, 320 Squadron and 321 Squadron were established there under RAF operational command. Due to a shortage of personnel, 321 Squadron was absorbed by 320 Sqn in January 1941. Although their personnel were predominantly from the Navy Air Service, Army Aviation aircrew also served with 320 Sqn until the end of the war.
In 1941, the Royal Netherlands Military Flying-School was re-established, in the United States at Jackson Field (also known as Hawkins Field), Jackson, Mississippi, operating lend-lease aircraft and training all military aircrew for the Netherlands.
The separate Militaire Luchtvaart van het Koninklijk Nederlands-Indisch Leger (ML-KNIL; Royal Netherlands East Indies Army Military Air Service) continued in the Netherlands East Indies (NEI), until its occupation by Japan in 1942.[3][4] Some personnel escaped to Australia and Ceylon. 321 Squadron was re-formed in Ceylon, in March 1942, from Dutch aviators.
In 1942, 18 (NEI) Squadron, a joint Dutch-Australian unit was established, in Canberra, equipped with B-25 Mitchell bombers. It saw action in the New Guinea campaign and over the Dutch East Indies. In 1943, 120 (NEI) Squadron was established. Equipped with Kittyhawk fighters, it flew many missions under Australian command, including the recapturing of Dutch New Guinea.
In June 1943, a Dutch fighter squadron was established in England. 322 (Dutch) Squadron, equipped with the Supermarine Spitfire, saw action as part of the RAF. 322 Sqn aircraft featured the British RAF roundels as well as the Dutch orange triangle. 322 Sqn was successfully deployed against incoming V-1 flying bombs. From mid-1944, during the invasion of Normandy, it executed ground attack missions over France and Belgium.
In July 1944, the Directorate of Netherlands Airpower was established in London.
In 1947, its Chief of Air Force Staff was appointed.
1950s and 1960s[]
In 1951 several non-combat functions in the Army Aviation were opened to women.
On the 27 March 1953 the Royal Netherlands Air Force officially became an independent part of the Dutch armed forces, rather than part of the Army.
The Air Defense Command, (Commando Lucht Verdediging, abbreviated CLV) consisting of a command unit, five radar stations and six fighter squadrons, had been established. Its radar equipment as well as its air defense fighters all came from obsolete RAF stocks.
The Spitfire Mk.IX was used by 322 sqn until 1954, but was replaced as new squadrons were established.
The Gloster Meteor F Mk.IV was used by 322, 323, 324, 325, 326, 327 and 328 sqn from 1948–1957.
The Gloster Meteor F Mk.VIII was used by 322, 323, 324, 325, 326, 327 and 328 sqn between 1950–1959.
After the Netherlands joined NATO another new command: Tactical Air Command (Commando Tactische Luchtstrijdkrachten, abbreviated CTL) was established.
CTL consisted of seven new strike squadrons (306, 311, 312, 313, 314, 315 and 316 sqn), all equipped with Republic F-84G Thunderjet aircraft. These aircraft were supplied by the United States under the Mutual Defense Aid Program from 1952–1956. 311 was the first flying squadron to be stood up at Volkel on 1 May 1951.[5]
306, 322, 323, 324, 325, 326 and 327 Sqn operated the Hawker Hunter F Mk4 between 1956–1964, and the Hawker Hunter F Mk.6 between 1957–1968.
700, 701 and 702 Sqn operated the F-86 Sabre all-weather fighter between 1956–1964.
306, 311, 312, 313, 314, 315 and 316 sqn changed aircraft configuration from 1955–1970 as the Republic F-84F Thunderstreak and RF-84F Thunderflash became available.
New Guinea conflict[]
The Indonesian government claimed New Guinea following the end of the second world war. The Dutch government considered the area Dutch territory. Negotiations over the country were conducted for years, but tensions grew until Indonesia broke diplomatic relations with the Netherlands at the end of the 1950s.
In response, in 1958, the Netherlands deployed military reinforcements to New Guinea, including an Air Force detachment for the air defense of the island Biak as there was evidence that Indonesia was infiltrating the island in advance of a military operation.
The first Air Force contribution was the installation of two MkIV early warning radars on Biak and neighbouring Woendi island.
The political situation between the Netherlands and Indonesia continued to deteriorate and in 1960 the Dutch government deployed reinforcements. The operations were known by name as ’Plan Fidelio’. For the Dutch Air Force this meant the establishment of an Air Defense Command for New Guinea (Commando Luchtverdediging Nederlands Nieuw-Guinea – CLV NNG) consisting of:
one Hawker Hunter Mk.4 air defence squadron;
a radar navigation system at Biak, and;
a reserve airstrip at Noemfoer.
The Dutch government deployed a squadron consisting of 12 Hawker Hunter Mk.4 AD fighters and two Alouette II SAR helicopters. They were transported to Southeast Asia by the Karel Doorman. One year later the Dutch government deployed another 12 Hawker Hunter Mk6 AD fighters; these aircraft carried more fuel and had a larger combat radius.
In August 1962 Indonesia was ready to attack New Guinea. Despite reinforcements the Dutch defences would be insufficient to withstand the coming attack. Therefore, and because of international political pressure the Dutch government was forced to agree to the peaceful surrender of New Guinea. Dutch forces were withdrawn from the territory.
The establishment of 336 transport squadron is closely connected to New Guinea. Soon after activation this unit was deployed to New Guinea to take over air transport from the Dutch Navy. 336 Sqn deployed and took over three Navy Dakotas and three US supplied aircraft. 336 Sqn operated from Mokmer airstrip and transported more than 5,400 passengers between September 1961 and September 1962.
Cold War era, 1960s, 1970s and later[]
During the cold war era Dutch Air Force units played an important part in the West European defence against the opposing Warsaw Pact forces. The Dutch Air Force manned five fully operational self-supporting Missile Groups in West Germany (1 and 2 MslGrp were equipped with NIKE batteries, while 3,4 and 5 MslGrp were equipped with Hawk). Dutch fighters and other weapon systems also took a full part in NATO alert, standby duties and exercises through the years.
306, 311, 312, 322 and 323 Sqn changed configuration again from 1962–1983 after the dual role F-104 Starfighter was introduced.
313, 314, 315 and 316 Sqn switched over to the NF-5 Freedom Fighter from 1969–1992. The NF-5 was a development of the Canadair CF-5 fighter. Northrop incorporated some NF-5 features into the F-5E/F Tiger II.
Since 1979 all RNLAF fast-jet squadrons (originally 306, 311, 312, 313, 315, 322 and 323) have operated the multi role F-16 Fighting Falcon.
Former Yugoslavia[]
RNLAF F-16s participated in all operations over Yugoslavia from 1993 Deny Flight, including Deliberate Force in 1995 and ending with Operation Allied Force in 1999 from two bases in Italy. Initially from Villafranca AB in the north of Italy, later moving south to Amendola AB. During the operations over FRY RNLAF F-16s flew reconnaissance (306Sqn detachments from Volkel AB were in theatre throughout the operations), enforced the Bosnian no-fly zone, dropped bombs on Udbina AB (1994), successfully dropped an unguided bomb on a moving Serb tank during the fall of Srebrenica (1995), and took part in Deliberate Force later in the summer of 1995.
Between 1994 and 1997 Dutch GCI personnel, along with Canadian GCI controllers, provided many hundreds of hours of fighter control and surveillance as integrated members of USAF/ANG Air Control Squadrons. In May 1999 during the Kosovo crisis a pilot RNLAF F-16AM major Peter Tankink shot down[6] a Yugoslavian MiG-29 with an AMRAAM, but the force was more recognized for its high bombing accuracy. Allied Force was also the operational debut for the upgraded F-16AM. Besides the CAP mission, offensive bombing and photo reconnaissance missions were flown. KDC-10 tankers refuelled allied aircraft over the Adriatic Sea, and C-130 Hercules transports flew daily sorties from Eindhoven AB to logistically support the operation. Dutch F-16s also dropped cluster bombs on Niš killing 14 civilians. In total, RNLAF aircraft flew 1,194 sorties during operation Allied Force, which is about 7.5% of the total 37,000 sorties flown.
Operation Enduring Freedom and NATO in Afghanistan[]
In October 2002 a tri-national detachment of 18 Dutch, Danish and Norwegian F-16 ground attack aircraft and one Dutch KDC-10 tanker deployed to Manas Air Base in Kyrgyzstan in support of ground forces in Afghanistan as part of Operation Enduring Freedom. The RNLAF returned to Manas AB in September 2004 with five F-16 and one KDC-10 in support of the presidential elections of Afghanistan. This time the aircraft flew under the NATO ISAF flag.
In February 2006 four Dutch F-16s were joined by four Royal Norwegian Air Force F-16s in a detachment known as the 1st Netherlands-Norwegian European Participating Forces Expeditionary Air Wing (1 NLD/NOR EEAW). This was a follow up of the participation with the Belgian Air Force.[7]
As part of the expanded NATO ISAF mission in southern Afghanistan in August 2006, the Royal Netherlands Air Force had six F-16 ground-attack aircraft, three CH-47D Chinook of 298 Sq stationed at Kandahar Airfield. Additionally, a detachment of five AH-64D Apache helicopters had been stationed of Tarin Kowt, Uruzgan province. The F-16 flight is planned to stay operational in support of ground forces at least until 2014, providing Close Air Support and Recce Flights (specialised in counter-ied's)
On August 31, 2006 a Royal Netherlands Air Force (Michael "Sofac" Donkervoort) pilot was killed when his plane crashed during a mission to support British ground troops in Helmand province.[8]
In 2013 the Royal Netherlands Air Force provided Strategic Airlift Support with a DC-10 in support of French operations in Mali.
The RNLAF was hit hard by the Dutch defence cuts after the 2008 financial crisis. 311 Squadron was disbanded in September 2012, leaving four squadrons of F-16.[5]
Structure of the Royal Netherlands Air Force[]
Main Operating Bases (MOBs)[]
Leeuwarden Air Base[9]
322nd Squadron F-16
323rd (TACTES) Squadron F-16 (TACTES = TACtical Training Evaluation Standardisation)
920th Maintenance Squadron
921st Logistics Squadron
922nd Support Squadron
Volkel Air Base
312th Squadron F-16
313th Squadron F-16
900th Maintenance Squadron
901st Logistics Squadron
640th Squadron
601st Reserve Squadron
703rd USAF Munition Support Sqn.
Tactical Air Operations Base[]
Air Operations Control Station Nieuw Milligen
603rd Reserve Squadron
711th Squadron (Control And Reporting Centre (CRC) and Military Air Traffic Control Centre (MilATCC))
970th Support Squadron
In 2009 710 and 711 Sqn were merged into one Air Operations Sqn (711Sqn). The status of the base was changed to NATO status as an airmobile NATO Deployable Air control centre, Recognised air picture production centre, Sensor fusion post DARS radar unit became operational on the base in the same year.
Defence Helicopter Command[]
Gilze-Rijen Air Base
298th Squadron CH-47 Chinook
299th Squadron (Training and Standards)
300th Squadron Eurocopter Cougar
300th Squadron Royal Flight Aérospatiale Alouette III
301st Squadron AH-64 Apache
670th Security Squadron
930th Maintenance Squadron
931st Support Squadron
932nd Logistics Squadron
604st Reserve Squadron (partial)
Leeuwarden Air Base
303rd Squadron Agusta Bell AB 412SP (Search and Rescue)
Vlieland Heliport
303rd Squadron Agusta Bell AB 412SP (Search and Rescue)
Maritime Airstation De Kooij
7th Squadron NH90 (Training and Standards)
860th Squadron NH90 Ship-board Operations and Search and Rescue
990 Maintenance Squadron
991 Support Squadron
Deelen Air Base
11 Luchtmobiele Brigade training site.
Designated as a military aviation site. Only fully operational when used for military helicopter exercises, otherwise staffed only by security personnel.
Air Transport Base[]
Eindhoven Airport
334th Transport Squadron (KDC-10, DC-10, Gulfstream IV)
336th Transport Squadron (C-130H-30, C-130H)
602nd Reserve Squadron (partial)
940th Maintenance Support Squadron
941st Miscellaneous Support Squadron
Movement Coordination Centre Europe
European Air Transport Command
Common Support Base[]
Woensdrecht Air Base
Royal Netherlands Air Force Training Center (Koninklijke Militaire School Luchtmacht)
130th Squadron (Initial Military Training)
131st Squadron (Initial Military Flight Training) (PC-7)
132nd Squadron (Training and Doctrine, Management Training)
133rd Squadron (Training for Electronic and Technical specialists)
Air Force Meteorological Group
Air Force Logistics Center
960th Squadron Maintenance and Logistics Support Squadron
961st Support Squadron
604st Reserve Squadron (partial)
Miscellaneous units[]
600th Reserve Squadron (Training and Standards, Air Liaison Officers, Specialist Reserves)
Closed/former air bases[]
Soesterberg Air Base
Royal Netherlands Military Aviation Museum. A part of the base remains in use as a glider field. The former USAFE site will be in use by ground units. (Relocated from Kamp van Zeist to the former 298 and 300 Sqn hangaars, open in 2013)
Twente Air Base also known as Enschede Airport Twente
Ypenburg Air Base
Rank structure[]
Aircraft inventory[]
Aircraft Photo Origin Type In service[10] Notes Fighter Aircraft Lockheed Martin F-16AM/BM Fighting Falcon United States
Netherlands Fighter aircraft 223 From 1979 onwards 213 were license-built by Fokker of which 29 F-16A and 7 F-16B were sold to Chile, 6 F-16B were sold to Jordan. On the 17th of September 2013 it was announced that a further 7 F16's will be withdrawn from active service and will serve as spares to increase the readiness of the remaining 61 jets. Lockheed Martin F-35A Lightning II United States Fighter aircraft 2 + 6 Two aircraft were ordered for testing and evaluation[11][12] 1st F-35A F-001 was handed over to the RNLAF at 25 July 2013 at Fort Worth (USA). A total of 37 F-35A's will be ordered to replace the F-16.[13] Trainers Pilatus PC-7 Turbo Trainer Switzerland Training Aircraft 13 Originally painted yellow/red, now black with 2 yellow markings Transporters Lockheed C-130H-30 Hercules United States Transport aircraft 4 2x C-130H-30 and 2x ex-US Navy EC-130Q's, which were converted to C-130H by Derco Aerospace and Marshall Aerospace[14] All have been upgraded to common Digital Cockpit McDonnell Douglas KDC-10/DC-10 United States Aerial refuelling/Cargo 2/1 All upgraded to common Digital Cockpit. Boeing C-17 Globemaster III United States Strategic Transport 3 (shared) Shared within NATO's Heavy Airlift Wing and based at Pápa Air Base, Hungary. The Royal Netherlands Air Force has access to 500 flight hours per year. Gulfstream IV United States Utility aircraft 1 VIP transport, to be phased out in 2014 Dornier 228 File:Royal Netherlands Coast Guard MPA.jpg Germany Coastal patrol 2 Civil registrations but with military crews, North Sea area[15] Helicopters Aérospatiale SA316B Alouette III File:Alouette III SE3160 H75.jpg France VIP transport 4 Aerial photography and VIP transport[16] Potentially replaced by AB 412 Helicopters of Leeuwarden Air Base SAR Flight in 2015 Agusta-Bell 412 Italy Search and rescue 3 Supporting the RNLAF training area over Vlieland and the Wadden Sea, to be phased out in 2015 for SAR Operations, potential replacement of Royal/VIP Flight of Alouette III Boeing AH-64D Apache United States Attack helicopter 29 30 procured, 1 crashed in 2004. Being upgraded to Block II standard.[17] Eurocopter AS 532U2 Cougar Mk2 France Utility helicopter 17 Mid-Life Update programme as of 2009. In 2012 9 were put in storage and 8 remain operational, to be phased out in 2017 and replaced by CH-47F Boeing CH-47D/F Chinook United States Heavy lift helicopter 11/6 2 CH-47D were lost in battle over Afghanistan.
17 Operational of which 6 CH-47Fs were ordered in 2011 with options for 2 more[14] First two CH-47F delivered in September 2012.[18] NH Industries NH-90 European Union NATO frigate helicopter 20 Deliveries started in 2010. 12 NFH and 8 TTH (Navalised) to be used form LPD/LPH in support of Marines Unmanned aerial vehicles RQ-11 Raven United States Mini-UAV 72 Used by Koninklijke Landmacht and Korps Mariniers with Airforce roundels ScanEagle United States Reconnaissance / Surveillance 12 Used by Koninklijke Landmacht, Analog 1 ground station with 6 aircraft, Digital 2 ground stations with each 3 aircraft
Future[]
Between 52 and 68 F-35A Lightning II are expected to replace the F-16 fleet, before budget-cuts by the Dutch government the number was planned to be 85.[11][19] Two F-35A have been delivered for the testing program and for training pilots and maintenance crew. This first aircraft is stationed at a base in Florida, USA.[20]
On September 19, 2013 the MOD announced that it will buy 35 additional F-35A's between 2014-2023, with a total of 37 F-35A's. First aircraft to enter service in 2019, last in 2023.[21]
20 NH90 helicopters will replace the former Navy Lynx helicopters. The NH90 helicopters will be stationed at Gilze-Rijen (8 NH-90 Naval Transport version and SAR) and De Kooy (12 NFH-90 frigate-based anti-submarine warfare). Two more NH90 optional.
In 2012 plans were announced to replace all existing CH47D Chinooks (11) with new-build CH47F models as most cost-efficient instead of upgrading existing airframes.
MALE UAV flight of 4 (MQ-9 Reaper), including ground control station and fully airlift deployable expected to enter service in 2015
The Netherlands was the first country to sign up for the Production Sustainment and Follow On Development (PSFD) Phase of the F-35 Lightning II aircraft.[22]
Through the NATO Strategic Airlift Capability, the RNLAF has access to three C-17s.[23]
Plans to integrate closely with The Belgian Air Force include centralising all Transport Aircraft at Melsbroek (Brussels Airport) under Belgian supervison and all Helicopters (Air Force & Navy) under Dutch supervision at Gilze-Rijen Airbase to reduce operating cost, improve availability and knowledge (2013).
Replacement for F-16[]
The Netherlands Air Force wants to replace its F-16 fleet in the next decade. Candidates for the replacement were the Dassault Rafale, the Lockheed Martin F-16 Block 52/60, the Eurofighter Typhoon, the Saab Gripen and the Lockheed Martin F-35. In 2002 The Netherlands signed a MOU (Memoradum Of Understanding) to co-develop the F-35 as a 'Tier 2' Partner. That deal is worth around 800 million US dollars, advanced by the Dutch government on behalf of Dutch industries: After the demise of Fokker Aircraft, the government wanted to retain whatever aerospace industry it could.
In early 2008, a decision was put before Parliament to buy two test aircraft for Dutch pilots to train in the US. But instead, in April 2009 it was decided to buy just one test aircraft and defer the final decision as to what to buy to 2011, after the elections. The new government announced plans to acquire the second test aircraft in April 2011 in order to remain with the test program, but a next government and Parliament will review the whole process again while opposition to the F-35 is growing ever stronger. Reasons for this are ever rising costs, uncertainty about the exact cost of the aircraft, slips in the schedule of delivery and thus uncertainty about delivery dates. Also, Dutch industries have been complaining about their offsets from the USA.[24]
On September 17, 2013 it was announced that the F-35A is the official replacement for the Royal Netherlands Air Force F-16 MLU.
See also[]
Netherlands Naval Aviation Service
No. 322 Squadron RAF
Royal Netherlands East Indies Army Air Force
Solo Display Team
References[]
[]
Official website (Dutch)
Royal Netherlands Air Force
Military Flags
Squadron roundels
Parliament Chamber Notes on buying C-130 and selling F-60 aircraft[dead link]
(Dutch)
The Defense Security Cooperation Agency notified Congress of a possible sale to the Netherlands of CH-47F Chinook cargo helicopters[dead link]
(English)
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Royal Netherlands Air Force: Speeding up maintenance with 3D printed tools
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2018-11-06T08:51:00+00:00
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Royal Netherlands Air Force: Speeding up maintenance with 3D printed tools The Royal Netherlands Air Force is the Netherlands’ guardian of the skies. Their fleet contains a wide range of helicopters, fighter jets, and large cargo planes. These aircraft have many unique, custom-made parts which are difficult to work on with off-the-shelf tools. That’s why […]
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https://ultimaker.com/learn/royal-netherlands-air-force-speeding-up-maintenance-with-3d-printed-tools/
|
We have very unique items in the Air Force, that's why we make tools ourselves.
A workshop at the academy
Bas Janssen, member of the Ambition Innovation Results (AIR) division, focuses on gaining and sharing knowledge on manufacturing techniques like laser cutting and 3D printing, as well as other technologies. He does this by running a makerspace within the Royal Netherlands Air Force: the MakAIRsJop.
His workshop helps maintenance students and engineers find innovative solutions for challenges in their work. Initially, Bas started hosting workshops using multiple Ultimaker 3 printers. After quickly becoming familiar with the hardware and software, Bas and his colleagues began to see new opportunities to improve maintenance speed and efficiency at the air base.
The people who work with 3D printing often have no technical background, but only need about three hours of training. After that, they start looking for solutions for issues they have in their work.
Spare parts, tools, and fixtures
Performing maintenance on such complex and customized aircraft can be a huge challenge: there are a lot of uncommon parts and systems to work with. 3D printing makes the work simpler. It offers a way to affordably create tools that fit these specific applications in hours. This is something Bas and his team soon realized. Instead of outsourcing, they’ve printed numerous parts in the past two years, saving time and money.
For example, when jet engines are transported, certain openings need to be covered with a special cap. These parts are expensive to purchase and slow to be delivered. However, using the Ultimaker it only takes about two hours to print the part.
We use the Ultimaker to print tools, fixtures, and prototypes with the highest standards.
The Ultimaker 3D printers are also used to create special tools to adjust equipment. For example, certain helicopter parts are difficult to configure when they’re installed. By using a simple 3D printed part, these adjustments can be made before mounting it into the helicopter, saving the team multiple hours per aircraft.
Some metal parts also have to be CNC machined. For this application, the Ultimaker printers are used for prototyping and fit-testing. This way, they can easily and cost-effectively iterate on designs before making the actual part.
3D printing is taking off
After the workshop's initial successes, the Royal Netherlands Air Force have started to expand their 3D printing activities. They’ve recently added the Ultimaker S5 to their line of printers, to print bigger parts and start working with new, more advanced materials.
Bas now recommends that every Air Force maintenance location should take advantage of 3D printing. “Our transition to a fifth-generation Air Force can only be done with people who realize that they can be a part of that change now, not later. Ultimaker makes it possible to do just that: help people understand what additive manufacturing can do for them right now – without a long learning curve. The current software and hardware help people to make their idea come to life”.
His team will be able to share 3D models, create new designs, and support local personnel with printing. In this way, military maintenance engineers can manufacture the right tools, directly and locally.
Thinking of adding a 3D printer to your tool set? Click below to learn more about our most capable machine.
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Dutch Wrap up 32 Years of Flying with Tucson Air Guard
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2022-08-02T00:00:00
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MORRIS AIR NATIONAL GUARD BASE, Ariz. – U.S. and Dutch dignitaries and Air National Guard Airmen and Royal Netherlands Air Force personnel celebrated the end of an era as the RNLAF landed their last
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/Portals/31/favicon.ico?ver=iXLtor0suvMbtiVsz6VzPA%3d%3d
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National Guard
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https://www.nationalguard.mil/https%3A%2F%2Fwww.nationalguard.mil%2FNews%2FArticle-View%2FArticle%2F3112799%2Fdutch-wrap-up-32-years-of-flying-with-tucson-air-guard%2F
|
MORRIS AIR NATIONAL GUARD BASE, Ariz. – U.S. and Dutch dignitaries and Air National Guard Airmen and Royal Netherlands Air Force personnel celebrated the end of an era as the RNLAF landed their last F-16 at Morris Air National Guard Base July 29, culminating a 32-year international training relationship.
“Arizona has developed an ever-lasting relationship with the Netherlands that will continue to strengthen interoperability between the United States and foreign partner nations across the globe,” said Brig. Gen. Jeffrey Butler, 162nd Wing commander. “This has been a partnership that extends beyond any other witnessed in National Guard history.”
The Dutch were the first in a long line of foreign partners to train at Morris ANG Base, flying an average of 2,000 hours per year in the F-16 and graduating four student pilots every nine months as part of the 148th Fighter Squadron.
“I was a student in the 148th Fighter Squadron in 1991,” said Lt. Col. Joost Luijsterburg, RNLAF detachment commander. “That was 31 years ago, and now I’m going to close this unit. ... It is the end of an era.”
The RNLAF is transitioning from the F-16 to the F-35. Luijsterburg has already assumed command of the Dutch F-35 detachment at Luke Air Force Base, Arizona, and has been acting as dual commander of both detachments.
The international training relationship between the Tucson Guard and the Dutch is a prime example of effective diplomacy that can occur at the state level.
There is also a Department of Defense National Guard Bureau State Partnership Program that was established more than 25 years ago. It now includes 85 National Guard partnerships with 93 nations.
“The National Guard has a vested interest in growing its partnerships with foreign countries, and we do that better than anyone else, right here in Tucson, Arizona,” said Butler. “Our international training mission provides expertly trained coalition war-fighting partners for the United States and our NATO allies — and that is both necessary and reassuring in today’s environment.”
The long list of foreign and domestic distinguished visitors at the event indicated the importance of this bilateral arrangement.
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https://www.key.aero/article/efforts-fly-dutch-f-104-again
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The efforts to fly a Dutch F-104 again
|
https://supersocial.fullfatthings.com/i/1/https://www.key.aero/article/efforts-fly-dutch-f-104-again
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2024-02-23T12:00:00+00:00
|
In the March 2024 issue of Aviation News, Leonard van den Broek provides an update on efforts to return a Lockheed F-104 Starfighter to flight at Volkel Air Base in the Netherlands
|
en
|
/sites/keyaero/themes/keyaero/favicon.ico
|
Key Aero
|
https://www.key.aero/article/efforts-fly-dutch-f-104-again
|
In November 1984, the Royal Netherlands Air Force (RNLAF) bid farewell to its F-104 Starfighters. Some 40 years later, 13 former RNLAF Starfighters remain in the Netherlands. Most are in museums or serve as gate guardians, except for Lockheed F-104G D-8114. This Starfighter resides in an old German hangar at Volkel Air Base, with a small group of volunteers working hard to get her back into flying condition.
The origins of the ‘Historische Vliegtuigen Volkel’ (HVV, Historic Fighters Volkel) group go back more than 20 years. The association was founded to restore a Republic F-84F Thunderstreak and a Lockheed F-104 Starfighter as gate guardians at Volkel Air Base. Hans Ruijgrok, outgoing manager of HVV, said: "After the two gate guardians, we worked on several small and large restoration projects. Gradually, the idea came up to restore a Starfighter to working condition as much as possible, preferably taxiing. Lt Col Harry ‘Hopper’ van Duren, then the deputy base commander at Volkel, said to us, ‘Why don't you fly it?’”
In recent years, several airframes were candidates for this, but often, the technical and maintenance condition proved not good enough after all. In 2012, the D-8114 was obtained, in exchange for another Starfig…
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Royal Netherlands Air Force
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The Royal Netherlands Air Force (RNLAF), Dutch Koninklijke Luchtmacht (KLu), is the military aviation branch of the Netherlands Armed Forces. Its ancestor, the Luchtvaartafdeling (aviation department) of the Dutch Army was founded on 1 July 1913, with four pilots. The aerobatic display team of...
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Military Wiki
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https://military-history.fandom.com/wiki/Royal_Netherlands_Air_Force
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Koninklijke Luchtmacht (KLu)Founded July 1913, independent force 27 March 1953Country NetherlandsAllegiance HM The King Willem-Alexander[1]Branch Air ForceSize 11.000 personnel,[2] 217 aircraftPart of Dutch Armed ForcesMotto(s) Parvus numero, magnus merito (Latin: small in numbers, great in deeds)CommandersCurrent
commander Lieutenant-general Sander SchnitgerInsigniaRoundelAir Force FlagAircraft flownAttack AH-64DFighter F-16Patrol Dornier 228Trainer PC-7Transport C-130 Hercules, CH-47 Chinook, AS-532 Cougar, NH-90, DC-10/KDC-10, Agusta-Bell 412, Gulfstream IV, Westland Lynx, Aérospatiale Alouette III
The Royal Netherlands Air Force (RNLAF), Dutch Koninklijke Luchtmacht (KLu), is the military aviation branch of the Netherlands Armed Forces. Its ancestor, the Luchtvaartafdeling (aviation department) of the Dutch Army was founded on 1 July 1913, with four pilots. The aerobatic display team of the Royal Netherlands Air Force is the Solo Display Team.
History[]
Origin in 1913[]
The Royal Netherlands Air Force (RNLAF) is the second youngest operational part of the Dutch Armed Forces, which consists of four parts: Navy, Army, Air Force and Military Police.
Dutch air power started in July 1913 with the founding of the Army Aviation Group (Luchtvaartafdeeling or LVA) at Soesterberg airfield (vliegbasis Soesterberg). When founded, the Army Aviation Group operated one aircraft, the Brik, which was supplemented with three French Farman aircraft a few months later.
These aircraft were soon outdated and the Dutch government ordered several fighter/reconnaissance Nieuport and Caudron aircraft to replace them.
1914–1918 WWI[]
The Netherlands maintained a neutral position during World War I and the Army Aviation Group did not take part in any action, instead developing the force's capabilities.
Pilot training was opened for ranks below officer, and technical, aerial photography, meteorological and navigation flights were established.
New airfields were established at Arnhem, Gilze-Rijen Air Base, Venlo and Vlissingen.
Between the wars[]
After the end of World War I the Dutch government cut the defence budget and the Army Aviation Group was almost dissolved. As political tensions in Europe increased during the late 1930s the government tried to rebuild the armed forces again in 1938 but there were many problems, not least the shortage of pilot instructors, navigators and pilots to fly the new multiple engine aircraft. Lack of standardisation and resulting maintenance issues added to the complexity of the rebuilding task.
World War II and late 1940s[]
As war loomed, in July 1939 the Army Aviation Group was renamed the Army Aviation Brigade (Luchtvaartbrigade).
In August 1939, the Netherlands government mobilised its armed forces, but due to limited budgets the Army Aviation Brigade operated only 176 combat aircraft of the following types:
16 Fokker T.V type bombers
36 Fokker D.XXI single-engine fighters
35 Fokker G.I twin-engine fighters
7 Fokker D.XVII single engine fighters
17 Douglas DB-8A-3N light bombers
20 Fokker C.X light bombers
33 Fokker C.V reconnaissance aircraft
20 Koolhoven FK-51 artillery observer aircraft
In May 1940, Germany invaded the Netherlands. Within five days the Dutch Army Aviation Brigade was taken out by the German Luftwaffe. All of the Brigade's bombers, along with 30 D.XXI and 17 G.I fighters were shot down; two D.XXI and eight G.I were destroyed on the ground. Two G.I were captured by German forces, one of which was later flown to England by a Fokker pilot. The Douglas bombers were used as fighters because no suitable bombs were available; these aircraft were poorly suited for this role and eight were shot down and three destroyed on the ground in the first hours of the conflict.
In spite of their numerical inferiority, the Dutch armed forces did enjoy success against the Luftwaffe, having 350 Luftwaffe aircraft destroyed, although many of these were lost to anti-aircraft fire and crashes at improvised landing fields in the Netherlands rather than due to action by Dutch fighters. The cost was high – almost 95% of the Dutch pilots were lost. In recognition of their actions Queen Wilhelmina granted the highest Dutch military decoration, the Militaire Willemsorde (MWO), to the Army Aviation Brigade collectively.
Some aircrews escaped to England and on June 1, 1940, 320 Squadron and 321 Squadron were established there under RAF operational command. Due to a shortage of personnel, 321 Squadron was absorbed by 320 Sqn in January 1941. Although their personnel were predominantly from the Navy Air Service, Army Aviation aircrew also served with 320 Sqn until the end of the war.
In 1941, the Royal Netherlands Military Flying-School was re-established, in the United States at Jackson Field (also known as Hawkins Field), Jackson, Mississippi, operating lend-lease aircraft and training all military aircrew for the Netherlands.
The separate Militaire Luchtvaart van het Koninklijk Nederlands-Indisch Leger (ML-KNIL; Royal Netherlands East Indies Army Military Air Service) continued in the Netherlands East Indies (NEI), until its occupation by Japan in 1942.[3][4] Some personnel escaped to Australia and Ceylon. 321 Squadron was re-formed in Ceylon, in March 1942, from Dutch aviators.
In 1942, 18 (NEI) Squadron, a joint Dutch-Australian unit was established, in Canberra, equipped with B-25 Mitchell bombers. It saw action in the New Guinea campaign and over the Dutch East Indies. In 1943, 120 (NEI) Squadron was established. Equipped with Kittyhawk fighters, it flew many missions under Australian command, including the recapturing of Dutch New Guinea.
In June 1943, a Dutch fighter squadron was established in England. 322 (Dutch) Squadron, equipped with the Supermarine Spitfire, saw action as part of the RAF. 322 Sqn aircraft featured the British RAF roundels as well as the Dutch orange triangle. 322 Sqn was successfully deployed against incoming V-1 flying bombs. From mid-1944, during the invasion of Normandy, it executed ground attack missions over France and Belgium.
In July 1944, the Directorate of Netherlands Airpower was established in London.
In 1947, its Chief of Air Force Staff was appointed.
1950s and 1960s[]
In 1951 several non-combat functions in the Army Aviation were opened to women.
On the 27 March 1953 the Royal Netherlands Air Force officially became an independent part of the Dutch armed forces, rather than part of the Army.
The Air Defense Command, (Commando Lucht Verdediging, abbreviated CLV) consisting of a command unit, five radar stations and six fighter squadrons, had been established. Its radar equipment as well as its air defense fighters all came from obsolete RAF stocks.
The Spitfire Mk.IX was used by 322 sqn until 1954, but was replaced as new squadrons were established.
The Gloster Meteor F Mk.IV was used by 322, 323, 324, 325, 326, 327 and 328 sqn from 1948–1957.
The Gloster Meteor F Mk.VIII was used by 322, 323, 324, 325, 326, 327 and 328 sqn between 1950–1959.
After the Netherlands joined NATO another new command: Tactical Air Command (Commando Tactische Luchtstrijdkrachten, abbreviated CTL) was established.
CTL consisted of seven new strike squadrons (306, 311, 312, 313, 314, 315 and 316 sqn), all equipped with Republic F-84G Thunderjet aircraft. These aircraft were supplied by the United States under the Mutual Defense Aid Program from 1952–1956. 311 was the first flying squadron to be stood up at Volkel on 1 May 1951.[5]
306, 322, 323, 324, 325, 326 and 327 Sqn operated the Hawker Hunter F Mk4 between 1956–1964, and the Hawker Hunter F Mk.6 between 1957–1968.
700, 701 and 702 Sqn operated the F-86 Sabre all-weather fighter between 1956–1964.
306, 311, 312, 313, 314, 315 and 316 sqn changed aircraft configuration from 1955–1970 as the Republic F-84F Thunderstreak and RF-84F Thunderflash became available.
New Guinea conflict[]
The Indonesian government claimed New Guinea following the end of the second world war. The Dutch government considered the area Dutch territory. Negotiations over the country were conducted for years, but tensions grew until Indonesia broke diplomatic relations with the Netherlands at the end of the 1950s.
In response, in 1958, the Netherlands deployed military reinforcements to New Guinea, including an Air Force detachment for the air defense of the island Biak as there was evidence that Indonesia was infiltrating the island in advance of a military operation.
The first Air Force contribution was the installation of two MkIV early warning radars on Biak and neighbouring Woendi island.
The political situation between the Netherlands and Indonesia continued to deteriorate and in 1960 the Dutch government deployed reinforcements. The operations were known by name as ’Plan Fidelio’. For the Dutch Air Force this meant the establishment of an Air Defense Command for New Guinea (Commando Luchtverdediging Nederlands Nieuw-Guinea – CLV NNG) consisting of:
one Hawker Hunter Mk.4 air defence squadron;
a radar navigation system at Biak, and;
a reserve airstrip at Noemfoer.
The Dutch government deployed a squadron consisting of 12 Hawker Hunter Mk.4 AD fighters and two Alouette II SAR helicopters. They were transported to Southeast Asia by the Karel Doorman. One year later the Dutch government deployed another 12 Hawker Hunter Mk6 AD fighters; these aircraft carried more fuel and had a larger combat radius.
In August 1962 Indonesia was ready to attack New Guinea. Despite reinforcements the Dutch defences would be insufficient to withstand the coming attack. Therefore, and because of international political pressure the Dutch government was forced to agree to the peaceful surrender of New Guinea. Dutch forces were withdrawn from the territory.
The establishment of 336 transport squadron is closely connected to New Guinea. Soon after activation this unit was deployed to New Guinea to take over air transport from the Dutch Navy. 336 Sqn deployed and took over three Navy Dakotas and three US supplied aircraft. 336 Sqn operated from Mokmer airstrip and transported more than 5,400 passengers between September 1961 and September 1962.
Cold War era, 1960s, 1970s and later[]
During the cold war era Dutch Air Force units played an important part in the West European defence against the opposing Warsaw Pact forces. The Dutch Air Force manned five fully operational self-supporting Missile Groups in West Germany (1 and 2 MslGrp were equipped with NIKE batteries, while 3,4 and 5 MslGrp were equipped with Hawk). Dutch fighters and other weapon systems also took a full part in NATO alert, standby duties and exercises through the years.
306, 311, 312, 322 and 323 Sqn changed configuration again from 1962–1983 after the dual role F-104 Starfighter was introduced.
313, 314, 315 and 316 Sqn switched over to the NF-5 Freedom Fighter from 1969–1992. The NF-5 was a development of the Canadair CF-5 fighter. Northrop incorporated some NF-5 features into the F-5E/F Tiger II.
Since 1979 all RNLAF fast-jet squadrons (originally 306, 311, 312, 313, 315, 322 and 323) have operated the multi role F-16 Fighting Falcon.
Former Yugoslavia[]
RNLAF F-16s participated in all operations over Yugoslavia from 1993 Deny Flight, including Deliberate Force in 1995 and ending with Operation Allied Force in 1999 from two bases in Italy. Initially from Villafranca AB in the north of Italy, later moving south to Amendola AB. During the operations over FRY RNLAF F-16s flew reconnaissance (306Sqn detachments from Volkel AB were in theatre throughout the operations), enforced the Bosnian no-fly zone, dropped bombs on Udbina AB (1994), successfully dropped an unguided bomb on a moving Serb tank during the fall of Srebrenica (1995), and took part in Deliberate Force later in the summer of 1995.
Between 1994 and 1997 Dutch GCI personnel, along with Canadian GCI controllers, provided many hundreds of hours of fighter control and surveillance as integrated members of USAF/ANG Air Control Squadrons. In May 1999 during the Kosovo crisis a pilot RNLAF F-16AM major Peter Tankink shot down[6] a Yugoslavian MiG-29 with an AMRAAM, but the force was more recognized for its high bombing accuracy. Allied Force was also the operational debut for the upgraded F-16AM. Besides the CAP mission, offensive bombing and photo reconnaissance missions were flown. KDC-10 tankers refuelled allied aircraft over the Adriatic Sea, and C-130 Hercules transports flew daily sorties from Eindhoven AB to logistically support the operation. Dutch F-16s also dropped cluster bombs on Niš killing 14 civilians. In total, RNLAF aircraft flew 1,194 sorties during operation Allied Force, which is about 7.5% of the total 37,000 sorties flown.
Operation Enduring Freedom and NATO in Afghanistan[]
In October 2002 a tri-national detachment of 18 Dutch, Danish and Norwegian F-16 ground attack aircraft and one Dutch KDC-10 tanker deployed to Manas Air Base in Kyrgyzstan in support of ground forces in Afghanistan as part of Operation Enduring Freedom. The RNLAF returned to Manas AB in September 2004 with five F-16 and one KDC-10 in support of the presidential elections of Afghanistan. This time the aircraft flew under the NATO ISAF flag.
In February 2006 four Dutch F-16s were joined by four Royal Norwegian Air Force F-16s in a detachment known as the 1st Netherlands-Norwegian European Participating Forces Expeditionary Air Wing (1 NLD/NOR EEAW). This was a follow up of the participation with the Belgian Air Force.[7]
As part of the expanded NATO ISAF mission in southern Afghanistan in August 2006, the Royal Netherlands Air Force had six F-16 ground-attack aircraft, three CH-47D Chinook of 298 Sq stationed at Kandahar Airfield. Additionally, a detachment of five AH-64D Apache helicopters had been stationed of Tarin Kowt, Uruzgan province. The F-16 flight is planned to stay operational in support of ground forces at least until 2014, providing Close Air Support and Recce Flights (specialised in counter-ied's)
On August 31, 2006 a Royal Netherlands Air Force (Michael "Sofac" Donkervoort) pilot was killed when his plane crashed during a mission to support British ground troops in Helmand province.[8]
In 2013 the Royal Netherlands Air Force provided Strategic Airlift Support with a DC-10 in support of French operations in Mali.
The RNLAF was hit hard by the Dutch defence cuts after the 2008 financial crisis. 311 Squadron was disbanded in September 2012, leaving four squadrons of F-16.[5]
Structure of the Royal Netherlands Air Force[]
Main Operating Bases (MOBs)[]
Leeuwarden Air Base[9]
322nd Squadron F-16
323rd (TACTES) Squadron F-16 (TACTES = TACtical Training Evaluation Standardisation)
920th Maintenance Squadron
921st Logistics Squadron
922nd Support Squadron
Volkel Air Base
312th Squadron F-16
313th Squadron F-16
900th Maintenance Squadron
901st Logistics Squadron
640th Squadron
601st Reserve Squadron
703rd USAF Munition Support Sqn.
Tactical Air Operations Base[]
Air Operations Control Station Nieuw Milligen
603rd Reserve Squadron
711th Squadron (Control And Reporting Centre (CRC) and Military Air Traffic Control Centre (MilATCC))
970th Support Squadron
In 2009 710 and 711 Sqn were merged into one Air Operations Sqn (711Sqn). The status of the base was changed to NATO status as an airmobile NATO Deployable Air control centre, Recognised air picture production centre, Sensor fusion post DARS radar unit became operational on the base in the same year.
Defence Helicopter Command[]
Gilze-Rijen Air Base
298th Squadron CH-47 Chinook
299th Squadron (Training and Standards)
300th Squadron Eurocopter Cougar
300th Squadron Royal Flight Aérospatiale Alouette III
301st Squadron AH-64 Apache
670th Security Squadron
930th Maintenance Squadron
931st Support Squadron
932nd Logistics Squadron
604st Reserve Squadron (partial)
Leeuwarden Air Base
303rd Squadron Agusta Bell AB 412SP (Search and Rescue)
Vlieland Heliport
303rd Squadron Agusta Bell AB 412SP (Search and Rescue)
Maritime Airstation De Kooij
7th Squadron NH90 (Training and Standards)
860th Squadron NH90 Ship-board Operations and Search and Rescue
990 Maintenance Squadron
991 Support Squadron
Deelen Air Base
11 Luchtmobiele Brigade training site.
Designated as a military aviation site. Only fully operational when used for military helicopter exercises, otherwise staffed only by security personnel.
Air Transport Base[]
Eindhoven Airport
334th Transport Squadron (KDC-10, DC-10, Gulfstream IV)
336th Transport Squadron (C-130H-30, C-130H)
602nd Reserve Squadron (partial)
940th Maintenance Support Squadron
941st Miscellaneous Support Squadron
Movement Coordination Centre Europe
European Air Transport Command
Common Support Base[]
Woensdrecht Air Base
Royal Netherlands Air Force Training Center (Koninklijke Militaire School Luchtmacht)
130th Squadron (Initial Military Training)
131st Squadron (Initial Military Flight Training) (PC-7)
132nd Squadron (Training and Doctrine, Management Training)
133rd Squadron (Training for Electronic and Technical specialists)
Air Force Meteorological Group
Air Force Logistics Center
960th Squadron Maintenance and Logistics Support Squadron
961st Support Squadron
604st Reserve Squadron (partial)
Miscellaneous units[]
600th Reserve Squadron (Training and Standards, Air Liaison Officers, Specialist Reserves)
Closed/former air bases[]
Soesterberg Air Base
Royal Netherlands Military Aviation Museum. A part of the base remains in use as a glider field. The former USAFE site will be in use by ground units. (Relocated from Kamp van Zeist to the former 298 and 300 Sqn hangaars, open in 2013)
Twente Air Base also known as Enschede Airport Twente
Ypenburg Air Base
Rank structure[]
Aircraft inventory[]
Aircraft Photo Origin Type In service[10] Notes Fighter Aircraft Lockheed Martin F-16AM/BM Fighting Falcon United States
Netherlands Fighter aircraft 223 From 1979 onwards 213 were license-built by Fokker of which 29 F-16A and 7 F-16B were sold to Chile, 6 F-16B were sold to Jordan. On the 17th of September 2013 it was announced that a further 7 F16's will be withdrawn from active service and will serve as spares to increase the readiness of the remaining 61 jets. Lockheed Martin F-35A Lightning II United States Fighter aircraft 2 + 6 Two aircraft were ordered for testing and evaluation[11][12] 1st F-35A F-001 was handed over to the RNLAF at 25 July 2013 at Fort Worth (USA). A total of 37 F-35A's will be ordered to replace the F-16.[13] Trainers Pilatus PC-7 Turbo Trainer Switzerland Training Aircraft 13 Originally painted yellow/red, now black with 2 yellow markings Transporters Lockheed C-130H-30 Hercules United States Transport aircraft 4 2x C-130H-30 and 2x ex-US Navy EC-130Q's, which were converted to C-130H by Derco Aerospace and Marshall Aerospace[14] All have been upgraded to common Digital Cockpit McDonnell Douglas KDC-10/DC-10 United States Aerial refuelling/Cargo 2/1 All upgraded to common Digital Cockpit. Boeing C-17 Globemaster III United States Strategic Transport 3 (shared) Shared within NATO's Heavy Airlift Wing and based at Pápa Air Base, Hungary. The Royal Netherlands Air Force has access to 500 flight hours per year. Gulfstream IV United States Utility aircraft 1 VIP transport, to be phased out in 2014 Dornier 228 File:Royal Netherlands Coast Guard MPA.jpg Germany Coastal patrol 2 Civil registrations but with military crews, North Sea area[15] Helicopters Aérospatiale SA316B Alouette III File:Alouette III SE3160 H75.jpg France VIP transport 4 Aerial photography and VIP transport[16] Potentially replaced by AB 412 Helicopters of Leeuwarden Air Base SAR Flight in 2015 Agusta-Bell 412 Italy Search and rescue 3 Supporting the RNLAF training area over Vlieland and the Wadden Sea, to be phased out in 2015 for SAR Operations, potential replacement of Royal/VIP Flight of Alouette III Boeing AH-64D Apache United States Attack helicopter 29 30 procured, 1 crashed in 2004. Being upgraded to Block II standard.[17] Eurocopter AS 532U2 Cougar Mk2 France Utility helicopter 17 Mid-Life Update programme as of 2009. In 2012 9 were put in storage and 8 remain operational, to be phased out in 2017 and replaced by CH-47F Boeing CH-47D/F Chinook United States Heavy lift helicopter 11/6 2 CH-47D were lost in battle over Afghanistan.
17 Operational of which 6 CH-47Fs were ordered in 2011 with options for 2 more[14] First two CH-47F delivered in September 2012.[18] NH Industries NH-90 European Union NATO frigate helicopter 20 Deliveries started in 2010. 12 NFH and 8 TTH (Navalised) to be used form LPD/LPH in support of Marines Unmanned aerial vehicles RQ-11 Raven United States Mini-UAV 72 Used by Koninklijke Landmacht and Korps Mariniers with Airforce roundels ScanEagle United States Reconnaissance / Surveillance 12 Used by Koninklijke Landmacht, Analog 1 ground station with 6 aircraft, Digital 2 ground stations with each 3 aircraft
Future[]
Between 52 and 68 F-35A Lightning II are expected to replace the F-16 fleet, before budget-cuts by the Dutch government the number was planned to be 85.[11][19] Two F-35A have been delivered for the testing program and for training pilots and maintenance crew. This first aircraft is stationed at a base in Florida, USA.[20]
On September 19, 2013 the MOD announced that it will buy 35 additional F-35A's between 2014-2023, with a total of 37 F-35A's. First aircraft to enter service in 2019, last in 2023.[21]
20 NH90 helicopters will replace the former Navy Lynx helicopters. The NH90 helicopters will be stationed at Gilze-Rijen (8 NH-90 Naval Transport version and SAR) and De Kooy (12 NFH-90 frigate-based anti-submarine warfare). Two more NH90 optional.
In 2012 plans were announced to replace all existing CH47D Chinooks (11) with new-build CH47F models as most cost-efficient instead of upgrading existing airframes.
MALE UAV flight of 4 (MQ-9 Reaper), including ground control station and fully airlift deployable expected to enter service in 2015
The Netherlands was the first country to sign up for the Production Sustainment and Follow On Development (PSFD) Phase of the F-35 Lightning II aircraft.[22]
Through the NATO Strategic Airlift Capability, the RNLAF has access to three C-17s.[23]
Plans to integrate closely with The Belgian Air Force include centralising all Transport Aircraft at Melsbroek (Brussels Airport) under Belgian supervison and all Helicopters (Air Force & Navy) under Dutch supervision at Gilze-Rijen Airbase to reduce operating cost, improve availability and knowledge (2013).
Replacement for F-16[]
The Netherlands Air Force wants to replace its F-16 fleet in the next decade. Candidates for the replacement were the Dassault Rafale, the Lockheed Martin F-16 Block 52/60, the Eurofighter Typhoon, the Saab Gripen and the Lockheed Martin F-35. In 2002 The Netherlands signed a MOU (Memoradum Of Understanding) to co-develop the F-35 as a 'Tier 2' Partner. That deal is worth around 800 million US dollars, advanced by the Dutch government on behalf of Dutch industries: After the demise of Fokker Aircraft, the government wanted to retain whatever aerospace industry it could.
In early 2008, a decision was put before Parliament to buy two test aircraft for Dutch pilots to train in the US. But instead, in April 2009 it was decided to buy just one test aircraft and defer the final decision as to what to buy to 2011, after the elections. The new government announced plans to acquire the second test aircraft in April 2011 in order to remain with the test program, but a next government and Parliament will review the whole process again while opposition to the F-35 is growing ever stronger. Reasons for this are ever rising costs, uncertainty about the exact cost of the aircraft, slips in the schedule of delivery and thus uncertainty about delivery dates. Also, Dutch industries have been complaining about their offsets from the USA.[24]
On September 17, 2013 it was announced that the F-35A is the official replacement for the Royal Netherlands Air Force F-16 MLU.
See also[]
Netherlands Naval Aviation Service
No. 322 Squadron RAF
Royal Netherlands East Indies Army Air Force
Solo Display Team
References[]
[]
Official website (Dutch)
Royal Netherlands Air Force
Military Flags
Squadron roundels
Parliament Chamber Notes on buying C-130 and selling F-60 aircraft[dead link]
(Dutch)
The Defense Security Cooperation Agency notified Congress of a possible sale to the Netherlands of CH-47F Chinook cargo helicopters[dead link]
(English)
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1. Why use this guide?
This guide explains how to access the historical censuses from 1841 to 1921 and provides information on using the census returns of:
England
Wales
the Channel Islands
the Isle of Man
vessels in English and...
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https://www.nationalarchives.gov.uk/help-with-your-research/research-guides/census-records/
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4.1 Where to access the censuses
The censuses from 1841 to 1921 are available online. Links to our official partner websites, Ancestry and Findmypast, for each census (£) are listed in the table below. Images and indexes for all censuses from 1841 to 1911 are available on both of these sites, and on a number of other commercial websites (£).
It is free to search on these sites, but there is a charge to view full search results and digitised images. However, you can view censuses from 1841 to 1921 free of charge on site at The National Archives in Kew, and from 1841 to 1911 at many libraries and record offices and at FamilySearch Centres worldwide. The 1921 Census is also free to view via Findmypast at the Manchester Central Library, on St Peter’s Square, Manchester, supported by the Manchester and Lancashire Family History Society helpdesk and the Archives+ Team, and at the National Library of Wales, in Aberystwyth.
Many local and county record offices also hold microfilm or microfiche copies of the census returns for their own area, excluding 1911 and 1921. Use Find an archive to find contact details for local and county record offices.
Read section 12 for information on the census returns for Scotland and Ireland.
Census year Online version of censuses for… Provided by 1921 England, Wales, Channel Islands and Isle of Man Findmypast.co.uk 1911 England, Wales, Channel Islands and Isle of Man Findmypast.co.uk 1901 England, Wales, Channel Islands and Isle of Man Findmypast.co.uk 1891 England, Wales, Channel Islands, Isle of Man Ancestry.co.uk 1881 England, Wales, Channel Islands, Isle of Man Ancestry.co.uk 1871 England, Wales, Channel Islands, Isle of Man Ancestry.co.uk 1861 England, Wales, Channel Islands, Isle of Man Ancestry.co.uk 1851 England, Wales, Channel Islands, Isle of Man Ancestry.co.uk 1841 England, Wales, Channel Islands, Isle of Man Ancestry.co.uk
There are free indexes to all of the census returns up to 1911 at FamilySearch.org, with links to the images on Findmypast (£). You can also search census returns for England and Wales on Findmypast (£).
Some transcripts of census records covering England, Wales and Scotland are available free of charge on FreeCEN.org.uk. Statistics on coverage are listed, by county, on their website.
4.2 How to search the censuses
You can search by name, browse by place, or locate an exact page if you have the full census reference. Read section 11 for information on using census references. Depending on the census year, and the site, other search options may be available.
Street indexes were created for districts containing towns with a population of around 40,000 or more, from 1841 to 1901. Online versions for the street indexes for 1841, 1851, 1861, 1871 and 1891 are preserved in the UK Government Web Archive. Please note that the limitations of the software that captures website content means that some links within archived web pages do not work. Printed copies of the 1841, 1881 and 1901 street indexes are available in the reading rooms at The National Archives. For 1871 census registration district maps see Cassinimaps.co.uk (£).
4.3 Post-1911 censuses
Unlike earlier censuses, the 1921 census (and later censuses) are subject to the Census Act 1920, as amended by the Census (Confidentiality) Act 1991 c.6 which makes it an offence to disclose personal information held in them until 100 years after the date they were conducted. Until then, they are held by the Office for National Statistics. Statistical information from these censuses is openly available.
Unfortunately, the 1931 census for England and Wales was destroyed by fire in 1942, and no census was taken in 1941 because of the Second World War.
5. People in the census
The following information on individuals enumerated within households is included in each census year as follows (slightly different questions were asked on schedules for institutions and vessels, depending on the location and census year):
1841
first name and surname
age (rounded down to the nearest five years for those aged 15 or over)
sex
occupation
whether they were born in the county where they were enumerated (Y or N)
whether they were born in Scotland (S), Ireland (I) or Foreign Parts (P)
1851 and 1861
first name, middle names (often just initials) and surname
relationship to the head of the household
marital status
age (at last birthday)
sex
rank, profession or occupation
where born – county and parish if born in England or Wales, country only if born outside England and Wales)
whether blind, or deaf and dumb
1871 and 1881
As 1851 and 1861, except for the following difference:
the last column now reads: 1. Blind 2. Deaf and Dumb 3. Imbecile or Idiot 4. Lunatic
1891
As 1871 and 1881 with the following extra details on employment:
whether Employer, Employed, or Neither Employer nor Employed
language spoken (Wales only)
1901
As 1891, with occupation details changed to:
‘Employer, Worker or Own account’
a new column ‘If working at home’
language spoken (Isle of Man only)
1911
As 1901, with extra questions:
For married women only, the number of years of their present marriage, the number of children born of that marriage, the number still living, and the number that had died.
As well as their occupation, the industry in which the person was employed. If employed by a government, municipal or other public body, the name of that body.
Parish and county of birth for anyone born in the UK (which included all of Ireland). If born elsewhere in the British Empire, the colony or dependency, and the state or province.
For anyone born outside England and Wales, whether they were resident or visitor in the country.
Nationality of anyone born overseas whether British by parentage, British by naturalisation (including year of naturalisation) or, if a foreign national, of which country.
In the Infirmity column, the age at which the person had become afflicted.
In 1911 all the household schedules were kept, for the first time (see RG 14), and were not copied into enumeration books. There are instead enumerators’ summary books which list every address, including unoccupied buildings, and the only names they contain are those of the head of each household (see RG 78). These summary books are the only place you will find a description of each building such as ‘House and shop’, ‘Hotel’, ‘Private house’. Unoccupied houses and non-residential properties such as churches and factories are also listed.
1921
This was the first census where old questions were dropped, as well as new ones being added. The questions about the length of present marriage, and the number of children born within it, were no longer included. For the first time since 1841, there was no longer a question on infirmity or disability.
There were also changes to some existing questions:
Age was asked for in years and months, not just in years
‘Divorced’ was added as an option for marital status
Name and business of each person’s employer (in 1911 this was only required from those in public service), and the address of their place of work. ‘No fixed place’ was added as an option, in addition to ‘Home’
For persons born outside the United Kingdom, country and state or province of birth; state or province was previously asked only of those born in the British Empire. Naturalised British subjects were no longer asked for their year of naturalisation
New questions were added:
For children under 15, whether both parents were alive, father dead, mother dead, or both dead
Whether in full-time or part-time education
Married men, widows and widowers were asked for the number and ages of their living children and step-children under 16
In 1921 there are household schedules, as in 1911, but there are no enumerators’ summary books as there are for 1911. Instead, there are ‘Plans of Division’ which describe the boundaries and contents of each enumeration district.
6. Places in the census
The first page of each enumeration book contains a description of the area covered. In the earlier years the amount of detail varies; they could contain a list of streets, and describe the route taken by the enumerator, but in rural areas the description might simply read ‘The whole of the parish of …’. From 1891 onwards there are separate sections for a description of the boundaries of the ED, and for a list of the streets or dwellings included.
In 1911 these details are in the Enumerators’ Summary Books, and in 1921 they are in the Plans of Division.
7. Addresses, houses and other buildings in the census
Exact addresses were not required in 1841, only ‘place’. From 1851 an exact address was required, including the house name or number, if any. However, in rural areas the only information given still might be the name of the village or parish. Numbers in the left-hand column are schedule numbers, and should not be mistaken for house numbers.
A note was made of buildings that were uninhabited, or under construction, in every census year. In 1891 and 1901 the number of rooms in a dwelling was listed, if fewer than five. In 1911 and 1921 the number of rooms is shown on all household schedules, and other information is in the Enumerators’ Summary Books, described in section 5, above, for 1911 only.
From 1851 to 1901 a census entry for a new household is indicated by a new schedule number. In all census years except 1851, 1911 and 1921 the last entry in a building is indicated by a double oblique line //, and where there is more than one household within a building, they are separated by a single oblique line /. In 1851 a line is ruled across the page at the end of a building, or half-way across the page between households within a building.
8. Ships and institutions in the census
Special enumeration books were completed for institutions such as workhouses, barracks and hospitals in every census year from 1851, including 1911. Special schedules for vessels were introduced in 1851, although none are known to survive from that year, so in practice 1861 was the first year to include returns from the Royal Navy and merchant shipping, at sea and in ports at home and abroad. Due to the difficulties of collecting enumeration books from ships in distant ports, shipping returns are likely to be incomplete.
In 1861 all returns from the Royal Navy and from merchant vessels are at the end of the series, but after that vessels in home ports are listed at the end of the districts where they were moored, and only those in foreign waters are grouped together at the end of the series.
There are no surviving records for Royal Navy ships in foreign waters in 1891. It is not known what happened to these records.
In 1901 Royal Navy ships in foreign waters are listed alphabetically, and there are no returns for ships between HMS Amphion and HMS High Flyer. However, a duplicate copy of the enumeration of HMS Cygnet in 1901 was sent to the General Register Office by the Admiralty and is included in RG 19/20.
1911 was the first census where the British Army overseas was enumerated; previously there was only a headcount. This also applies in 1921, with the addition of Royal Air Force bases overseas.
9. Common census terms and abbreviations
In addition to the terms and abbreviations described below, section 5 and section 7 of this guide describe other conventions used in the censuses.
Relationships (from 1851)
In practice, the head of the household was often the oldest male, but not necessarily. Everyone else, whether wife, son, servant or anyone else, should have been described in relation to this person, but this was not always followed accurately. In three-generation families young children may be shown as ‘son’ or ‘daur’ (daughter) when they are really the grandchildren of the head. ‘Son (or daughter)-in-law’ can mean a stepchild, as well as the husband or wife of the head’s own children. A boarder is someone who resides within the household but is not a relative or servant, while a lodger only rents a room or rooms, but these terms are often used interchangeably.
Relationships are not recorded in most schedules for vessels or institutions. Instead, there may be a question on each person’s rank or position within the vessel or institutions. However, the exact details vary depending on the type of schedule, the year, and the location.
Condition (as to marriage)
Mar or M – married
Unm, Un or U – unmarried (replaced by S for single from 1891)
Wid or W – widowed
D – divorced (1921 only)
‘Divorced’ was not an official category until 1921, and does not feature in the statistical tables, but does appear occasionally in this column in some earlier census years.
Rank, profession or occupation
There were specific instructions on recording extra details for several occupations; notably the professions, the armed forces, public servants and anyone involved in agriculture or manufacturing. Sometimes the clerks in the Census Office altered or expanded these definitions to assign them to one of the categories in the Registrar General’s classification of occupations for that census year.
These are some of the most common terms and abbreviations found in the ‘Rank profession or occupation’ column:
Ag lab – agricultural labourer
Annuitant – living on income from investments
Ap or App – apprentice
FS, MS – used in the 1841 census for ‘female servant’ and ‘male servant’
FWK – also in 1841, for ‘framework knitter’ a common occupation in the East Midlands
Gentleman – Usually denotes someone living on an income from investments, or retired from business, but has no official definition
Ind or Independent – ‘Of independent means’
J – journeyman; someone who had completed an apprenticeship but was not a master with a business and apprentices of their own
Pensioner – usually means an army pensioner; other types of pensioner are generally identified as such, including Greenwich Pensioner (naval pensioner), police pensioner and so on. Old age pensions were introduced in 1908, so the term ‘old age pensioner’ appears for the first time in 1911
10. Why can’t I find my ancestor in the census?
There are many reasons that explain why you might not find somebody in the census. Read our blog post ‘Missing from the census?’ or watch our webinar, also called ‘Missing from the census?’, to discover how information can be missed or altered, as well as to learn tips for more successful searching.
There are some pages missing from all censuses, but 1861 has suffered most.
Missing from 1861 census
You can use The National Archives catalogue to find out which parishes or districts are known to be missing from the 1861 census. Use the keyword ‘missing’ to search within series RG 9 in our catalogue.
Missing from 1841 census: Wrexham
The 1841 census returns for the whole registration district of Wrexham, Denbighshire, were believed to be missing. However, the original enumeration books for the town of Wrexham were discovered in a bookshop, and are now deposited in the Denbighshire Archives. An indexed transcript has been published by the Clwyd Family History Society, and a copy is available at The National Archives.
Missing from other censuses
As with the 1861 census, you can use our catalogue to search the record series for any other census year to find out about whole parishes or districts that are known to be missing, but compared to 1861 there is less detail about odd missing pages. Use section 11 to determine which National Archives record series to search within and search using the word ‘missing’.
For more guidance on how to search our catalogue, read Discovery search help.
11. The National Archives references for censuses
Although most people now access the census online, and not on microfilm, census references are still very useful. Search engines on websites vary, and they can also change over time, but the original National Archives references never change. If you have a full reference, you should be able to use it to find a page on Ancestry.co.uk or on Findmypast.co.uk, even if you have obtained it from a different site, or from some other source. This is particularly useful when a person can be found using a name search on one site, but not on another, due to differences in transcription.
You may find census references quoted in books and articles, and you will also need to know how to use them if you are consulting our online and hard-copy street indexes (see section 4.2).
A census reference has three main elements; a department (letter) code, a series number, and a piece number. The department and series codes for each census year are:
1841 and 1851: HO 107
1861: RG 9
1871: RG 10
1881: RG 11
1891: RG 12
1901: RG 13
1911: RG 14
1921: RG 15
A piece may contain hundreds of pages, so extra information is required to find the right place within a piece. The census returns for most years follow a single format, but there are slightly different arrangements for 1841, 1911 and 1921.
Census returns from 1851 to 1901
The extra reference is a folio number and (optionally) a page number.
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Royal Netherlands Air Force operating F-16 Fighting Falcons on 5% biojet blend
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The F-16 Fighting Falcons fly on a mix containing 5 percent SAF which is used by the aircraft flying out of Leeuwarden Airbase. …
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The F-16 Fighting Falcons fly on a mix containing 5 percent SAF which is used by the aircraft flying out of Leeuwarden Airbase. The SAF, produced by World Energy at its Paramount facility in California, is derived from used cooking oil (UCO).
The biojet fuel is supplied by SkyNRG and Shell Aviation to the airbase in Leeuwarden and mixed at the airbase with conventional fuel for the Fighting Falcons. The SAF reduces carbon dioxide (CO2) emissions with sixty to eighty percent compared to conventional fuel.
The transition to sustainable aviation is of key importance for the Royal Netherlands Air Force. In 2010 we performed the first demonstration flight with an Apache helicopter on biofuel. We now want to work towards structurally operating all our aircraft on SAF from all our locations. The current flights on SAF from Leeuwarden Airbase are an important step in this, said Colonel Paul de Witte, Head of Material Logistical Regulation and Development at the Royal Netherlands Air Force.
The SAF supplied in Leeuwarden is enough for the first half of 2019. In the coming years, the Royal Netherlands Air Force aims to gradually increase the blend percentage and eventually operate all aircraft on SAF. In 2030, the Air Force wants to reduce dependency on fossil fuels with twenty percent, and in 2050 with no less than seventy percent.
We are very happy with the leadership role that the Royal Netherlands Air Force takes in the energy transition and proud to work with them for the supply of sustainable aviation fuel. In the summer of 2018, we supplied the first volume of SAF to the Air Force at Leeuwarden Airbase for one F-16. It is great that this is now being followed-up and all F-16 Fighting Falcons operate on SAF from Leeuwarden. We hope this is an inspiration for other governments as well, said Eline Schapers, Head of Sales, Supply & Operations at SkyNRG.
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https://simple.wikipedia.org/wiki/Royal_Netherlands_Air_Force
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The Royal Netherlands Air Force (RNLAF) is the air force of the Netherlands.
The Air Force was founded in the year 1913. The aerobatic display team was active from 1979 to 2019, named the Solo Display Team.
The Dutch Air Force started on 1 July 1913 at Soesterberg airfield with 4 pilots. When it started it only had 1 aircraft, the brik.
Only a few months later 3 French Farman HF.20.
But these airplanes where fast to old and was replaced with the Nieuport and Caudron.
The Netherlands stayed neutral during World War I.
New airfields where build at Gilze-Rijen air base, Arnhem, Venlo and Vlissingen.
The Dutch goverment cut the defence budget for the army and the army was almost gone.
As political tensions in Europe increased in the late 1930s the goverment tried to rebuild the army in 1938.
In August of 1939 the army was ready. But because of low budget the air force only operated
176 combat aircraft of the types:
16 Fokker T.V
36 Fokker D.XXI
35 Fokker G.I
7 Fokker D.XVII
17 Douglas DB-8A-3N
20 Fokker C.X
33 Fokker C.V
20 Koolhoven FK-51
In May of 1940 German troops invade the Netherlands. Within five days the Dutch Army was defeated by the luftwaffe.
All of the Brigade's bombers, along with 30 Fokker D.XXI and 17 Fokker G.I fighters where shot down; 2 D.XXI and 8 G.I where destroyed on the ground.
2 G.I where captured by the German forces.
The Spitfire Mk.IX was used by 322 Squadron RNLAF until 1954, but was replaced as new squadrons were established.
The Gloster Meteor F Mk.IV was used by 322, 323, 324, 325, 326, 327 and 328 Squadrons from 1948–1957. Bases included Soesterberg and Leeuwarden.
The Gloster Meteor F Mk.VIII was used by 322, 323, 324, 325, 326, 327 and 328 sqn from 1951–1958.
CTL consisted of seven new strike squadrons (306, 311, 312, 313, 314, 315 and 316 sqn), all equipped with Republic F-84G Thunderjet's. These aircraft were supplied by the United States under the Mutual Defense Aid Program from 1952–1956. 311 was the first flying squadron to be stood up at Volkel on 1 May 1951.
322, 323, 324, 325, 326 and 327 Sqn operated the Hawker Hunter F Mk.4 between 1955–1964, and 322, 324, 325 and 326 Sqn operated the Hawker Hunter F Mk.6 between 1957–1968.
700, 701 and 702 Sqn operated the North American F-86K Sabre all-weather fighter between 1955–1964.
306, 311, 312, 313, 314, 315 and 316 Sqn changed aircraft configuration from 1955–1970 as the Republic F-84F Thunderstreak and RF-84F Thunderflash became available.
The Indonesian government claimed Western New Guinea following the end of the Second World War. The Dutch government considered the area Dutch territory. Negotiations over the country were conducted for years, but tensions grew until Indonesia broke diplomatic relations with the Netherlands at the end of the 1950s.
In response, in 1958, the Netherlands deployed military reinforcements to New Guinea, including an Air Force detachment for the air defense of the island Biak as there was evidence that Indonesia was infiltrating the island in advance of a military operation
one Hawker Hunter Mk.4 air defence squadron;
a radar navigation system at Biak, and;
a reserve airstrip at Noemfoer.
The Dutch government deployed a squadron consisting of 12 Hawker Hunter Mk.4 AD fighters and two Alouette II SAR helicopters. They were transported to Southeast Asia by the Karel Doorman. One year later the Dutch government deployed another 12 Hawker Hunter Mk6 AD fighters; these aircraft carried more fuel and had a larger combat radius.
In August 1962 Indonesia was ready to attack New Guinea. Despite reinforcements the Dutch defences would be insufficient to withstand the coming attack. Therefore, and because of international political pressure the Dutch government was forced to agree to the peaceful surrender of New Guinea. Dutch forces were withdrawn from the territory.
During the cold war Dutch Air Force flying units were integrated in NATO's Second Allied Tactical Air Force tasked with defending northern West Germany against Warsaw Pact forces.
306, 311, 312, 322 and 323 Sqn changed configuration again from 1962–1984 after the dual role F-104 Starfighter was introduced.
313, 314, 315 and 316 Sqn switched over to the NF-5 Freedom Fighter from 1969–1991. The NF-5 was a development of the Canadair CF-5 fighter. Northrop incorporated some NF-5 features into the F-5E/F Tiger II.
Since 1979 all RNLAF fast-jet squadrons (originally 306, 311, 312, 313, 314, 315, 316, 322 and 323) have operated the multi role F-16 Fighting Falcon.
In 1992 Ypenburg Air Base closed. After the USAF handed over their section of Soesterberg in September 1994, Soesterberg then became a RNLAF transport helicopter base with 298 Squadron
(CH-47D Chinook) and 300 Squadron (AS 532U2 Cougar Mk2 and SA 316 Alouette III) stationed at the base.
RNLAF F-16s participated in all operations over Yugoslavia from 1993: Deny Flight, including Deliberate Force in 1995 and ending with Operation Allied Force in 1999 from two bases in Italy. Initially from Villafranca AB in the north of Italy, later moving south to Amendola AB. During the operations over FRY RNLAF F-16s flew reconnaissance (306 Sqn detachments from Volkel AB were in theatre throughout the operations), enforced the Bosnian no-fly zone, dropped bombs on Udbina AB (1994), successfully dropped an unguided bomb on a moving Serb tank during the fall of Srebrenica (1995), and took part in Deliberate Force later in the summer of 1995.
Between 1994 and 1997 Dutch GCI personnel, along with Canadian GCI controllers, provided many hundreds of hours of fighter control and surveillance as integrated members of USAF/ANG Air Control Squadrons. In May 1999 during the Kosovo crisis a RNLAF F-16AM pilot Major Peter Tankink shot down a Yugoslavian MiG-29 with an AMRAAM, but the force was more recognized for its high bombing accuracy. Allied Force was also the operational debut for the upgraded F-16AM. Besides the CAP missions, offensive bombing and photo reconnaissance missions were flown. KDC-10 tankers refuelled allied aircraft over the Adriatic Sea, and C-130 Hercules transports flew daily sorties from Eindhoven AB to logistically support the operation. Dutch F-16s also dropped cluster bombs on Niš. In total, RNLAF aircraft flew 1,194 sorties during operation Allied Force, which is about 7.5% of the total 37,000 sorties flown.
On 2 October 2002 a tri-national detachment of 18 Dutch, Danish and Norwegian F-16 ground attack aircraft and one Dutch KDC-10 tanker deployed to Manas Air Base in Kyrgyzstan in support of ground forces in Afghanistan as part of Operation Enduring Freedom. On 1 October 2003 the Dutch F-16 detachment returned to the Netherlands and the KDC-10 returned even earlier (1 April 2003). The RNLAF returned to Manas AB on 8 September 2004 with five F-16 and one KDC-10 in support of the presidential elections of Afghanistan. This time the aircraft flew under the NATO ISAF flag. On 24 March 2005 the whole Dutch detachment transferred from Manas AB to Kabul International Airport. A detachment of six AH-64D Apache helicopters were already stationed at Kabul International Airport from April 2004 until March 2005.
In February 2006 four Dutch F-16s were joined by four Royal Norwegian Air Force F-16s in a detachment known as the 1st Netherlands-Norwegian European Participating Forces Expeditionary Air Wing (1 NLD/NOR EEAW). This was a follow up of the participation with the Belgian Air Force.
As part of the expanded NATO ISAF mission in southern Afghanistan in August 2006, the Royal Netherlands Air Force had three CH-47D Chinook of 298 Sq stationed at Kandahar Airfield. On 12 November 2006 eight F-16s transferred from Kabul International Airport to Kandahar Airfield, Additionally, a detachment of six (later four) AH-64D Apache helicopters had been stationed of Tarin Kowt, Uruzgan province. The CH-47D Chinooks of 298 sq rotated with Cougars from 300 sq. All helicopters together with a few F-16s returned to the Netherlands in November 2010. The other four F-16s transferred from Kandahar Airfield to Mazar-e-Sharif International Airport in November 2011. The F-16 flight, providing Close Air Support for ground forces and Recce Flights (specialised in counter-ied's), ended their mission officially on 1 July 2014.
On 31 August 2006 a Royal Netherlands Air Force (Michael "Sofac" Donkervoort) pilot was killed when his plane crashed during a mission to support British ground troops in Helmand province.
On 7 December 2007 military use of Twente Air Base ceased. The aerodrome is now known as Enschede Airport Twente. Flying officially ended at Soesterberg Air Base on 12 November 2008. The last jet ever to take off was a Hellenic AF F-4E. The base formally closed on 31 December 2008. The 298th and 300th squadron have been moved to Gilze-Rijen Air Base. A part of the base remains in use as a glider field, however. Also, the former USAFE side will be in use by ground units Relocated from Kamp van Zeist and will be called "Camp New Amsterdam". Finally, the AF museum (Royal Netherlands Military Aviation Museum) returned to the base and will use most of the existing hangars.
In 2013 the Royal Netherlands Air Force provided Strategic Airlift Support with a KDC-10 in support of French operations in Mali.
The RNLAF was hit hard by the Dutch defence cuts after the 2008 financial crisis. 311 Squadron was disbanded in September 2012, leaving four squadrons of F-16s, and one DC-10 Transport Aircraft was disposed of.
In October 2014 the Netherlands Air Force joined the US and its Allies fighting ISIL, deploying eight F-16s (of which two are in reserve) to Jordan.
On 31 October 2014 323 Tactess squadron (F-16) disbanded and its aircraft and personnel were merged into 322 Squadron. The following Wednesday (5 November) the squadron reformed in the US as the RNLAF's first Joint Strike Fighter unit.
303 Squadron (Agusta Bell AB 412SP) provided search and rescue within Dutch Flight Information Region) until 1 January 2015 when the unit was disbanded.
As per 2017 the Air Defence – Quick Reaction Force of two F-16 fighters are integrated for Belgian, Dutch and Luxembourg airspace and rotated between Dutch and Belgian ADF squadrons.
From 2014 The Royal Netherlands Air Force provided eight F-16s in support of the coalition fighting IS. The aircraft were initially deployed in Iraq and later Syria. The mission was handed over to the Belgian Air Force in July 2016 after more than 2100 missions were flown, with weapons used over 1800 times. The Royal Netherlands Air Force contributed extensively to the missions flown by the coalition forces and were in high demand.
Since 2017 RNLAF KDC-10 and C-130 Hercules are deployed to an airfield in the Middle East to assist the USA led coalition in Operation Inherent Resolve.
In January 2018 the Dutch F-16s returned to the Middle East for a year-long deployment.
In the country of the Netherlands there are 11 air bases. They are.
Deelen Air Base
Eindhoven Air Base
Gilze-Rijen Air Base
Leeuwarden Air Base
Valkenburg Naval Air Base (closed)
Air Operations Control Station Nieuw-Milligen
Soesterberg Air Base (closed)
Volkel Air Base
De Peel Air Base (closed)
Woensdrecht Air Base
Ypenburg Air Base (closed)
Aircraft Origin Type Variant In service Notes Combat Aircraft F-35 Lightning II United States Multirole F-35A 16 22 on order F-16 Fighting falcon United States Multirole F-16AM 40 Tanker Airbus A330 MRTT Europe Aerial Refueling/
Transport
5 4 on order, used for the NATO MMR fleet Transport Gulfstream IV United States VIP transport 1 C-130 Hercules United States Tactical Airlift C-130H 4 2 are C-130H-30 variants Dornier Do 228 Germany SAR / Patrol Do 228-
212
2 flown for the Netherlands Coastguard Helicopters Boeing CH-47 United States transport / heavy lift CH-47H 20 AH-64 Apache United states Attack AH-64D 28 Being upgraded to AH-64E Eurocopter AS532 France transport / CSAR 12 NHIndustries NH90 European
Union
Transport / ASW T/NFH 19 flown by Royal Netherlands Navy Trainer Aircraft Pilatus PC-7 Switzerland trainer 13 F-35 Lightning II United States conversion trainer 8 Conducting training at Luke AFB, 2 are used
for OPTEV
F-16 Fighting falcon United States conversion trainer 7 UAV MQ-9 Reaper United States MALE UAV 4 on order
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History of the Netherlands, a survey of notable events and people in the history of the Netherlands, from its founding in 1579 to the present. For information concerning the period prior to that date, see history of the Low Countries. “Netherlands” means low-lying country; the name Holland (from
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history of the Netherlands
history of the Netherlands, a survey of notable events and people in the history of the Netherlands, from its founding in 1579 to the present. For information concerning the period prior to that date, see history of the Low Countries.
“Netherlands” means low-lying country; the name Holland (from Houtland, or “Wooded Land”) was originally given to one of the medieval cores of what later became the modern state and is still used for 2 of its 12 provinces (Noord-Holland and Zuid-Holland). A parliamentary democracy under a constitutional monarch, the Kingdom of the Netherlands includes its former colonies in the Lesser Antilles: Aruba, Bonaire, Curaçao, Saba, Sint Eustatius, and Sint Maarten.
The Union of Utrecht
On January 23, 1579, an agreement at Utrecht was concluded, forming a “closer union” within the larger union of the Low Countries led by the States General sitting in Brussels. Included in the Union of Utrecht were the provinces and cities committed to carrying on resistance to Spanish rule: Holland, Zeeland, Utrecht, Gelderland (Guelders), and Zutphen (a part of Overijssel) as the first signatories, followed in the next year by the whole of Overijssel, most of Friesland, and Groningen, all in the north, and in the south by the cities of Antwerp and Breda in Brabant and Ghent, Brugge (Bruges), and Ypres (Ieper) in Flanders. Designed to establish a league for conduct of a war of independence from Spain and ultimately to strengthen the central government in Brussels, the Union of Utrecht became in fact the foundation of a separate state and a distinct country in the northern Netherlands. The new state was named the United Provinces of the Netherlands, or, more briefly, the Dutch Republic, and its government was known in the international community as the States General.
The people of the northern Netherlands began to be distinguished from the inhabitants of the south (to whom the name Flemings continued to cling) by the appellation Hollanders (French: Hollandais; Italian: Olandese; German: Holländer; and so forth), after their principal province. The English, however, came to apply exclusively to the Hollanders the term Dutch, which previously they had applied to all German speakers (from German Deutsch, Dutch Duits). The name Netherlanders, which remained in use in the Low Countries for the inhabitants of the United Provinces specifically and for all those, north or south, who spoke Dutch (Netherlandic), passed out of currency in most foreign countries or came to be restricted to the northerners. The transformation had a price: the erosion of the bond of historical identity between northerners and southerners—or Dutch and Belgians, as they would be called beginning in the 19th century.
The treaty that formed the basis of the new northern union established a military league to resist the Spaniards on a “perpetual” basis, and it provided for closer political arrangements between the provinces than those of “allies” in the ordinary sense. The provinces united “for all time as if they were a single province”; each remained sovereign in its internal affairs, but all acted as a body in foreign policy. Decisions on war and peace and on federal taxation could be made only unanimously. The union did not throw off the formal sovereignty of the king of Spain, but it confirmed the effective powers of the provincial stadtholders (formally the “lieutenants,” or governors, of the king) as their political leaders (there was no “stadtholder of the United Provinces,” as foreigners often assumed, although several of the provincial stadtholderates were often united in the same person). The union moved away from the religious settlement embodied in the Pacification of Ghent of two years before and toward a predominance of the Calvinists and their monopoly of public practice of religion in the key provinces of Holland and Zeeland.
The immediate political significance of the union was that it complemented the Union of Arras, concluded earlier in January, which began the reconciliation of the southerners with King Philip II of Spain. The two “unions,” parallel but opposite, thus undermined the policy of William I (Prince William of Orange) of collaboration between Roman Catholics and Calvinists throughout the Low Countries in resistance to Spanish domination, which required mutual toleration between the religions. But it took some time before the “general union,” with its base in the States General at Brussels, fell apart irrevocably.
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For another half decade the prince struggled to keep intact the broader union and at the same time to ensure its military and political support from abroad. Although Archduke Matthias of Habsburg, named governor-general by the States General in 1577 after the deposition of Don Juan, remained the formal head of state until 1581, Prince William continued to exercise his leadership. That the prince was the head and heart of the rebellion was recognized by Philip II in 1580, when he put him under the ban of outlawry. William’s Apology in defense of his conduct was followed in 1581 by the Act of Abjuration (Akte van Afzwering), by which the States General declared that Philip had forfeited his sovereignty over the provinces by his persistent tyranny. This was a declaration of independence for the whole of the Low Countries, but the military and political events of the next decade limited its permanent effect to the northern provinces under the “closer union” of Utrecht.
Foreign intervention
Yet independence did not become William’s objective even after the proclamation of the Act of Abjuration. Archduke Matthias returned home in 1581 after William turned to François, duke of Anjou, who agreed to take over the “lordship” of the Low Countries in 1580. The prince hoped for assistance from the duke’s brother, King Henry III of France, and considered the lordship of Anjou as only a kind of limited, constitutional sovereignty like that which the rebels had hoped to impose on Philip II at the beginning of their rising. Anjou, however, saw the lordship as a means to total dominion over the Netherlands. Irritated by restraints upon his authority, he even attempted the seizure of power by military force, which resulted in the so-called French Fury of January 17, 1583, when his troops tried to capture Antwerp. The coup misfired, but William managed to keep Anjou (who returned to France) in his post despite the outraged feelings of the Netherlanders.
Holland and Zeeland were on the verge of offering the title of count to William when he was assassinated on July 10, 1584, at Delft, by Balthasar Gérard, a fanatical young Roman Catholic from Franche-Comté, spurred by the promises of the ban of Philip II. William’s death did not end the rebellion, as Philip had hoped, but it did result in the almost unnoticed disappearance of the central government in Brussels. The States General, which now met at The Hague in Holland, represented only the provinces in the Union of Utrecht.
As the Spaniards steadily overran Flanders and Brabant, the Dutch in their plight did not immediately abandon William’s policy of seeking foreign assistance. But after Henry III of France and Elizabeth I of England both refused sovereignty over the country, the States General in 1586 named as governor-general Robert Dudley, earl of Leicester, whom Elizabeth had sent to command Dutch and English auxiliary forces against the Spaniards after the fall of Antwerp. Leicester, like Anjou before him, endeavoured to make himself absolute master of the country, relying on the support of popular Calvinism and of the outlying provinces that were jealous of Holland to create a strong centralized government under his authority. Holland thwarted Leicester’s efforts, which culminated in an attempted invasion of Holland from Utrecht in 1587. Upon Leicester’s departure, the United Provinces put aside all efforts to obtain a foreign protectorate and stood forth as an independent state.
The formation of a new government
Although derived from historical institutions, the government of the United Provinces was in practice largely a new set of institutions, not created but confirmed by the Union of Utrecht. Their primary force lay in the provinces, seven in number (Holland, Zeeland, Utrecht, Gelderland, Overijssel, Friesland, and Groningen), which were ruled by assemblies of provincial States representing the towns and the landed nobility. Although the stadtholders (who after a few years came to be drawn exclusively from the house of Orange) were elected by the States of the provinces, they at the same time possessed important prerogatives in the selection of members of the town governments from which the provincial assemblies ultimately derived their authority, and they were the acknowledged military leaders of the republic. Central government passed from the Council of State to the States General, which was more explicitly subordinated to provincial authority. Although it conducted the military and diplomatic work of the republic, the States General failed to obtain effective rights of direct taxation (except for import and export duties assigned to the admiralties), and its major decisions were taken under the rule of unanimity.
In practice, the province of Holland, by far the wealthiest province in the union and the contributor of more than half the revenues of the central government, became the preponderant political force in the country, along with the stadtholders of the house of Orange. The relationship between Holland and the house of Orange governed the republic’s politics for the two centuries of its existence. As collaborators, Holland and the princes of Orange could make the clumsy governmental system work with surprising effectiveness; as rivals, they imperiled its potency as a state, at least until one or the other emerged a temporary victor, but neither force was able to rule permanently without the other.
The decades immediately after 1587 were marked by close collaboration between Johan van Oldenbarnevelt, “advocate” of Holland (the legal and executive secretary of the provincial States), and Maurice of Nassau, William I’s second son (the first, Philip William, became prince of Orange and remained loyal to Spain). Maurice was named stadtholder of Holland and Zeeland and became the commander of the republic’s armies. The result was a series of military triumphs over the Spanish forces under Alessandro Farnese, duke of Parma and Piacenza. Maurice recaptured the Dutch territories north of the Rhine, Lek, Waal, and Maas (Meuse) and extended them southward into much of Brabant and enough of Flanders to cut off Antwerp from the sea. These victories are recorded in the historical memory of the Dutch as “the closing of the garden,” the territory that became the republic of the United Provinces and then (with a few additions) the modern Kingdom of the Netherlands. These victories were accompanied by England’s and France’s diplomatic recognition of the States General as the government of an independent state.
Ascendancy of the Dutch economy
The military prowess of the fledgling republic rested upon the wealth of Holland—which managed in wartime to maintain and extend its trade to all Europe and, after the turn of the century, even to East Asia. Amsterdam replaced Antwerp, the great port on the Schelde River, as the principal warehouse and trading centre for all Europe, even while Holland maintained the leadership in shipping it had already garnered during the 16th century. The foundation of Dutch economic prosperity lay in the fishing and shipping industries. Even during the period of Antwerp’s ascendancy, ships from Holland and Zeeland had carried a large portion of the goods that passed through the Schelde, and now that Amsterdam had taken over from Antwerp, Dutch shipping only expanded its predominance. Dutch fishermen had harvested the North Sea for centuries, and the salted cargoes were sold widely throughout western and central Europe.
Dutch trade benefited, as had that of Flanders, from the location of the country at the nexuses of the great north-south and east-west trade routes of Europe. To these was added the route to the East Indies early in the 17th century. Amsterdam and the lesser ports of Holland and Zeeland became the principal European suppliers of grain and naval stores from the Baltic, to which they shipped manufactured goods and wines from the south. Germany’s principal exports were now shipped down the Rhine, as Dutch ports replaced the Hanseatic towns of northern Germany. The bulk of French exports were carried in Dutch ships, and even Spain and Portugal depended on the Dutch for grain and naval stores (thereby enabling the Dutch to finance their war of independence). During the 17th century the Dutch assumed a major role in supplying grain and other northern commodities to the countries of the Mediterranean and also became the principal importer of spices and other luxury goods from the East. England too relied to a great extent upon Dutch shipping. The Dutch advantages lay not only in their situation but also in the efficient design of their bulky flyboats (fluiten), manned by small crews at less cost than any of their competitors.
Modern banking institutions developed to meet the needs of the vastly expanding trade. Amsterdam’s “exchange bank” was instituted in 1609 to provide monetary exchange at established rates, but it soon became a deposit bank for the safe settling of accounts. Unlike the Bank of England, established almost a century later, it neither managed the national currency nor acted as a lending institution (except to the government in emergencies). Private bankers met the need for credit, as well as acting as brokers in financial transactions. The need for commercial exports, as well as a growing population at home, spurred industry in many towns. Although the shipbuilders on the Zaan, northwest of Amsterdam, and the sugar refiners in particular developed large-scale operations, sometimes including machinery, Dutch industry generally remained small in scale, as indeed nearly all manufacturing was in the 17th century.
Dutch industry was heavily dependent on trade, and major manufactures grew up in the western towns connected with international commerce. In processing and finishing textiles, Dutch manufacturers were often capable of undercutting competition abroad. Agricultural products were also traded. Of particular note was the tulip bulb market, which experienced explosive growth in the early 17th century as so-called “Tulip Mania” gripped northern Europe. The speculation-fueled bubble burst spectacularly in early 1637, leading to the financial ruin of many of those involved. Grain was produced on Dutch farms, especially in the inland provinces, but, rather than compete with the massive grain imports from the Baltic, coastal agriculture focused on cash crops for use in industry (flax, hemp, dyes, etc.), dairy and livestock farming, and market gardening. This kind of market-oriented agriculture was more profitable than the traditional production of basic foodstuffs.
The Twelve Years’ Truce
The Twelve Years’ Truce, which began in 1609, arose out of political controversies that were to dominate the republic for the next two centuries. The collaboration between the house of Orange and the leaders of the province of Holland, which had thwarted Spain in its reconquest of the Netherlands north of the great rivers, was replaced by an intermittent, but often fierce, rivalry between them, in which the other tensions of Dutch political life were reflected and incorporated: the jealousy among the lesser provinces of a Holland that they considered too wealthy, too mighty, and too arrogant but that they knew they needed for their own defense; the misunderstanding between maritime and landward provinces; the annoyance of landed nobles that they were dependent upon the goodwill of burghers in Holland (they preferred the prince of Orange, whom they saw as one of themselves); the resentment of the popular classes, men of small property and of none, toward the town regents (members of government), from whom they looked to the princes of Orange to protect them; and the antipathy of the Reformed clergy toward the regents, who obstructed their desire to make the state serve the church. The debate over whether to conclude a peace with Spain mingled these various interests with that of the house of Orange, partly because Maurice opposed peace, partly because it involved making some compromise with Spain, and partly because it would mean a reduction of his influence in the state; but the province of Holland in particular, under Oldenbarnevelt’s leadership, felt that the independence and security of the United Provinces had been sufficiently assured to permit a reduction of the immense expenditures for the war. When Spain reduced its immediate proposal to a truce rather than permanent peace, agreed to treat the United Provinces as independent and sovereign, which was just short of outright recognition, and put aside efforts to win guarantees for Dutch Catholics, the pressure for conclusion of a truce could not be withstood.
The Twelve Years’ Truce did not, however, end controversy within the republic. If anything, it only sharpened Maurice of Nassau’s opposition to Holland and Oldenbarnevelt. The staunch Calvinists endeavoured to hold the Reformed Church to the strict orthodoxy expounded by Franciscus Gomarus, a Leiden professor of theology, against the broader, less rigorous tenets upheld by his colleague Jacobus Arminius. The Gomarists demanded that the government uphold their principles because the Reformed Church was the only true church, but they reserved for themselves the right to declare what the correct doctrines were; and they vigorously asserted that other religious groups, Catholic, Protestant, and Jewish alike, should be suppressed or at least penalized and restricted. On the other hand, the Arminians had the support of the leaders of Holland and a majority of its towns, who felt that what was in effect the state church had to be under the authority of the government. Both out of principle and out of a desire not to hamper trade with men of all religions, they favoured a broadly inclusive Reformed Church and toleration for those outside its ranks.
The efforts of Gomarists to seize churches for their own use in defiance of town authorities led to incipient civil war. Maurice broke openly with the dominant party in Holland when it attempted to set up little provincial armies in Holland and Utrecht. In 1618 he acted under the authority of the States General—in which the majority of provinces favoured the Gomarists (now called the Contra-Remonstrants because they had opposed an Arminian petition) over the Remonstrants (Arminians)—to crush the resistance of Oldenbarnevelt’s party. Oldenbarnevelt, two of his chief supporters in Holland (including the great jurist Hugo Grotius), and an ally in Utrecht were arrested and tried for treason by a special court instituted by the States General. The defendants affirmed that they were subject only to the authority of the sovereign province that they served. The sentence, which to foes of the house of Orange over the centuries became an act of judicial murder, sent Oldenbarnevelt, then aged 71, with almost four decades of service as Holland’s leader, to his death by beheading in May 1619. Grotius and another defendant (the third had committed suicide) were sentenced to life imprisonment, although Grotius escaped, sensationally, a few years later.
During those fateful months, the Reformed Church held a national synod at Dordrecht. Dominated by the Contra-Remonstrants, the synod expelled the Remonstrants, reaffirmed the doctrines of the church along Gomarian lines, and ordered the preparation of a new translation of the Bible (the famous States Bible, which consolidated the Dutch language much as the contemporary King James Version consolidated English). The triumph of Maurice and the Contra-Remonstrants meant that war with Spain would be a virtual certainty upon the expiration of the Twelve Years’ Truce in 1621—all the more because the Spanish authorities in the southern Netherlands insisted upon including rights for Dutch Catholics in a permanent treaty and even sought an acknowledgment by the States General of the nominal overlordship of the king of Spain. Maurice did not use his new uncontested power to reform the complicated incoherence of the Dutch constitution; the structure of government and the distribution of formal power remained the same. Maurice was not a politically minded ruler and was satisfied as long as he had his way in military matters. The United Provinces remained essentially republican in character.
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Soesterberg Royal Netherlands Air Force Base
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Soesterberg Air Base (IATA: UTC, ICAO: EHSB) was a Royal Netherlands Air Force military airbase located in Soesterberg, 14 kilometres (8.7 mi) east-northeast of Utrecht. It was first established as an airfield in 1911, and in 1913, the Dutch Army bought the field and established the Army...
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Soesterberg Air Base (IATA: UTC, ICAO: EHSB) was a Royal Netherlands Air Force military airbase located in Soesterberg, 14 kilometres (8.7 mi) east-northeast of Utrecht. It was first established as an airfield in 1911, and in 1913, the Dutch Army bought the field and established the Army Aviation Division.
For almost 40 years, United States Air Force facilities at Soesterberg, named Camp New Amsterdam was a major front line USAFE airbase during the Cold War. The base was closed on 31 December 2008, due to budget cuts in the Dutch Army. The airbase ceased flying operations on 12 November 2008, when the command was transferred from the Dutch Air Force to Dutch Defense who will take care of the base until it will be given back to nature. The last fighter ever to depart, delayed due bad weather at Aviano AB, was a Greek F-4E. The former USAFE part stays in military hands, and will now officially be called Camp New Amsterdam.
Early history[]
During World War I, the Netherlands was a neutral country, and flew border patrol missions from Soesterberg airfield. The Dutch confiscated all foreign aircraft landing inside the borders of their country during the war, and added the operational ones to their inventory to be used for pilot training at Soesterberg.
At the beginning of World War II, the Dutch again declared neutrality, but the German force's blitzkrieg overran the country in five days, and Soesterberg was occupied by the German Luftwaffe on 15 May 1940. A variety of German aircraft was stationed there during the war, flying anti-shipping missions along British convoy routes in the North Sea, bombing missions over England, and fighter defence against Allied bombing missions. Throughout the war, Allied Air Forces caused enormous damage to the airfield, and by September 1944 the Luftwaffe acknowledged Soesterberg airfield to be more or less useless.
In May 1945, Canadian forces liberated the airfield. After the War, an extensive Dutch construction programme was started[3] - to build, new hangars, extending the runways and several locations around the base, used as service areas during the War, were upgraded. On 5 August 1951, the Royal Netherlands Air Force (RNLAF) declared it operational and gave it an air defence role. The RNLAF has maintained flying units at Soesterberg since then.
On the base two monuments were erected. The monument for Fallen Aviators (Monument voor Gevallen Vliegers) is the official Royal Netherlands Air Force Memorial, and located near the main entrance of the base. On Memorial Day, 4 May the Royal Netherlands Air Force holds a ceremony to remember and commemorate the fallen of World War II.
The other monument at the base is for Executed Resistance Fighters. It is the symbol for the sacrifice that 33 resistance fighters gave for freedom. Every year on 19 November, there is a memorial service. During World War II, the German Army (Wehrmacht) secretly executed the 33 resistance fighters in the woods of the base. The resistance fighters were part of several resistance groups and most of them were caught due to betrayal. Although the execution was held in secret, there were rumours about it, and after the War the base was minutely searched. The mass grave, camouflaged by buried trees, was located by Major A. Siedenburg. His son was one of the victims.
USAF use[]
In 1954, the Dutch government agreed to the stationing of a US Air Force fighter squadron to augment air defence. The USAF forces operated from a part of Soesterberg Air Base which was named Camp New Amsterdam, in honour of the first Dutch settlement in America, Nieuw Amsterdam, later renamed New York City.[3]
512th Fighter-Day Squadron[]
The first U.S. Air Forces in Europe (USAFE) unit to operate from Soesterberg was the 512th Fighter-Day Squadron, which arrived with North American F-86F "Sabre" on 16 November 1954 from RAF Manston in the UK.[3] By July 1955, the 512th reached full operational status. The squadron markings of the F-86s were with three green bands at the vertical tail.
It was a tradition in the U.S. Air Force that a squadron, which was stationed in a foreign country, have a historical tie with it. Because the 512th had no historical ties with the Netherlands, the Americans started a search for their traditional historical link between the two countries. It was found that the World War II 32d Fighter Squadron had been stationed on the Dutch islands Curaçao and Aruba in the Caribbean Sea, which then gave the squadron its historical ties.
32d Fighter-Interceptor Squadron[]
In September 1955, the designation of the 512th was transferred to RAF Shepherds Grove, where it replaced the 78th FIS. Its aircraft, personnel and equipment however stayed in the Netherlands, and made up the newly activated 32d Fighter Day Squadron, which was operated at Soesterberg as a detachment of the 36th Fighter Wing at Bitburg Air Base West Germany.[3][4]
In 1956, the squadron transitioned to North American F-100 "Super Sabres".[3] The 32d sent five instructors pilots to Sidi Slimane AB in Morocco to complete transition training for the F-100. At the same time, the squadron began ferrying the F-86s to Prestwick, Scotland, and Châteauroux-Déols Air Base in France for disposal. On 18 July 1958, USAFE redesignated the unit as the 32d Tactical Fighter Squadron, as part of the 36th Tactical Fighter Wing.[3]
Due the requirement of a longer runway for landing and take offs, the runway of the base was extended to over 3,000 metres (9,840 ft).[3] In 1957, the squadron’s operational strength was increased to 24 aircraft.
In 1959, the 32d received the signature "Royal", the crown and wreath of the Dutch Royal Family (the House of Orange) were added to the emblem, giving it its unique look. This unique honour was granted in recognition of the unit's contribution to the defence of the Netherlands, and graphically illustrates the 32d's close ties with the Royal Netherlands Air Force. The 32 TFS had the unique distinction of being the only unit in the USAF whose emblem included the royal crest of another nation. This addition was only authorised as long as the 32d TFS remained in the Netherlands.
In January 1959, the 525th Fighter Interceptor Squadron at Bitburg received the first Convair F-102 "Delta Dagger", designed to upgrade the air defence capabilities of Western Europe. As part of this upgrade, the 32d was redesignated as the 32d Fighter Interceptor Squadron,[3] and also received F-102s[3] and acquired a 24-hour alert commitment flying alert interceptor mission from Soesterberg supporting NATO’s Second Allied Tactical Air Force (2d ATAF). The 32 FIS was assigned to the USAFE 86th Air Division (Defense) at Ramstein Air Base West Germany on 1 July 1960. This transfer was made in order that all USAF fighter assets in Europe could be concentrated in one command.
The 32d flew 18 F-102s, with the aircraft, were divided into three flights red, white and blue. Through the years, the markings were altered several times. From a red-white-blue tailplane, red-white and blue flaps and a green band on, again, the tailplane into a green/brown camouflage painting.
32nd Tactical Fighter Squadron[]
As a result of the 1968 Soviet intervention in Czechoslovakia, the USAF announced that its F-102 squadrons would be re-equipped with the modern McDonnell Douglas F-4 "Phantom II". The 32nd squadron was first in line to undergo the conversion, and the F-102s were flown back to the United States and were placed in service with the Air National Guard.
On 1 July 1969, the USAF redesignated the unit as the 32nd Tactical Fighter Squadron (32nd TFS).[3] On 6 August 1969, the first two, brand new, Phantoms arrived. Flying the F-4 Phantom meant some drastic changes for the squadron and the base. Personnel had to be increased, and the squadron's task was extended to include lending air support to ground troops. Also, USAFE wanted to upgrade the headquarters element of the 32d to group status, and establish itself as a separate organisation from the 36th TFW at Bitburg. However, the Dutch and American governments had agreed that the US Air Force would only station a "squadron" at Soesterberg, and this fact hindered the American attempt to upgrade the squadron's status.
Also in 1969, the USAF decided to assign the 32nd with the "CR" tailcode. During the Vietnam War, it was found that a camouflaged aircraft was hard to identify. That was why the tailcode concept was introduced. The tails of 32d TFS's F-4s were also provided with a green and orange band (green being the squadrons' color and orange of the Royal House of Orange).
In 1978, the F-4s were flown to Ramstein Air Base in Germany, where they were assigned to the 86th TFW. The 32d was upgraded to the McDonnell Douglas F-15A "Eagle" as part of Project Ready Eagle which brought F-15s to Bitburg in 1977. However, after flying the F-15A and F-15B for just 18 months, the USAF exchanged these models for the new F-15C and F-15D Eagles.
In May 1980, the 32d flew five of its Eagles to Eglin Air Force Base Florida, to participate in the weapons systems evaluation program. While at Eglin, the unit swapped its aircraft for the newer models. These planes arrived at Soesterberg on 13 June, making the 32nd the first unit in the USAFE to be equipped with the latest versions of the F-15. The 32nd completed the upgrade on 25 November 1980. At that time, the squadron possessed 18 F-15Cs and two F-15Ds fighter aircraft.
In 1989, the Dutch government allowed USAF to upgrade its headquarters unit at Soesterberg AB from squadron to group status. The 32d Tactical Fighter Group was activated at Soesterberg on 16 November 1989, with the 32 Tactical Fighter Squadron as a subordinate unit and much reduced in size.
During the 1991 Gulf War, after more than forty years, the 32d saw combat. Aircrew and ground support personnel were deployed, during the operations DESERT SHIELD and DESERT STORM at Incirlik Air Base, Turkey. On 28 January 1991, one of the team members actually killed an Iraqi MiG. After the War they continued their air activities in theatre as a part of operation PROVIDE COMFORT from April 1991 until April 1993.
In November 1991, with the force structure reorganization, both units dropped tactical from their name. In the fall of 1991, the 32d became fully equipped with F-15C/D Multi-Stage Improvement Program (MSIP) Eagles.
Dutch use[]
On the Dutch side, the airfield was used by 334th squadron flying the venerable Fokker F.27 beginning in 1968, and by the 298th squadron flying the SA 316 since 1969. In August 1981 however, the 336th squadron was reborn at Soesterberg. The task this time: Patrolling the skies over and around the islands of the Netherlands Antilles in the Caribbean. For the job, two new Fokker F.27 Mk.200 Maritime Patrol Aircraft were ordered. In September 1981, the first aircraft was delivered to the Royal Netherlands Air Force, and received the registration M-1. This aircraft departed to Curaçao in early November 1981, and the first pilot was Mayor G.W.G.F. Rijnders. The aircraft arrived on the island on 13 November 1981. The second Maritime registered M-2 arrived in March 1982. In 1992 the 334th squadron moved to Eindhoven Airport. With this departure, the 298th squadron was the only flying unit at the base until 1995, when the 300rd squadron joined the 298th squadron. In the same year, the 298th squadron converted to the CH-47 Chinook, and passed the SA 316 to Gilze-Rijen Air Base, while the 300th squadron received the AS 532 U2 Cougar. Later the SA 316 returned to Soesterberg and joined 300th Squadron.
USAF departure[]
With the end of the Cold War, a major force draw-down occurred in Europe, the USAF reduced its fighter force structure. These changes affected the 32nd, as part of the draw-down, the squadron's F-15 Eagles returned to the United States. The original intent of USAFE was to inactivate the 32d Fighter Group, and orders were so issued inactivating the group's subordinate units on 1 July 1994[5] and the group on 1 October.
On 19 April, the group furled its colors in formal ceremonies attended by members of the Royal Family, and the American ambassador. Later in the spring, however, HQ USAFE received permission from HQ USAF to use the 32d designation for the new 32d Air Operations Group. HQ USAFE created this unit on 1 July, and activated the 632d Air Base Squadron the same day to replace the 32d Fighter Group at Soesterberg to complete closure actions. The same order redesignated the group's 32d Fighter Squadron as the 32d Air Operations Squadron, with assignment to the 32d Air Operations Group. All actions were effective 1 July 1994.
In this way, USAFE was able to preserve the lineage of these two distinguished units. The American part of Soesterberg was returned to the Netherlands government on 27 September 1994. Only one F-15A remains in the Netherlands, and is displayed at the Military Aviation Museum.[6] Soesterberg then became a Royal Netherlands Air Force transport helicopter base with 298th squadron (CH-47 Chinook) and 300th squadron (AS 532 U2 Cougar and SA 316) stationed at the base.
Flying officially ended on 12 November 2008. The last jet ever to take off was a Hellenic AF F-4E. The base formally closed on 31 December 2008. The 298th and 300th squadron have been moved to Gilze-Rijen Air Base. A part of the base remains in use as a glider field however. Also, the former USAFE side will be in use by ground units and will be called "Camp New Amsterdam". Finally, the AF museum returned to the base and will use most of the existing hangars.
See also[]
The Netherlands in World War II
United States Air Forces in Europe
References[]
Endicott, Judy G. (1999). Active Air Force wings as of 1 October 1995; USAF active flying, space, and missile squadrons as of 1 October 1995 (CD-ROM). Maxwell AFB, Alabama: Office of Air Force History. http://www.dtic.mil/cgi-bin/GetTRDoc?Location=U2&doc=GetTRDoc.pdf&AD=ADA434547.
Rogers, Brian (2005). United States Air Force Unit Designations Since 1978. Hinkley, England: Midland Publications. ISBN 1-85780-197-0.
USAAS-USAAC-USAAF-USAF Aircraft Serial Numbers—1908 to present
Awards: AFP 900-2 and AFPAM 36-2801
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General Atomics, based in San Diego, CA, develops advanced technology solutions for government and commercial applications. Privately owned and vertically integrated, we have the freedom to invest in the most innovative technologies, and the resources to deliver them as products for customers around the world.
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Scientists and engineers at General Atomics (GA) in San Diego are celebrating this week after members of their inertial fusion technologies team received some remarkable news about their work in creating technology that helped achieve the first controlled fusion “ignitions” in history.
An MQ-9B SeaGuardian® Unmanned Aircraft System from General Atomics Aeronautical Systems, Inc. (GA-ASI) is once again supporting the U.S. Navy during its Rim of the Pacific (RIMPAC) exercise, this time for RIMPAC 2024.
The United Kingdom’s Royal Air Force (RAF) now has two Protector RG Mk1 Remotely Piloted Aircraft (RPA) operating at RAF Waddington. The second Protector has started its ground trial at RAF Station Waddington with first flight expected in August.
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2020-08-15T00:00:00+00:00
|
Find out more about the Royal Indian Air Force and the contribution of Indian volunteers between 1932 and 1947.
|
en
|
RAF Museum
|
https://www.rafmuseum.org.uk/blog/royal-indian-air-force/
|
The Royal Indian Air Force, 1932 – 1947
During the First World War, four Indian volunteers – Lieutenants Shri Krishna Chanda Welinkar, Hardit Singh Malik, Errol Suvo Chunder Sen and Indra Lal Roy – served as fighter pilots with the Royal Flying Corps. In September 1917, Sen was shot down and became a prisoner-of-war; and over the next 10 months, Malik was wounded and Welinkar and Roy were killed. ‘Laddie’ Roy destroyed 10 enemy aircraft before he fell, and on 21 September 1918, he was posthumously awarded the RAF’s new Distinguished Flying Cross. Read more about them in my previous blog post on ‘South Asian Volunteers in the RAF – Part One’.
In the inter-war years, the idea of self-determination gained widespread support in British India. In keeping with this, a committee chaired by General Sir Andrew Skeen met at Simla, in August 1925, to investigate the ‘Indianisation’ of the Indian Army’s officer corps. The creation of a military academy equivalent to Sandhurst was also examined. The Skeen Committee reported in April 1927, and one of its recommendations was that Indian cadets be accepted for officer training at RAF Cranwell. The bravery of the RFC’s South Asian pilots was referenced in support of this, and veteran Hardit Singh Malik’s impressive appearance before the committee lent added weight. Discussions between the British and Indian governments continued until Lord Birkenhead, Secretary of State for India, approved the creation of an Indian Air Force on 5 April 1928. The new service would be open to men of all faiths and castes drawn from every part of the subcontinent.
The first six officer cadets – Subroto Mukerjee, HC Sirkar, Bhupendra Singh, Aizad Awan, Amarjeet Singh and Jagat Narain Tandon – began their training at RAF Cranwell in September 1930. The Indian Air Force came into being on 8 October 1932, and the six flight cadets were commissioned the same day. All qualified as pilots except ‘Titch’ Tandon who was too small to fly aeroplanes and instead became an Equipment Officer. Subroto Mukerjee was Indra Lal Roy’s nephew, and in 1954, he would become the first Indian to command the IAF.
No. 1 Squadron IAF was formed at Drigh Road, Karachi on 1 April 1933, and equipped with four Westland Wapitis. A desperate shortage of educated recruits meant that there were only enough technicians, or ‘Hawai Sepoys’ to form one flight; and the Squadron would not be at full strength until 1938. Most of the technicians had previously been employed in railway workshops.
In April 1936, No. 1 Squadron began flying reconnaissance, artillery spotting and ground attack operations against tribal insurgents on the North-West Frontier between India and Afghanistan. These operations proved cheap, effective and relatively bloodless compared to those mounted solely by ground troops. Aircrew, however, faced the likelihood of a grisly death if they were forced down and captured by the tribesmen. In 1939, an IAF Volunteer Reserve was formed with its pilots trained at civilian flying schools. These men were posted to five new coastal defence flights detailed to protect India’s main ports. The IAF entered the Second World War in September 1939 with only one full squadron, but although few in number, the existing units provided a basis for the rapid expansion of the Service.
In August 1940, 24 Indians were sent to the UK for pilot training with the intention of assessing ‘the fighting quality of Indian personnel under active service conditions.’ Eight of the Indians trained as fighter pilots, and began flying operationally in RAF squadrons after the Battle of Britain. One third of the 24 volunteers were killed in action. Pilot Officer Mahinder Singh Pujji, who flew Hurricanes with Nos. 43 and 258 Squadrons, is probably the best known of the group; and like HS Malik, he always wore his turban when flying.
In addition to the 24, some 200 Indians resident in Britain volunteered to join the RAF and Women’s Auxiliary Air Force. One such volunteer was Sergeant Shailendra Eknath Sukthankar, who served as a navigator with No. 83 Squadron. Sukthankar was commissioned as an officer, and on 14 September 1943, received the DFC. Squadron Leader Sukthankar eventually completed 45 operations, 14 of them on board the RAF Museum’s Avro Lancaster R5868. Another volunteer was Assistant Section Officer Noor Inayat Khan, a Muslim pacifist and Indian nationalist who joined the WAAF, in November 1940, to fight against Nazism. Noor Khan served bravely as a secret agent with the Special Operations Executive (SOE) in France, but was eventually betrayed and captured. Executed at Dachau concentration camp on 13 September 1944, Noor Inayat Khan was posthumously awarded the George Cross in 1949, for her outstanding, and sustained, moral and physical courage.
In December 1941, the war in the Pacific broke out, and the British, American and Dutch possessions in South East Asia were swiftly overrun by the Japanese army. India and Australia were also vulnerable to invasion. No. 1 Squadron IAF was sent to fly tactical reconnaissance operations from Toungoo in Burma (Myanmar) on 1 February 1942. The airfield was promptly attacked by Japanese bombers, but the Squadron’s Lysander army co-operation aircraft had been intelligently dispersed and there were no losses. Squadron Leader Karun Krishna Majumdar decided to retaliate next day, ordering his men to attach two 250 lb (113 kg) bombs to his aircraft before single-handedly attacking the Japanese air base in Thailand. ‘Jumbo’ Majumdar destroyed a hangar and the aircraft inside it, and on 3 February, he led the Squadron’s 12 Lysanders on a second successful raid on the Japanese base. Majumdar was later awarded the DFC and became the first Indian promoted to wing commander. He would go on to fly photographic reconnaissance missions with the RAF in Europe in the summer of 1944, winning a bar to his DFC. An inspirational leader and a superb pilot, Wing Commander Majumdar would lose his life in a flying accident near Lahore on 17 February 1945.
The Japanese offensive in Burma proved relentless, and after its brave rear-guard action, No. 1 Squadron was withdrawn to India. On the way, Flying Officer Haider Raza became separated from the unit, but fought on alone, bombing and machine-gunning the Japanese invaders for two weeks. At one point he signalled headquarters, saying:
‘This one-man guerrilla war is great fun, but I only have one shirt and one pair of shorts and that isn’t enough for two weeks in the jungle.’
Realising that Raza had been temporarily forgotten, his superiors ordered him to fly back to India, where the young pilot was mentioned in despatches. Raza was a Muslim, and after partition, in August 1947, he would become a founder member of the Pakistan Air Force, rising to the rank of air vice-marshal.
Lieutenant Errol Sen, who had flown with the RFC during the First World War, was in Burma at the time of the Japanese invasion. Unable to find transport out of the country, the veteran pilot decided to walk back to India and was never seen again.
In India, No. 1 Squadron began converting to the rugged and reliable Hawker Hurricane in June 1942; and over the next twelve months Nos. 2, 4 and 6 Squadrons were formed and also equipped with the type. Two more units, Nos. 7 and 8 Squadrons, were raised in 1943 and given American Vultee Vengeance dive bombers. Between March and December 1942, 10 new flying schools were established in the subcontinent and the first North American Harvard trainers appeared. The IAF kept a watchful eye on the North-West Frontier, and the skills it honed against the tribesmen were soon being used by its squadrons against the Japanese.
The IAF in Burma operated in the tactical role, conducting reconnaissance, ground-attack and army co-operation missions in support of 14th Army from September 1943. IAF squadrons fought alongside the RAF throughout the campaign, and a typical Indian unit might include Hindus, Sikhs, Muslims and Christians as well as seconded British airmen. They worked well together, and an official publication described the Indian pilots as:
‘a curiously interesting body of men — boyish, high-spirited and sometimes bohemian in appearance, yet as fighters, they are resourceful, courageous and in deadly earnest about the job in hand.’
The Indian Hurricane squadrons performed particularly well on the Arakan front in 1944, flying low over the jungle to surprise the enemy and obtain accurate information. They continued to act as ‘the Eyes of the Army’ even during the treacherous monsoon storms that lasted from May to October. Mahinder Singh Pujji, now commanding No. 4 Squadron, was awarded the DFC in April 1945 for providing invaluable details of enemy troop movements throughout the previous year’s rainy season.
Although the Hurricane pilots were instructed to avoid air combat and focus on their vital reconnaissance duties, Flying Officer Jagdish Chandra Verma of No. 6 Squadron shot down a Japanese Nakajima ‘Oscar’ fighter on 15 February 1944. Verma was the only IAF pilot to claim an air-to-air victory in Burma and, as the Hurricane was markedly inferior to the Oscar, he was immediately awarded the DFC.
Working in appalling conditions, and under constant threat of attack by Japanese troops, Indian ground crews in Burma managed to keep the IAF’s aircraft flying. Furthermore, their efficiency, skill and capacity for hard work made for exceptionally high rates of serviceability. Throughout the Burma campaign Indian airmen became known for their courage and professionalism both in the air and on the ground; and in recognition, the Indian Air Force was granted the prefix ‘Royal’ on 12 March 1945.
By VJ Day, the RIAF was 25,000 strong and was based around nine highly efficient squadrons of Hurricanes and Spitfires. During the war, its pilots flew over 16,000 sorties spread over 24,000 operational flying hours. In addition to decorations awarded to Indians serving with the RAF overseas, RIAF personnel received one Distinguished Service Order (DSO), 22 DFCs and one Bar, two Air Force Crosses (AFCs), 45 Mentions in Despatches and numerous other distinctions. Sadly, a total of 688 airmen were killed in combat or in accidents, 231 died in the field and 367 were wounded.
Between 1939 and 1945, the Indian Armed Forces attracted 2.5 million men and women, and this is comfortably the largest all-volunteer force in history.
With partition in August 1947, the assets of the Royal Indian Air Force were divided between the new states of India and Pakistan on a basis of 7:3, leaving Pakistan with two fighter squadrons and a transport unit. The Royal Air Force Museum displays a Hawker Tempest II and a Consolidated B24 Liberator at its London site, both of which were flown by the RIAF in the post-war years.
Further Reading
‘IAF over Burma’, Indian Air Force (Inter-services Public Relations Directorate, New Delhi, circa 1943)
‘The story of the Pakistan Air Force: A Saga of Courage and Honour’ (Shaheen Foundation, 1988)
‘The Eagle Strikes: The Royal Indian Air Force, 1932-1950’, Rana T.S. Chhina (Ambi, 2006)
|
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3572
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dbpedia
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3
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https://www.eizoglobal.com/solutions/casestudies/atc/micronav-rnlaf/index.html
|
en
|
Micro Nav and Royal Netherlands Air Force Rely on EIZO for ATC Training and Simulation
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"FlexScan",
"RadiForce",
"ColorEdge"
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[] | null |
EIZO is a visual technology company that manufactures high-end monitors and display solutions for business, graphics, home entertainment, healthcare, maritime, security/surveillance, ATC and defense/aerospace.
|
en
|
/common/images/favicon.ico
| null |
Micro Nav is the leading, award-winning specialist developer and supplier of air traffic control (ATC) and air defense simulators and training systems with an unbroken track record since 1988. Micro Nav is trusted by air navigation service providers, academic establishments, airports, and military worldwide.
What was required?
Micro Nav originally delivered an ATC simulator to the Royal Netherlands Air Force (RNLAF) in 2009. As part of a planned merge of the training facilities for RNLAF and Luchtverkeersleiding Nederland (LVNL) into a new facility at Schiphol East, Amsterdam, Micro Nav were contracted to recreate the simulator platform to provide a high-fidelity solution to enable high quality ATC training to be delivered for the next ten years.
His Majesty King Willem-Alexander of the Netherlands opened the Polaris building at Schiphol-East.
Micro Nav's Managing Director, Greg Pile, joined Michiel van Dorst of LVNL and Dennis Luyt of Koninklijke Luchtmacht for the opening of the Polaris building at Schiphol-East by His Majesty King Willem-Alexander of the Netherlands. As part of the event, His Majesty was given a tour of the Micro Nav-supplied 360° 3D tower and radar simulator.
His Majesty King Willem-Alexander touring the new educational facilities at the Polaris radar and training centre.
The EIZO Solution
The installation has been completed at RNLAF’s new training facilities with Micro Nav’s award-winning Automatic Display Alignment System being used, with a rear-projected 360° 3D tower simulator. It consists of 18 projectors to create an impressive 3D image on an opaque screen. A tower cabin built inside the screen adds to the realism. In addition, a mini 3D tower, and radar controller facility installed in consoles, which replicates the operational environment, provide RNLAF with a first-class, fully immersive simulation experience.
Rear-projected 360° 3D tower simulator.
Each of the radar controller workstations were fitted with the EIZO Raptor RP4325 monitors to replicate the radar screens used in the operational environment. The ability to enable multiple input sources, and 24/7 reliability, was key in the decision-making process and will allow future system upgrades to be installed.
Radar controller workstations equipped with EIZO Raptor RP4325 monitors.
“I was fortunate to work on the original project with RNLAF in 2009 and was therefore pleased to be invited to continue the relationship by helping to project manage the new installation at Polaris. The simulator platform agreed with RNLAF, which included EIZO Raptor screens for the Radar Controllers, helps to ensure that students experience a real-world environment during their training and assists their transition to live operations.”
- Stephen Lodge, Micro Nav Project Manager
EIZO has been an industry leader in the innovation and development of quality 2K primary control monitors for ATC since 2005. Backed by over 50 years of technical expertise in visual display solutions, the Raptor RP4325 is the industry's first 4K x 2K monitor developed specifically for ATC. It combines the features of EIZO's line of primary control monitors while adding further value with 4K resolution, unique functionality, and operational reliability.
EIZO developed the industry’s first 4K x 2K primary control monitor specifically for the ATC environment: The Raptor RP4325 is a 42.5" monitor backed by more than 10 years of primary control monitor development and over 50 years of expertise in visual display solutions. It uses an industrial LCD module that meets the stringent requirements of ATC. The monitor can also display video from up to four sources simultaneously, each of which can be freely positioned on the screen. EIZO plans to continue to evolve the Raptor RP4325 with customer-driven development to address growth and change in the ATC market.
Special thanks to Micro Nav for their cooperation.
Micro Nav Website
Deployed Products
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3
| 81
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https://breakingdefense.com/2024/04/f-35-program-could-reshuffle-long-term-upgrade-plan-deliver-tr-3-jets-early-without-full-capability/
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en
|
3 jets early without full capability
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[
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"Elbit America"
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2024-04-17T01:02:59+00:00
|
“I’m getting tired of over-promising and under-delivering,” F-35 program head Air Force Lt. Gen. Mike Schmidt said.
|
en
|
https://breakingdefense.com/wp-content/themes/breakingdefense/images/favicon.ico
|
Breaking Defense
|
https://breakingdefense.com/2024/04/f-35-program-could-reshuffle-long-term-upgrade-plan-deliver-tr-3-jets-early-without-full-capability/
|
WASHINGTON — For years, delays and cost growth on a suite of F-35 upgrades known as Block 4 has vexed the Joint Strike Fighter program. Bowing to those problems, officials today revealed they may have to “reimagine,” or completely restructure, the entire upgrade plan.
While no final decisions about the way forward on Block 4 has been made, the same challenges also led program officials to announce that any F-35 jets delivered for another year will receive only an early version of the Technology Refresh 3 (TR-3) software that will not include full combat capability.
Both pieces of news came from F-35 program lead Air Force Lt. Gen. Mike Schmidt, during today’s testimony in front of the House Armed Services tactical air and land forces subcommittee. In written remarks, Schmidt explained that an independent review last year determined that “numerous Block 4 capabilities will not deliver until the 2030s” — years later than a recent estimate offered by congressional auditors — prompting the program to “reimagine” the Block 4 upgrade altogether.
The newly-envisioned Block 4 would instead focus on delivering “‘must-have’ content,” Schmidt wrote, which will include an undefined “subset” of 88 capabilities originally approved as part of the Block 4 plan. “Reimagined Block 4 must consist of ‘what industry can actually deliver’ across the Future Years Defense Program (FYDP),” Schmidt wrote, and will likely consist of traits like enhanced electronic warfare and communications capabilities.
The issue has not been decided, Schmidt wrote, and requires buy-in from all members of the F-35 enterprise. Additionally, Schmidt wrote the F-35 program has established new “capability decision points” (CDP) to ensure certain hardware and software can go out to the fleet, emphasizing that program officials are “confident” in Block 4 deliveries associated with those CDPs.
The F-35 program will lay out the new Block 4 approach in “a combat relevant timeframe with yes a subset of capabilities of the Block 4 program, but those which give us the most bang for the buck,” Schmidt said in response to a question from subcommittee Chairman Rep. Rob Wittman, R-Va.
“And honestly, sir, I’m getting tired of over-promising and under-delivering and I need to change that narrative,” he added.
“I want it to reflect reality. I want them to understand what can you do realistically,” Wittman said of the Block 4 plan in a scrum with reporters after the hearing, pointing to the use of tools like digital design in a “reimagined” approach.
“Black 4 ought to be an experience that can not only get us further in the software design and upgrades for F-35, but it also should inform what we’re doing in digital design and digital twin development” on next-gen fighters, Wittman said.
TR-3 Deliveries
To harness many Block 4 upgrades, the F-35 needs a set of hardware and software known as Technology Refresh 3 (TR-3). That too has been delayed numerous times as plane maker Lockheed Martin struggles with validating the TR-3 software, prompting the Pentagon to halt deliveries of newly-built jets.
Lockheed has maintained in a most recent revised projection that it expects to start delivering jets outfitted with TR-3 in the third quarter of this year, or sometime between July and September. Today, Schmidt said the earliest those deliveries could commence would likely be in the July timeframe, though an independent review suggested instead that August or September could be more likely.
But there’s a catch — those jets would only be delivered with “truncated” software, or an interim version of TR-3 that does not include all capabilities, including ones critical for combat. It’s a plan officials have discussed for months, and Schmidt confirmed today for the first time that the program’s partners have all agreed on the criteria for the plan. “And if we meet those requirements we will truncate,” he said after the hearing.
Through the new plan, the TR-3 software would be released in two separate drops, with the first being the truncated version, Schmidt wrote. A fully combat-capable software load would then be delivered in a second release that Schmidt said could come over a year later.
Numerous problems have led to the TR-3 delay ranging from lab limitations to optimistic projections, Schmidt highlighted. Specifically, Schmidt said in written remarks that TR-3 suffers from issues with “hardware design maturity,” which “manifests in low manufacturing yields of parts necessary for aircraft production.” Additionally, the hardware problem has also led officials to “us[e] software to overcome hardware design maturity challenges.”
As a result, DoD stopped accepting new F-35s last summer, and the Pentagon has been withholding payments on sequestered planes, Bloomberg has previously reported. Asked whether that arrangement would continue under the truncation plan, Schmidt said “We will negotiate the terms and conditions of the truncation.”
After the hearing, Wittman downplayed the impact of not having the complete software upgrade, saying there is “utility” in delivering fighters without full combat capability. He reasoned that the jets can offer training opportunities and that current TR-2 training jets “can easily be combat coded and upgraded.
“Then they’re gonna have to really squeeze to make sure they can do as much as they can to compress to 12 to 16 months to get them combat capable,” he continued. “And that’s just a normal part of the process. So it’s not unusual to TR-3, it’s a normal part of getting these software upgrades into an aircraft and then go[ing] through testing it and getting it combat coded.”
Wittman’s bigger concern, he said, is just getting the software deliverable in the first place.
“I’m confident once they get this delivered, that the effort of getting it combat-coded is not going to be that difficult. The difficulty is getting the software delivered and performing,” he said.
Citing the company’s quiet period ahead of an earnings call scheduled for April 23, a Lockheed spokesperson said the company could not provide further information for this report.
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RAF Mildenhall History
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Royal Air Force Mildenhall's history of being a large aircraft base goes all the way back to late 1920s. During that time, the British military developed the idea to site a RAF bomber base at
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Royal Air Force Mildenhall's history of being a large aircraft base goes all the way back to late 1920s. During that time, the British military developed the idea to site a RAF bomber base at Mildenhall in order to meet a perceived "continental threat." The government purchased land in 1929 and began construction in October 1930. The first official base name was RAF Beck Row, but that changed in 1933 to RAF Station Mildenhall. Contractors completed the first buildings in 1931. Three years later the station was ready for its official opening. RAF Station Mildenhall opened Oct. 16, 1934. However, King George V officially dedicated the base Oct. 19, 1934. Queen Mary, the Prince of Wales, and the Duke of York accompanied the king during the dedication. On the same day, Wing Commander F.J. Linnell, O.B.E., assumed his position as the base's first station commander.
The date for the dedication was, in part, due to the Royal Aero Club, who wanted to begin their England-to-Australia air race Oct. 20, 1934. The dedication, as well as the start of the MacRoberson Air Race from Mildenhall to Melbourne, Australia, drew 70,000 people to witness both events. Twenty aircraft began the race at RAF Station Mildenhall, but it was two Englishmen who flew the 11,300 miles to Melbourne in 70 hours, 54 minutes and won the prize of £10,000.
RAF Mildenhall didn't receive its first operational unit until Nov. 15, 1934 when No. 99 (Madras Presidency) Bomber Squadron, arrived at RAF Station Mildenhall. Along with the No. 99 Squadron came the Heyford Night Bomber. The squadron re-equipped with Wellington Bombers in 1938 and left the station in March 1941. Its motto was "Quisque Tenax" (Each Tenacious). As part of the King George V's Silver Jubilee July 6, 1935, the RAF chose RAF Station Mildenhall as one of two venues to host a royal review of the RAF. Thirty-eight squadrons with 370 aircraft lined up for this royal review by the king. This collection of aircraft included bombers, fighters, and observation aircraft. The number of aircraft constituted one third of the RAF's total strength at that time. The Prince of Wales and the Duke of York accompanied the king during his review. A memorial tablet located in front of the Building 562 (USAFE-UK headquarters), commemorated this historical event.
A second operational squadron activated on RAF Station Mildenhall Sept. 16, 1935. Its core came from "B" flight of No. 99 Squadron. This was the No. 38 Bomber Squadron. They too started with the Heyford bombers and their motto was "Ante Lucem" (Before the Dawn). May 1, 1936, No. 3 Group, one of five groups forming out of the Central and Western Bombing Areas, took control of RAF Station Mildenhall. This group would eventually move to RAF Station Mildenhall. May 23, 1936, RAF Station Mildenhall opened its gates to the public for Empire Air Day. This was the very first "Air Show" at RAF Station Mildenhall. Around 6,000 people came to watch flying displays and shows of technical equipment.
July 8, 1936, King Edward VIII, the Duke of York and the Chief of the Air Staff visited RAF Station Mildenhall to inspect No. 99 Squadron, No. 38 Squadron and No. 40 Bomber Squadron. No. 40 Squadron was summoned to RAF Station Mildenhall for the inspection. The king also inspected some of the base facilities. He assumed the throne seven months before, after his father, King George V died. He reigned from January to December 1936. He was also the first monarch to be a qualified pilot.
Towards the end of the year, No. 38 Squadron began to replace their Heyford bombers with the Fairey Hendon Night Bomber. The first one arrived at RAF Station Mildenhall Nov. 20, 1936. These were not new bombers. The Fairey Hendon first flew in November 1930, but because of a prolonged series of trials, they were not ordered into production until the spring of 1934. Even then, only 14 Fairey Hendon aircraft were ordered and they all served with No 38 Squadron between 1936 and January 1939. On Jan. 16, 1937, No. 3 Group moved from Andover to RAF Station Mildenhall. A new unit with new aircraft arrived on RAF Station Mildenhall April 12, 1937. It was the No. 149 (East India) (Bomber) Squadron and they brought Wellington Bombers with them. No. 149 Squadron formed from part of the No. 99 Squadron and was one of several commonwealth units that operated out of RAF Station Mildenhall. This bomber squadron's motto was "Fortis Nocte" (Strong by Night). It operated from the station during World War II until April 6, 1942.
On Sept. 3, 1939, three days after Germany's invasion of Poland, Britain and France declared war on Germany. Six hours after the official declaration of war on Germany, three Wellington bombers from No. 149 Squadron took off to bomb German battleships in the Kiel Canal. The Kiel Canal was the stretch of waterway that links the North Sea to the Baltic Sea. In 1940, RAF Station Mildenhall became the location for two films. The first was "The Lion has Wings," and the second was "Target for Tonight." The propaganda film staged at RAF Station Mildenhall entitled "The Lion has Wings," showed the nation how the station and its Wellington bombers prepared for war. The Crown Film Unit made Harry Watt's "Target for Tonight" on RAF Station Mildenhall using Wellingtons from No. 149 Squadron.
On Jan. 18, 1940, No. 149 Squadron conducted its first night bombing. Previously, British bombers conducted daylight bombings over targets in Europe. This changed to nighttime bombing due to heavy bomber losses. Nearly a year later, Nov. 2, 1941, No. 149 Squadron traded its Wellington bombers for the new Stirling bombers. Those were the first Stirling bombers permanently stationed at RAF Station Mildenhall. The following month, RAF Station Mildenhall became home for a new bomber squadron. On Dec. 15, 1941 the No. 419 (Canadian) (Bomber) Squadron, Royal Canadian Air Force, activated at RAF Station Mildenhall. They remained based there until August 13, 1942, when the squadron transferred to the newly formed Group 6. They were only the third Canadian squadron to become operational overseas. It was known as the "Moose" squadron in honor of Wing Commander John "Moose" Fulton. Their motto was "Moosa Aswayita" (Beware the Moose).
On May 31, 1942, 18 Wellingtons from No. 419 Squadron and 17 from No. 149 Squadron at RAF Station Mildenhall took part in the first "1000 Bomber Raid" against Cologne, Germany. In this raid 1,047 aircraft were dispatched to Cologne, of which 868 attacked the main target and dropped 1,455 tons of explosives, two-thirds of which were incendiaries. The city suffered severe damage with about 250 factories and 18,400 houses destroyed or damaged. This was a major effort by the RAF's Bomber Command, because in May 1942, they only had an average of about 400 serviceable aircraft in the operational bomber squadrons. Finding an additional 600 aircraft meant stripping Bomber Command clean. Most of the additional aircraft came from Operational Training Units with the aircraft being flown by instructors. A few months later, two more squadrons came to RAF Station Mildenhall. First, No. 75 (New Zealand) (Bomber) Squadron replaced No. 419 Squadron when that squadron moved from RAF Station Feltwell on August 15, 1942. The motto of the No. 75 Squadron was "Ake Ake Kia Kaha" (Forever and Ever Be Strong). On Sept. 25, 1942, No. 115 (Bomber) Squadron moved to RAF Station Mildenhall from RAF Marham. The No. 115 Squadron remained until November 8, 1942. Their motto was "Despite the Elements."
RAF Station Mildenhall's population grew again during 1943. April 13, 1943, No. 15 (Bomber) Squadron relocated to RAF Station Mildenhall and operated from there until the end of the war. Their motto was "Aim Sure." Ground crews for No. 15 Squadron arrived in Horsa gliders. As a side note, Horsa gliders returned to RAF Station Mildenhall for storage under the administration of the No. 25 Glider Maintenance Squadron. They departed for the Mediterranean Theater in March 1944. On Aug. 10, 1943, No. 622 (Bomber) Squadron activated on RAF Station Mildenhall from "C" Flight of No. 15 Squadron. They remained on RAF Station Mildenhall until the end of the war. Their motto was "Belimus Noctu" (We Wage War By Night). November 1943 marked the arrival of the first permanently stationed Lancaster bombers, along with the less sturdy Halifax bombers to RAF Station Mildenhall.
On March 22, 1944, Lancaster and Halifax bombers from RAF Station Mildenhall took part in the first major raid against Berlin, Germany. The raid consisted of more than 800 bombers from several bases. It marked the end of what Bomber Command called the "Battle of Berlin."
June 6, 1944, the first day of D-Day operations, 35 Lancaster bombers from No. 15 and No. 622 Squadrons struck targets along Hitler's Atlantic Wall. The next day, 33 Lancasters attacked targets near Lisieux, France. RAF Station Mildenhall provided a staging point for large numbers of Horsa Gliders before D-Day. The attacks marked the first daylight bombing raids by both squadrons. For RAF Station Mildenhall, the war effectively ended April 22, 1945 when bombers from the station flew their last combat mission against Bremen, Germany. Germany officially surrendered May 7, 1945. Immediately after the war, RAF Station Mildenhall aircraft returned repatriated prisoners of war to their home countries and dropped relief supplies to Dutch flood victims. On Aug. 25, 1945, 19 days after the surrender of Japan, No. 44 (Rhodesia) (Bomber) Squadron moved to RAF Station Mildenhall. Their motto was "Fulmina Regis Iusta" (The King's Thunderbolts Are Righteous).
December 1945 marked the first major involvement by the USAAF with RAF Station Mildenhall. Two B-17 Flying Fortresses arrived at the station for bomb trials. They were stripped of their armament and modified to carry a rocket assisted 4,500 lb. bomb, or a 2,000 lb. bomb with a special penetration head under each wing. A third B-17 arrived shortly after the first two. The B-17s took part in service trials for the new Lincoln Bomber. No. 15 Squadron participated in these trials that included high-level bombing with the three deployed B-17s. The trials took place in January 1946.
RAF Station Mildenhall's runways were updated and resurfaced in July 1948. Bomber Command planned to bring in No. 230 Operational Conversion Unit to train Lancaster pilots at RAF Station Mildenhall in the new Lincoln bomber. However, this never happened as the USAF moved B-29 Super Fortresses on to RAF Station Lakenheath in August 1948. The RAF did not want a training unit operating so close to the B-29s, so No. 230 OCU never made it to RAF Station Mildenhall. July 12, 1950, after improving facilities and spending ₤1,000,000 to lengthen the runway to 9,000 feet, elements of the 93rd Bomb Group, 329th Bombardment Squadron, 330th Bombardment Squadron, and 4115th Organizational Squadron arrived to operate on a rotational duty with 45 WB-50 Superfortresses. The U.S. worried that the Soviets might think the U.S. too occupied with the Korean conflict to adequately protect Europe. To counter this Cold War threat , RAF Mildenhall, as it was now known, became one of the initial bases identified to host the B-29, B-47, and B-52 bombers, as well as the KC-97 and KC-135 tankers. The B-50 was first designated as the B-29D, but modifications to the original B-29 structure were considerable so it was redesignated as the B-50. The WB-50 stood for weather-reconnaissance.
In February 1951, the first B-29s were stationed at RAF Mildenhall, when the 93 BG rotated out and the 830th Bombardment Squadron, from the 509th Bombardment Wing took its place. This was followed in May 1951 by the first B-50s to operate out of RAF Mildenhall from the 49th Bombardment Squadron, who replaced the 830 SB. Although the 3910 ABG took administrative control of RAF Mildenhall from the RAF's No. 3 Group, No. 3 Group remained on RAF Mildenhall until 1967. In April 1952, the RB-29s, reconnaissance variant, was stationed at RAF Mildenhall with the 55th Strategic Reconnaissance Wing. It first used RAF Mildenhall for its RB-50s and RB-29s. In September 1952, RAF Mildenhall received its first KB-29 when the headquarters and maintenance of the 2 BW returned to RAF Mildenhall to service B-50s and KB-29s. The KB-29s were the first USAF tankers to operate out of RAF Mildenhall. By this time, the USAF began to replace the B-29 and B-50 variants with newer aircraft.
In June 1953, the first KC-97E Stratotankers moved to RAF Mildenhall. They were tankers of the 306th Air Refueling Squadron from the 306th Wing. The mission of the new tankers was to provide air refueling support to the new B-47 Stratojet based at RAF Fairford. This was a first time for both aircraft at each base. On Jan. 17, 1958, RAF Mildenhall officially became the new home for the Military Air Transport Service's United Kingdom Passenger Terminal. This terminal made RAF the central site for logistical support for the whole of the U.K.
On Sept. 1, 1959, the 3913th Combat Support Group become a Third Air Force unit and was redesignated the 7513th ABG. The 3913 CSG had only recently taken on the duties as host unit of RAF Mildenhall from the 3910 ABG when it activated Jan. 1, 1959. The 7513 ABG assumed the mission as host unit at RAF Mildenhall including support for the new Military Air Transport Service facilities at the Passenger Terminal. While it had been almost 10 years since any B-50 variant was stationed at RAF Mildenhall, the KB-50 tanker variant made its first appearance on Feb. 1, 1962. It came to RAF Mildenhall with the 420th Air Refueling Squadron when it relocated from RAF Sculthorpe to RAF Mildenhall.
March 7, 1966 Gen. de Gaulle, the French president, informed the USA that he wanted all foreign troops to leave France. Along with the 7120 ACCS came the Silk Purse Control Group mission. This operation functioned as an airborne command post for the U.S. Commander-in-Chief of Europe. After arriving on base, the 7120 ACCS began conversion to the EC-135s from their old C-118s. On Jan. 1, 1970, the 1720 ACCS redesignated to become the 10th Airborne Command and Control Squadron. Early the next year, Jan. 8, 1966, RAF Mildenhall received another new unit. Because of the increasing cargo and passenger traffic, the USAF activated the 627th Military Airlift Support Squadron. The unit ran the Military Air Transport Service Passenger Terminal. The decision by the French forced the USAF to relocate several units. One of the units was the 513th Troop Carrier Wing. To prepare RAF Mildenhall for the arrival of the 513th TCW from Evreux-Fauville Air Base, France, the 513th Combat Support Group formed. When RAF Mildenhall was ready, the 513th TCW began to relocate to its new base. The relocation began April 16, 1966 and ended Sept. 1, 1966. With its activation on Mildenhall, the 513th TCW assumed operational control of the two Military Airlift Command rotational C-130 Hercules squadrons and the 7120 ACCS. Two years after its arrival, the Air Force redesignated the 513th TCW as the 513th Tactical Airlift Wing (513 TAW).
On Sept. 18, 1967, the 513th TCW held an open house at RAF Mildenhall to celebrate the Air Force's 20th birthday. This was the first air show at RAF Mildenhall since the U.S. Air Force took control of the base and a prelude to the many "Air Fetes" to come. During February 1971, the 513th TAW began replacing its VC-47s and C-47s with T-29s. In June 1971, the last C-47 left the U.K. From March to September 1971, RAF Mildenhall became host to 45 F-100 Super Sabers from the 48th Fighter Wing at RAF Lakenheath. This was the first time in RAF Mildenhall's history that fighters operated from the base. In June 1972, the Third Air Force (3rd AF) relocated from South Ruislip to RAF Mildenhall. The 3rd AF Headquarters took over the building originally used by Bomber Command's No. 3 Group. In 2006, HQ Third Air Force re-located to Ramstein Air Base, Germany, while 3AF-UK (now USAFE-UK) continued at RAF Mildenhall.
Although only a visit, it was a look at things to come when a SR-71 Blackbird made its first visit to RAF Mildenhall in September 1974. The trip between New York and London took only one hour and 55 minutes to cover 3,479.41 miles. To achieve the new record, the SR-71 flew more than three times the speed of sound. On Sept. 13, 1974, the SR-71 departed RAF Mildenhall for a record-setting flight to Los Angeles, California. The trip took three hours and forty-seven minutes and covered 5,446.86 miles. Within five years, both the SR-71 and the U-2 operated from RAF Mildenhall. In 1976, the European Tanker Task Force mission operated by the 306th Strategic Wing began. Under this concept, deployed KC-135 Stratotankers at RAF Mildenhall would rotate from two other bases, Zaragoza Air Base, Spain, and Hellenikon Air Base, Greece, to provide air refueling support. Later that same year, on Dec. 1, 1976, RAF Mildenhall became the main European tanker base when Detachment 1 of the 98 SW inactivated at Torrejon Air Force Base, Spain. The 306th SW was responsible for two other issues that affected RAF Mildenhall. First, the RC-135 Rivet Joint Block II testing took place at RAF Mildenhall Aug. 22, 1977. June 30, 1978, the headquarters of the 306th SW relocated from Ramstein Air Base, Germany, to RAF Mildenhall to support the SAC rotational forces at RAF Mildenhall and manage the ETTF.
April 1, 1978, the SR-71 returned to RAF Mildenhall, in order to operate from the base. This was the result of the 9th Strategic Reconnaissance Wing, Detachment 4, which moved to RAF Mildenhall to oversee temporary duty deployments of U-2 and SR-71 aircraft. While this was a return appearance for the SR 71, it was the first appearance for the U-2. However, U-2 operations moved to RAF Alconbury in February 1983. April 5, 1982, almost a year before the U-2s left RAF Mildenhall, the British Government gave permission for two SR-71s to be permanently based at RAF Mildenhall. Until the departure of the SR-71 on Jan. 18, 1990, it came to symbolize RAF Mildenhall in the public's eye.
The next major change for RAF Mildenhall took place on February 1, 1992, when the 100th Air Refueling Wing activated. It replaced the 513th Airborne Command and Control Wing, which redesignated on June 18, 1987, with a different mission. As host wing, it took over the support of all the tenant units on RAF Mildenhall. The wing's first permanent KC-135 arrived May 22, 1992, but the wing did not receive the full complement of nine tankers until September 1992. The number of permanently assigned KC-135s at RAF Mildenhall changed Nov. 28, 1998, when the U.S. Air Force ended the ETTF mission and raised the number of tankers to 15.
United States Air Forces in Europe announced the relocation of the 352nd Special Operations Group from RAF Alconbury to RAF Mildenhall on May 7, 1993. However, several delays prevented the 352nd SOG from completing the move until April 30, 1995. May 12, 2005, after only one and a half years under this design, the 501st Combat Support Wing was activated and gained control of all of the GSUs in England. It marked the last new unit to call RAF Mildenhall home. May 1, 2007, the 501st CSW moved to its final location at RAF Alconbury. The 352nd Special Operations Group was redesignated as the 352nd Special Operations Wing during a ceremony held in Hangar 814 March 23, 2015. Immediately following this, the 752nd Special Operations Group and the 352nd Special Operations Maintenance Group were activated. Consisting of six squadrons and two groups, the 352nd SOW includes more than 1,200 Air Commandos and provides support to the European theater as well as other combatant commands when necessary. The SOW flew the CV-22 Osprey and the MC-130J Commando II. The Office of the Secretary of Defense announced the results of the European Infrastructure Consolidation (EIC) review Jan. 8, 2015, which was designed to realign several missions in U.S. Air Forces in Europe and Air Forces Africa within the next seven years. Under the EIC, the Department of Defense was poised to divest three installations in the United Kingdom, including realignment of the missions from RAF Mildenhall to other installations in Europe, and the consolidation of intelligence centers at RAF Croughton.
RAF Mildenhall Station Commanders
· Wing Commander F.J. Linn Wing Commander F.J. Linnell October 1934 to July 1935
· Wing Commander H.V. Drew July 1935 to February 1936
· Group Captain R.S. Maxwell February 1936 to April 1937
· Group Captain H.K. Thorald April 1937 to April 1938
· Group Captain F.H. Coleman April 1938 to June 1940
· Group Captain F.G. Fogarty June 1940 to September 1941
· Group Captain A.C. Evans September 1941 to March 1942
· Group Captain D. MacFayden March 1942 to August 1942
· Group Captain J.A. Powell August 1942 to March 1943
· Air Commodore A. McKee March 1943 to October 1943
· Group Captain R.H. Young October 1943 to December 1944
· Group Captain K.S. Batchelor December 1944 to September 1945
· Group Captain C.E. Morse September 1945 to March 1946
· Group Captain W.H. Merton March 1946 to July 1946
· Group Captain J.H. McC. Reyonolds July 1946
· Squadron Leader E.J. Wicht April 1950 to July 1950
· Group Captain D.L. Thompson July 1950 to 1951
· Squadron Leader F. Wincott* to April 1958
· Squadron Leader L.W. Quick April 1958 to September 1963
· Squadron Leader J. Cassels September 1963 to March 1965
· Unknown March 1965 to December 1967
· Squadron Leader W. Pine December 1967 to October 1969
· Squadron Leader J. Lomas October 1969 to May 1972
· Squadron Leader N.J.J. Dunningham May 1972 to August 1974
· Squadron Leader W. Ward August 1974 to February 1976
· Squadron Leader G. Taylor February 1976 to May 1976
· Squadron Leader S. Spinks June 1976 to December 1978
· Squadron Leader I.E.D.B. Logan December 1978 to August 1981
· Squadron Leader K.E.H. Hollands August 1981 to March 1984
· Squadron Leader E.E. Harnett March 1984 to October 1986
· Squadron Leader P.W. Hughes October 1989 to October 1993
· Squadron Leader A.H. Galloway October 1993 to August 1996
· Squadron Leader A. Payne August 1996 to July 1997
· Squadron Leader S. Shay July 1997 to April 2000
· Squadron Leader C. Chaplin April 2000 to August 2003
· Squadron Leader J. Savage August 2003 to April 2006
· Squadron Leader M. A. Finneran April 2006 to November 2006
· Squadron Leader R.P. Fryer May 2007 to August 2018
· Squadron Leader P.R. Graham October 2018 to November 2020
· Squadron Leader A.J.L. Balmer November 2020 to April 2022
· Squadron Leader A. Bell April 2022 to Present
RAF Squadrons Stationed at Mildenhall
Squadron Aircraft Dates
· 15 Stirling, Lancaster, Lincoln April 1943 to August 1946
· 35 Lancaster, Lincoln February 1949 to February 1950
· 38 Heyford, Hendon September 1935 to May 1937
· 44 Lincoln August 1945 to August 1946
· 73 Fury, Gladiator Mar 1937 to June 1937
· 75 Wellington, Stirling August 1940 to November 1942
· 99 Heyford, Wellington November 1934 to September 1939
· 115 Wellington September 1942 to November 1942
· 149 Heyford, Wellington, Stirling April 1937 to April 1942
· 207 Lincoln February 1949 to March 1950
· 211 Audax June 1937 to August 1937
· 218 Battle, Blenheim June 1940 to July 1940
· 419 Wellington January 1942 to August 1942
· 622 Stirling, Lancaster August 1943 to August 1945
USAF Host Units, RAF Mildenhall
Unit Command Dates
· 7511th Air Base Squadron, U.S. Air Forces in Europe, July 11, 1950, to Aug. 22, 1950
· 7511th Air Base Group, USAFE, Aug. 22, 1950, to Sept. 26, 1950
· 7511th Air Support Wing, USAFE, Sept. 26, 1950, to May 16, 1951
· 3910th ABG, Strategic Air Command, May 16, 1951, to 1954
· 3913th ABS, SAC, 1955 to Jan. 1, 1959
· 3913th Combat Support Group, SAC, Jan. 1, 1959, to Sept. 1, 1959
· 7513th ABG, USAFE, Sept. 1, 1959, to June 1, 1965
· 7513th Tactical Group, USAFE, June 1, 1965, to July 1, 1966
· 513th Troop Carrier Wing, USAFE, July 1, 1966, to July 1, 1967
· 513th Tactical Airlift Wing, USAFE, July 1, 1967, to June 18, 1987
· 513th Airborne Command and Control Wing, USAFE, June 18, 1987, to Jan. 31, 1992
· 100th Air Refueling Wing, USAFE, Feb. 1, 1992, to present
US Flying Units at RAF Mildenhall
Unit Aircraft Dates
· 93rd BW B-50 Superfortress July 1950 to February 1951 and December 1951 to February 1952
· 2nd Bomb Wing B-29 Superfortress May to August 1951
· 509th BW B-50, B-29 February to May 1951 and June to August 1952
· 306th Air Refueling Squadron KC-97 Stratotanker July 1953 to December 1953
· 305th ARS KC-97 September 1953 to December 1953
· Det, 55 ARS B-50, KB-29 Superfortress April 1953 to June 1954
· Det, 1370 Photo Mapping Group B-50 June 1954 to September 1954
· 22nd Air Refueling Squadron KC-97 December 1953 to February 1954
· 303rd ARS KC-97 March 1954 to June 1954
· Det, 97 BW RB-50 Superfortress, KB-29 summer 1954
· 43rd ARS KC-97 August 1954 to December 1954
· 380th ARS KC-97 April 1957 to July 1957
· Det, 44 ARS KC-97 autumn 1957
· 53rd Weather Sq WB-50 Superfortress August 1959 to March 1960
· Det 4, 9 Strategic Reconnaissance Wing SR-71 Blackbird, U-2 Dragon Lady April 1979 to 18 January 1990
· Det 1, 98th Strategic Wing KC-135 August 1970 to October 1976
· 452nd ARW KC-135 August to September 1979
· 513rd TCW/TAW/ACCW C-130, EC-135 July 1976 to January 1992
· 306th Strategic Wing KC-135 Stratotanker October 1976 to January 1992
· 21st Special Operations Squadron MC-53M Pave Low IV April 1995 to 2007
· 351st ARS KC-135 February 1992 to Present
· 100th ARW KC-135 February 1992 to Present
· 7th SOS MC-130H Combat Talon II 1995 to 2014; CV-22 Osprey 2014 to Present
· 67th SOS MC-130P 1995 to 2014; MC-130J Commando II 2014 to Present
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The Movies of Mark Rydell
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2023-03-23T00:00:00
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This post arises because we recently re-watched Robert Altman's The Long Goodbye (1973) for about the sixth time (in conjunction with re-reading Chandler's book) and got curious about the excellent, funny and scary actor who plays the hoodlum Marty Augustine. The actor is so good, and yet (I realized) I didn't recall him from anything…
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(Travalanche)
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https://travsd.wordpress.com/2023/03/23/the-movies-of-mark-rydell/
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This post arises because we recently re-watched Robert Altman’s The Long Goodbye (1973) for about the sixth time (in conjunction with re-reading Chandler’s book) and got curious about the excellent, funny and scary actor who plays the hoodlum Marty Augustine. The actor is so good, and yet (I realized) I didn’t recall him from anything else. It’s because he is mostly a director, and while he is not hugely prolific, he has an excellent track record with critically acclaimed films you likely know well. The gentleman is Mark Rydell (Mortimer Rydell, b. 1929)
Rydell specialized in character driven works, often period pieces, based on novels and plays, the kinds of movie that were much in vogue in the 1970s. And several of them have a show biz angle, which is our particular jam. His first effort, in 1967, was an adaptation of D.H. Lawrence’s The Fox, starring Sandy Dennis, Keir Dullea (soon of 2001: A Space Odyssey), and Anne Heywood, wife of the film’s producer Raymond Stross. The plot concerns a love triangle set on a farm, with the major innovation being a lesbian relationship between the women (a depiction made possible by the recent elimination of the Hollywood production code). This racy aspect, combined with the film’s tasteful craftsmanship, resulted in a minor hit. This was followed up by an adaptation of William Faulkner’s The Reivers (1969) starring Steve McQueen, the hottest Hollywood actor of the time. Then came the John Wayne western The Cowboys (1972), one of my favorite movies as a kid, which I wrote about here. Cinderella Liberty (1973) was a Navy themed drama with James Caan and Marsha Mason, written by Darryl Ponicsan, whose The Last Detail also came out that year. This is a pretty good run already!
Rydell’s next film should be of special interest to those interested in vaudeville. Set in the 1890’s, Harry and Walter Go to New York (1976) stars James Caan and Elliott Gould as a pair of vaudeville performers who get pinched for stealing the personal belongings of audience members. In stir they meet safecracker Michael Caine (as Adam Worth, an actual historical character) who proposes a job for them. Diane Keaton plays their accomplice, a crusading newspaperwoman, who wants stolen loot to feed poor children (foreshadowing her character in Reds). This kind of thing seems calculated for success, right? It’s in the ’70s nostalgia subgenre we wrote about here. It has stuff in common with both the Redford-Newman team-ups: Butch Cassidy and the Sundance Kid (which also has robberies and a female accomplice who’s the love interest for each of the partners), as well as the Long Con joyride The Sting. It also reminds me of Michael Critchton’s The Great Train Robbery, released two years later. Unfortunately a film like this requires a light comic touch, and Rydell was, well, a Method guy, so he reportedly removed some of the funner elements from the script in order to justify it dramatically. It was an expensive movie to make, and it didn’t fare well at the box office.
Fortunately, Rydell then rebounded in a huge way, with two critically acclaimed hits, back to back: The Rose (1979), starring Bette Midler in a fictionalized telling of Janis Joplin’s life; and the film adaptation of On Golden Pond (1981), the historic Katharine Hepburn–Henry Fonda–Jane Fonda team-up. Unfortunately, this was followed by another big budget miscalculation The River (1984) with Sissy Spacek and Mel Gibson. It was intended to shine a light on the farm crisis that was making the news at the time, which also spawned the Farm Aid concert, and the films Country (with Sam Shepard and Jessica Lange) and Places in the Heart (with Sally Field). Gibson was miscast, and the film ended up seeming the also-ran in this sweepstakes, earning back only 2/3 of its budget.
Rydell turned back to acting for a time, appearing in the stand-up comedy yarn Punch Line (1988) with Sally Field and Tom Hanks, and taking the plum (and well cast) role of Meyer Lansky in Sydney Pollack’s Havana (1990) starring Robert Redford. He then returned to the director two of his previous stars James Caan and Bette Midler in For the Boys (1991) a tale of a romance two major entertainers (perhaps loosely inspired by Bob Hope and Martha Raye) as they tour with the USO during World War Two and the Korean War. I remember this one receiving lots of publicity at the time, but somehow it didn’t click with the public and took a bath at the box office.
In 1994 Rydell directed Intersection, a remake of Les choses de la vie (1970) starring Richard Gere, Sharon Stone, and Lolita Davidovich. This was followed by the HBO film Crime of the Century (1996), about the Lindbergh baby kidnapping, and the 2001 bio-pic James Dean, starring James Franco as the ill-fated star. In 2002 he had a supporting part in Woody Allen’s Hollywood Ending as agent Al Hack. In 2006 he directed his last major project, Even Money, a gambling drama not unlike The Gambler with James Caan or Altman’s California Split. The all-star cast included Kim Basinger, Danny DeVito, Forest Whitaker, Ray Liotta, Kelsey Grammer, and Tim Roth. As long ago as that was, Rydell was pushing 80 by that point!
Trained at Neighborhood Playhouse, Rydell broke into the business as an actor on soap operas. After leaving As the World Turns in 1962 he directed an episode of The Virginian, which led to jobs directing for Gunsmoke, The Wild Wild West, I Spy, and other shows before The Fox came along.
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dbpedia
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https://www.ranker.com/list/list-of-gunsmoke-directors/reference
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en
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List of Gunsmoke Directors
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https://imgix.ranker.com/list_img_v2/14622/534622/original/list-of-gunsmoke-directors-u2
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https://imgix.ranker.com/list_img_v2/14622/534622/original/list-of-gunsmoke-directors-u2
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[
"Reference"
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2012-05-31T00:00:00
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List of every famous television director who has directed at least one episode of Gunsmoke, listed alphabetically with photos when available. This list ...
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/img/icons/touch-icon-iphone.png
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Ranker
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https://www.ranker.com/list/list-of-gunsmoke-directors/reference
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Arthur Hiller, (November 22, 1923 – August 17, 2016) was a Canadian-American television and film director with over 33 films to his credit during a 50-year career. He began his career directing television in Canada and later in the U.S. By the late 1950s he began directing films, most often comedies. He also directed dramas and romantic subjects, such as Love Story (1970), which was nominated for seven Oscars. Hiller collaborated on films with screenwriters Paddy Chayefsky and Neil Simon. Among his other films were The Americanization of Emily (1964), Tobruk (1967), The Hospital (1971), The Out-of-Towners (1970), Plaza Suite (1971), The Man in the Glass Booth (1975), Silver Streak (1976), The In-Laws (1979) and Outrageous Fortune (1987). Hiller served as president of the Directors Guild of America from 1989 to 1993 and president of the Academy of Motion Picture Arts and Sciences from 1993 to 1997. He was the recipient of the Jean Hersholt Humanitarian Award in 2002. An annual film festival in Hiller's honor was held from 2006 until 2009 at his alma mater, Victoria School of Performing and Visual Arts.
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https://www.tvguide.com/celebrities/mark-rydell/credits/3000100175/
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Mark Rydell
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See Mark Rydell full list of movies and tv shows from their career. Find where to watch Mark Rydell's latest movies and tv shows
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/favicon.ico
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TVGuide.com
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https://www.tvguide.com/celebrities/mark-rydell/credits/3000100175/
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Join or Sign In
Sign in to customize your TV listings
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https://www.awardsdaily.com/2024/05/reframe-the-career-of-michael-mann/
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Reframe: The Career of Michael Mann – Awardsdaily
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The history of Michael Mann as a film director is a rather curious one. Revered among his peers, a constant touchpoint for young filmmakers (see Emily the Criminal, and How to Blow Up a Pipeline for examples), feted by critics, and often the maker of well-seen (and loved) movies by the general public, there’s still this nagging feeling that Mann…
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Awardsdaily
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https://www.awardsdaily.com/2024/05/reframe-the-career-of-michael-mann/
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The history of Michael Mann as a film director is a rather curious one. Revered among his peers, a constant touchpoint for young filmmakers (see Emily the Criminal, and How to Blow Up a Pipeline for examples), feted by critics, and often the maker of well-seen (and loved) movies by the general public, there’s still this nagging feeling that Mann has never gotten his due from one corner of recognition: The Oscars.
While no one would accuse Mann of being prolific (he’s directed just 12 films in 43 years), those 12 films—as remarkable as many of them are—have received a spare total of 12 nominations, and 7 of those came from The Insider alone. Of those 12 nominations, Mann has only scored three for himself (producer, director, and screenplay for The Insider—he also has one nomination for producing Martin Scorsese’s The Aviator).
If those numbers strike you as surprising (perhaps even astonishing), well, me too. Like any filmmaker, Mann’s output has some variance in quality, but overall, his consistency has been remarkable to everyone who loves movies…except to the Academy. As I go through film by film, assessing the strengths of each and where there were “misses” by Oscar voters, I think it’s important to note beforehand that many of Mann’s films seem to be late bloomers that are appreciated more in retrospect than in their current day. I think you’ll see that theme recur throughout.
A little housekeeping before we begin. As a friend of mine and I like to say, if you are going to argue that someone deserved an Oscar nomination that they did not receive, you have to say who they should have replaced. In the major categories of Best Picture, Director, all acting categories, and screenplay, I will do exactly that. I will also break them down into should have beens and could have beens. And finally, do remember that the Academy only nominated five films a year for Best Picture until 2009, when the organization expanded to ten.
Alright. Shall we begin?
Thief (1981) – 0 Oscar nominations
One of the most assured directorial debuts in the history of film. Mann’s crime thriller about a master thief in Chicago is such a remarkable first film, that it’s hard not to think that Mann was a “man in full” upon arrival. Mann makes great use of the windy city’s locations—the grit all but rises off the streets, and Lake Michigan is well represented. The technical virtuoso of Mann is never in dispute, but in Thief, we see the director’s template take shape. His films are largely about driven men in extreme circumstances. In this case, we have James Caan as the thief in question. As a lead, Caan was never better than he was here (although I will accept arguments from those who would forward The Gambler).
Caan is as hard as they come in Thief as Frank, a career criminal looking to make one last big score and then go away forever (much like DeNiro’s Neil McCauley in HEAT). He’s tipped to this opportunity by Leo, a seemingly benevolent benefactor played by Robert Prosky (incredibly good in what was the then 50-year-old actor’s first role on film), who then pulls the rug on Caan’s Frank by withholding money from the take to keep Frank working for him. Leo sees Frank as a cash cow, one that he will keep milking until dry. In between their meeting and the heist (which is shown in extraordinary detail, without the flask of typical heist films—this is blue collar thievery), Frank meets Jessie (a terrific Tuesday Weld). In one of the most fitfully amusing (even uproarious) first dates ever shown on film, Frank lets Jessie know he doesn’t have time for a long courtship. His ship is coming in and Jessie has to decide whether to get on or not. Again, on date one. At one point as the two spar (with Weld giving as good as she’s getting), Frank shouts about getting on “with this big fucking romance” that he needs to switch into overdrive. Their connection is actually a less subtle version of the relationship that plays out between DeNiro’s McCauley and the object of his affection, Amy Brenneman’s Edie in HEAT (prepare yourself, there will be many references to Mann’s seminal LA crime thriller along the way). Time is the enemy for both Frank and Neil. And in the end, they both will make the decision to walk away from the life that they dreamed of (“in five minutes flat”) because they aren’t just criminals, they are survivors. When their house catches on fire, they don’t throw water on it. They let it burn, and they move on.
What makes Thief more than the typical “last big score” kind of movie is in the details. The way Frank creates a collage of what he would like his life to one day be—close friends, warm weather, and a family. He shares this patched together group of images with Jessie. And that’s when she begins to soften. She asks about the older man in the collage. That’s Frank’s friend and mentor Okla (played by Willie Nelson in a perfectly pitched cameo). There’s an open space in the connected photos. Frank tells her that’s where she goes. It really shouldn’t work, but in the moment, we see these two middle-aged people and the look in their eyes tells us that they know this may be the last shot that either of them will have at happiness. That’s the heart of Thief: the plan for a better life that is all but in your grasp, and then god laughs. I would be remiss if I didn’t also mention the fluidity of the film’s camerawork, the tough as nails screenplay, the sequence where Mann makes a used car lot look like it was strung with Christmas lights. And then there is the sense of foreboding (often provided by the brilliant score by Tangerine Dream) that isn’t just felt, you can practically smell the fumes. We are all running out of time. We are not going to make it. We only think we are, and that moment of hope is both brief and cruel.
What Oscar missed:
The should have beens:
Best Picture – Thief over Winner Chariots of Fire, On Golden Pond
Best Director – Michael Mann over Hugh Hudson (Chariots of Fire), Mark Rydell (On Golden Pond)
Best Adapted Screenplay – Michael Mann over Jay Presson Allen and Sidney Lumet for Prince of the City, and Harold Pinter for The French Lieutenant’s Woman
Best Actor – James Caan over Henry Fonda (On Golden Pond), Dudley Moore (Arthur), Paul Newman (Absence of Malice)
Best Supporting Actor – Robert Prosky over John Gielgud (Arthur), James Coco (Only When I Laugh)
Best Supporting Actress – Tuesday Weld over Melinda Dillon (Absence of Malice), Jane Fonda (On Golden Pond), Joan Hackett (Only When I Laugh)
Best Score – Tangerine Dream over everything
Could have Beens:
Best Editing – Dov Hoenig
Best Cinematography – Donald Thorin
Best Sound – Larry Carow, David Cohn, and Samuel Crutcher
One last note on Thief: While the Academy ignored the film entirely, “The Stinkers” (similar to the sadly still operational and execrable “Razzies”) gave the film six nods. The mind reels.
The Keep (1983) – 0 Oscar nominations
The Keep, AKA: the Michael Mann movie no one ever talks about—including Michael Mann. If you’ve seen the film, which takes place in Romania during the Nazi occupation, you probably reached the credits with a great deal of confusion. Starring Scott Glenn, Ian McKellen, and Alberta Watson, The Keep gives off a spectral beauty, and the score by Tangerine Dream lays on the existential dread of a horror film about Nazis unleashing forces nearly as evil as they are. When Mann turned in his original cut, the film ran for three and a half hours. The film was contractually obligated to come in at no more than two hours. The studio took control of the picture, cut it to 120, and then stood aghast as their cut / butchering received a brutal response from test audiences. In its finite wisdom, Paramount Studios response was to chop the movie even further, resulting in an incomprehensible 96 minute experience. One must believe that somewhere out there, Mann’s edit still exists. Until then, it’s almost impossible to evaluate the film on qualitative standards.
What Oscar Missed:
Let’s not.
One last note on The Keep: Mann was asked if he thought the film would get a re-release, but showed no interest. In fact, as he told a fan in 2016, “That one’s going to stay in its …” My assumption is he was about to say “can,” and while we can hope for a complete Keep, the creator himself has no appetite for its resurrection.
Manhunter (1986) – 0 Nominations
Somewhat paradoxically, for a director known mostly for film, Mann found his first taste of widespread success on TV with Miami Vice in 1984. Produced by Mann under his own banner (Michael Mann Productions) Miami Vice was an immediate sensation on the small screen when it debuted on NBC (the show actually became known for keeping people home on Friday nights when it aired). The first season was a huge upgrade over most of the cop shows that preceded it. Following seasons deteriorated in quality, but the commonly used pejorative “MTV Cops” that was often applied to the series was shallow and reductive. Vice may have had only one classic season, but it is one of the few shows that truly changed television with its look, style, and subject matter (the drug trade).
Miami Vice should have been a springboard for Mann’s adaptation of Thomas Harris’ first novel featuring Hannibal Lecter: Red Dragon. Much of Manhunter (I’ll get to the issues with that title in just a moment), shared much of the visual aesthetic of Miami Vice, with the added benefit of being darker and grittier than television censors for the major networks would allow. However, when it came to production issues, Manhunter was almost as haunted as The Keep. The film’s in/famous producer, Dino De Laurentiis, didn’t understand the significance of the source material (Red Dragon was a bestseller), and decided to change the name to the incredibly generic Manhunter. Michael Cimino’s Year of the Dragon had just bombed at the box office the year before, and De Laurentiis didn’t want any name association attached to a film that came out a full year earlier. Dino also, I shit thee not, thought audiences might confuse the film with a Kung-fu movie. I guess Dino wasn’t aware that Bruce Lee was dead, and would be making no more “Dragon” movies.
In doing so, De Laurentiis cut off a built-in audience of readers, and due to his lack of enthusiasm for the film, Manhunter was poorly marketed, and (surprisingly upon reflection) received modest reviews at the time. All of this is a terrible shame, because Manhunter is one incredibly tense thriller that, in Lector film lore, answers only to Jonathan Demme’s The Silence of the Lambs (NBC’s far too short-lived Hannibal is also more than worthy of Harris’ characters). Brian Cox (yes, the Brian Cox of Succession fame) plays Lector much differently than Anthony Hopkins did in the three films he played Hannibal “the Cannibal.” Cox’s Lector is every bit as intelligent and devious as Hopkins’ but far less aristocratic and eccentric. The sort of bluntness that Cox presents Lector with is particularly chilling when he explains to Detective Will Graham (a fantastic William L. Petersen—yes, the guy who went on to CSI fame) how god is the greatest killer of them all. Tom Noonan is essentially the “Jame Gumb” character of Red Dragon—the killer Lector is “helping” the FBI chase down—and he is absolutely terrifying. Huge in size, frighteningly pedestrian (even dull) in affect, but also just human enough not to be a stock serial killer, Noonan’s towering presence lingers over the film even when he’s not on screen.
Sadly, while Manhunter has been reevaluated over the years and is now seen as at least a near-classic of the serial killer genre, that fresh (and accurate) assessment did the film no good at the time of its release. Manhunter came and went quickly in August of 1986, and waited many years to be discovered.
What Oscar Missed:
Should have Beens:
Best Actor – Actor William L. Petersen over Dexter Gordon ‘Round Midnight
Best Supporting Actor – Actor Brian Cox over Denholm Elliot, A Room With A View
Could Have Beens:
Best Picture – Films that Manhunter could have beat out for a nomination: The Mission
Best Director – Director who Michael Mann could have beat out for a nomination: Roland Joffe, The Mission
Best Adapted Screenplay – Screenplay Manhunter could have beat out for a nomination: Crimes of the Heart
Best Cinematography
Best Production Design
Best Editing
A final note on Manhunter: William L. Petersen could not have been any more snake-bitten at the beginning of his film career. His previous film, William Friedkin’s To Live and Die in LA (from 1985) also bombed. Meaning Petersen’s first two films as a lead were directed by masters of their craft, but both failed miserably at the turnstiles, and would not be upwardly regarded for decades. I suppose no one should weep for Petersen (I imagine those CSI checks had lots of zeros on them), but it’s hard not to wonder what kind of resume he might have had were Friedkin and Mann’s films properly appreciated in their time.
The Last of the Mohicans (1992) – 1 Nomination
After having his previous two films bombed (and his first do little more than break even), Mann took a six-year gap following the commercial failure of Manhunter before returning to the big screen with his adaptation of the classic James Fenimore Cooper novel “The Last of the Mohicans.” On paper, a dramatization of a classic novel/period piece with Daniel Day-Lewis in the lead would seem like easy money if you were playing Oscar poker. That was not the case. Despite receiving sterling reviews and being a solid hit at the multiplex, The Last of the Mohicans received just a single nomination for Best Sound (which it won). Of all the films that Mann has made in his career, only one other mystifies me more in terms of its lack of support from the Academy (that’s a tease). Everything about The Last of the Mohicans feels like Oscar-bait: the source material, the historical setting (1757 North America during the French and Indian War), the cast, and, most importantly, the high-caliber result.
So, what happened? Well, to be fair, the competition in 1992 was not weak. You had Clint Eastwood’s (arguably) best film Unforgiven, Howard’s End (a Merchant/Ivory high point), the marketing sensation of The Crying Game (also a great film, just to be clear), and A Few Good Men, with its iconic Cruise vs. Jack showdown. But you also had Scent of a Woman, an overlong, overly sentimental film, with an over-the-top (if ridiculously entertaining) lead performance by Al Pacino. Among the five films nominated, I would only consider Unforgiven and The Crying Game to be on the same level as Mann’s Mohicans, but I can understand the populist appeal of A Few Good Men, and Howard’s End is peak-level stuffy, internalized British drama. And I can completely accept the desire of the Academy to award Pacino a long overdue gold statue. But how in the hell does Scent of a Woman match up to The Last of the Mohicans? And furthermore, how does The Last of the Mohicans get overlooked in every other category besides sound?
Hell, not only was The Last of the Mohicans brilliant and bracing entertainment, it is chock-full of great performances, technical quality, and a red-hot romance between Lewis’ Hawkeye (a white man adopted by a Mohican tribe as a boy) and the stunning, gasp-inducing visage of Madeleine Stowe, who plays Cora, the daughter of a British general. While the hot and heavy may not have been very revealing, when Hawkeye and Cora look at each other on screen, you would swear their eyes were heat-seeking missiles searching only for each other. The film also masterfully tells this classic adventure story in a decidedly thoughtful way. Magua (played by the extraordinary Wes Studi) is not a standard “Indian villain” like we had seen in so many Westerns. Yes, Magua is vicious, but his reasons for hating the “white hair” comes from a place of retribution, it is not reflexive. Another way of putting it is to say that while Magua may have been “bad,” he had reasons.
As well, when the face-off comes between Magua and his more noble opposition, it does not come in the form of Hawkeye vs. Magua, but rather as Magua vs. Chingachgook (Hawkeye’s adoptive father played by the Native American activist Russell Means). It’s not hard to picture another film making Hawkeye the classic “white savior,” regardless of Cooper’s text. Mann chose otherwise, and in doing so made the film even deeper and more resonant. Along with every other fiercely wondrous detail about this film, one must also include the greatest suicide scene ever captured on film. A character is given a choice: go with Magua and be made into a slave, a bartering chip, or much worse, or, just let your body fall off the side of a cliff. While both options are terribly dire, the only one where the young woman in question has any agency is the decision to die—on her own terms. Mann’s camera, sans any help from dialogue, captures the moment between Magua and the young woman with such perfection, it’s as if you could read their minds. That’s not film, that’s alchemy.
What Oscar Missed:
Should Have Beens:
Best Picture: The Last of the Mohicans over A Few Good Men, Scent of a Woman
Best Director: Michael Mann over Martin Brest, Scent of a Woman, James Ivory, Howard’s End, Robert Altman, The Player
Best Adapted Screenplay: The Last of the Mohicans over Enchanted April, A River Runs Through It, Scent of a Woman
Best Actor – Lewis over winner Al Pacino, Scent of a Woman, Robert Downey Jr., Chaplin
Best Actress – Stowe over Michelle Pfeiffer, Love Field, Catherine Deneuve, Indochine, Susan Sarandon, Lorenzo’s Oil, Mary McDonnell, Passion Fish
Best Supporting Actor – Studi over David Paymer, Mr. Saturday Night
Best Supporting Actress – Jodhi May over Joan Plowright, Enchanted April
Best Cinematography
Best Editing
Best Production Design
Best Costume Design
Best Score
Best Song – “I Will Find You” by Clannad
Final note on The Last of the Mohicans: As is Lewis’ wont, to prepare for filming, the actor worked with a fitness trainer five days a week for six(!) months to achieve the physicality of Hawkeye. As if that weren’t enough, he also strolled into the North Carolina wilderness and lived off the land for a month before shooting. Let it never be said Lewis put any less effort into playing an action-oriented character than he did in any other role he ever played.
HEAT (1995) – 0 Nominations
So, if you thought The Last of the Mohicans was a slam dunk Oscar contender that got little appreciation from the Academy, let’s now talk about HEAT. You might think coming off a grand and undervalued film like Mohicans that the Academy would look to make up for that oversight by awarding an even more ambitious project like a nearly three-hour crime drama starring the two greatest actors of their generation (Al Pacino and Robert DeNiro), but you’d be wrong. There’s a joke I like to make about HEAT—gallows humor, really. Maybe it’s not even a joke, but it does feel funny to say that Michael Mann’s HEAT got the same number of Oscar nominations as Burt Reynolds’ Heat, which is to say zero. If you don’t remember the Reynolds film from 1986, well, neither does anyone else. Reynolds’ movie was also a crime drama (unrelated in storyline) made when Burt’s star was falling, and, having seen it, I can tell you, it’s pretty awful.
Mann’s HEAT on the other hand is the greatest cops and robbers movie ever made. It is ingeniously structured as a mano y mano between Pacino’s detective Vincent Hanna and DeNiro’s expert thief Neil McCauley. However, over the film’s lengthy (but never slow) run time, Mann works in numerous characters with recognizable faces (Val Kilmer, Ashley Judd, Dennis Haysbert, Natalie Portman, I could go on for days…) and significant subplots. It’s absolutely insane to try to pack in as many additional characters as Mann did in HEAT, but I’ll be damned if he didn’t pull it off in full. The film is so assured and extraordinary that the fact that Pacino and DeNiro share just two scenes (and only one of those has extended dialogue) ends up feeling like an asset, not a liability. All you need is that final shot of two men who might have been friends in another life (they have an abiding respect for each other’s professionalism, if not their opposing professions), holding hands as one leaves the world as planes at the LAX depart overhead, with the strains of Moby’s “God Moving Over the Face of the Waters” playing as the film cuts to black. The ending of HEAT is impossibly satisfying—like a miracle even. Mann packs so much into this movie, with all the storylines swirling around the two leads that should have made the film crumble before you on screen, and yet somehow, this master of action and narrative keeps every plate spinning—dropping nary a one. HEAT is a breathtaking one. Oddly, at the time of its release, many of the reviews were respectable to not much more than that. Perhaps critics expected more time with the two legendary leads training lines, but it’s that restraint that makes the moments that do have together stand out even more. The diner scene between the two men is an absolute low-key masterpiece of two aging tigers sizing each other up, moving past insinuation, to direct talk. Hell, you could have made a three hour My Dinner With Andre kind of film with these two, and that would have been brilliant. But Mann had larger designs. He chose to tell a kaleidoscopic tale of Los Angeles that he perfectly embedded into the crime thriller genre. I mentioned that many critics of the film were little more than polite to HEAT at the time (the film is now roundly seen as a drop-dead classic), but there was one who got it right: Mike Clark from USA Today, who called the film, “The Seven Samurai” of police films. God damn, I wish I had said that.
What Oscar Missed:
Best Picture – HEAT over everything: Braveheart (winner), Apollo 13, Il Postino, Babe, Sense and Sensibility
Best Director – Mann over everyone: Mel Gibson Braveheart (winner), Ron Howard Apollo 13, Michael Radford Il Postino, Mike Figgis Leaving Las Vegas, Tim Robbins Dead Man Walking
Best Adapted Screenplay – HEAT over everything: Sense and Sensibility (Winner), Apollo 13, Babe, Leaving Las Vegas, II Postino
Best Actor – Pacino & DeNiro over Richard Dreyfuss Mr. Holland’s Opus, Massimo Troisi, Il Postino
Best Supporting Actor – Val Kilmer & Tom Sizemore over James Cromwell, Babe, Ed Harris, Apollo 13, Brad Pitt, 12 Monkeys
Best Supporting Actress – Ashley Judd, Diane Venora, & Amy Brenneman over Mira Sorvino Mighty Aphrodite (winner), Kathleen Quinlan Apollo 13, Mare Winningham, Georgia
Best Cinematography
Best Editing
Best Production Design
Best Score
Best Sound
I know that’s a lot, but I’m being completely serious: all of these Academy rejections are worthy.
Final Note on HEAT: The film is actually a much grander version of a TV film that Mann made in 1989 called LA Takedown. I recall the film as a stylish endeavor at the time, but not even for a second did it occur to me while watching HEAT in 1995 that the two films had any relationship. LA Takedown may have the same basic storyline and many of the same characters, but it’s like comparing a quick sketch to the Mona Lisa—they are not in the same league.
Final Final Note on HEAT: I am loosely estimating that I have watched this film at least two hundred times. Whatever film is the second position of my most viewed isn’t within shouting distance. I think HEAT is the greatest film ever made. Sincerely.
The Insider (1999) – 7 Nominations
Mann’s The Insider is that one film he made while Oscar voters were both alert and sentient. In telling the story of real-life big tobacco whistleblower Jeffrey Wigand (Russell Crowe at his very best), Mann’s prestige content and exemplary delivery finally found traction with The Academy. Perhaps paradoxically, the film was not well seen in theaters. Despite Crowe being at his career peak, and Al Pacino (as the 60 Minutes producer who brings Wigand’s concerns to light) still hot and in the pocket, The Insider just never gained traction at the box office. Never mind though, because it is one incredibly intense portrait of two men fighting the system to do nothing more than tell the truth. Mann ratchets up the drama of their mission that the two start to feel like the last two honest men on earth. Throw in a truly astounding performance by Christopher Plummer as an indecisive Mike Wallace, and you have one of Mann’s very best films from a pure acting standpoint. The riches on display are embarrassing. Bright lights like Gina Gershon, Philip Baker Hall, Michael Gambon, Rip Torn, Lindsay Crouse, Diane Venora, Stephen Tobolowski, Colm Feore, and especially the fire-breathing Bruce McGill (as an attorney who crushes Wings Hauser into dust during a courtroom scene), all show up for moments that range from slight to substantial, and all of them add a feeling of authenticity to this riveting real-life story.
The Insider is about the failure of corporations to tell the truth and news organizations (also corporations) to illuminate the truth. A tremendous amount of The Insider is largely just people standing around and talking, but the weight of the conversation (whether big tobacco is knowingly poisoning and addicting its patrons) is pertinent, braving, and heavy.
While you will never catch me saying that The Insider is a better movie than HEAT, what you also won’t do is catch me arguing with anyone who says that The Insider is Mann’s best movie. Because close enough.
What Oscar didn’t miss:
Best Picture
Best Actor – Crowe
Best Director – Mann
Best Adapted Screenplay – Mann & Eric Roth
Best cinematography
Best sound
Best editing
What Oscar did miss:
Giving Best Picture to American Beauty over The Insider
Giving Best Director to Sam Mendes American Beauty over Mann
Giving Best Actor to Kevin Spacey American Beauty over Russell Crowe
Nominating Sean Penn for Sweet and Lowdown over Al Pacino for Best Actor
Nominating Michael Caine (winner) for Cider House Rules and Michael Clarke Duncan in The Green Mile over Christopher Plummer for Best Supporting Actor
Giving Best Adapted Screenplay to The Cider House Rules over The Insider
Best Score
And again, if you could nominate an actor for a single scene, Bruce McGill’s fire breathing attorney would be in the money, hands down
Last note on The Insider: Just how high was Crowe’s peak at the time? Starting with The Insider, Crowe was nominated for best actor in three consecutive years, with nods following in 2001 for Gladiator, and then A Beautiful Mind in 2002–making him just one of eight men in the history of the award to do so. Crowe won for Gladiator (and he’s terrific in it), but Jeffrey Wigand is his finest hour.
Ali (2001) – 2 Nominations
There may be no life more complicated to cover than that of Muhammad Ali. He was a counter culture hero, an iconoclast, a defiantly anti-Vietnam protestor who nearly ruined his career over his principled stance against the war, a serial philanderer, a man who was kind to children but often brutal to his opponents, a member of the Nation of Islam (a radical group to many), who also employed Jews and gentiles within his core group of supporters. The man is a complete conundrum, with a life so massive that no film could ever do it justice. Wisely, instead of trying to do a cradle to the grave biopic, Mann instead focuses on the ten-year period where Cassius Clay became Muhammad Ali, lost three years of his prime after being stripped of his heavyweight championship status due to being a conscientious objector, and climaxes with his upset victory over Big George Foreman in Africa.
Even so, covering any ten years of the life of Muhammad Ali is a burdensome task. There’s just so much “there” there. At one time, Ali was the most famous person in the world. Known equally in the smallest village of third world countries to the heights of power in America and beyond.
Ali did only respectable box office and reviews, while largely positive, were not effusive. I suspect that filmgoers and critics alike wanted a more traditional inspirational film on the subject of Muhammad Ali. The funny thing is they got the inspiration, just not the conventional. Mann’s film is both lyrical and tough. When Ali defeats Foreman in Zaire, you are so aware of the hard won struggle to achieve that victory that it might feel muted in its celebration. Maybe that’s why the film was received respectfully at the time and not effusively.
Whatever minor flaws Ali may have (mostly having so much to cover in so little time—even the film’s 165 minute length feels short of its subject), compensations abound. Will Smith is typically a lightweight actor who usually coasts on charm, but here, with Mann’s stewardship, he is magnificent, and greatly deserving of his Best Actor nomination. Jon Voight makes for a fine Howard Cosell, and his nomination is fairly earned as well. Beyond that, there is Jamie Foxx (terrific as Ali’s hype man Bundini Brown), and, as per usual, phenomenal actors delivering in spades no matter how small the part (Mykelti Williamson as Don King, Nona Gaye as one of Ali’s long suffering wives, Giancarlo Esposito as Ali’s Christian father, and Ron Silver as Angelo Dundee). More than anything, there is a measure of honor to go with all of Mann’s typical technical superiority and his gift for getting the best from his actors. Ali is the version of an extraordinary man’s life that doesn’t play it safe, that shows the flaws of the man while also correctly measuring his significance. In short, Ali the film recognizes the complexity of its subject and does not dumb it down for the masses. It’s a brave film, and one that gets better with each viewing.
What Oscar didn’t miss:
Best Actor: Will Smith
Best Supporting Actor: Jon Voight
What Oscar missed:
Could have been:
Best Picture over Moulin Rouge!
Best Director over Ron Howard (winner) A Beautiful Mind
Best Cinematography
Best Editing
Best Sound
Best Production Design
Best Supporting Actor: Jamie Foxx over Ethan Hawke Training Day
Final Note on Ali: In an obsessive attempt to make Will Smith look and sound like the real thing, the production team went beyond voice lessons and physical training, they actually pinned back Smith’s saucer-sized ears.
Collateral (2004) – 2 Oscar Nominations
After The Insider and Ali, Mann returned to the streets of Los Angeles with his stellar hit man drama Collateral. Compared to HEAT, the premise of the film is fairly simple and the cast-size is practically Waiting for Godot. Most of the film is Tom Cruise’s hit man (and before I forget, Collateral’s use of gray makes you think of the color in a new context, much like HEAT did with blue) forcing Jamie Foxx’s yellow cab driver to transport him from destination to destination. All of which result in dead bodies.
Cruise often gets a lot of flack for just flashing his smile and playing himself (as if understanding your skillset is a deficit), but here, Cruise plays the darkest character of his career (Magnolia’s Frank T.J. Mackey aside). I don’t know whose decision it was to make Cruise’s hair match his silvery suit, but that person deserves a statue of some sort. Along with Cruise’s piercing blue eyes, the suit and the hair reflect a driven sociopath with a wicked sense of humor and a unique understanding of the operations of the universe.
Cruise’s costuming, hair coloring, and his willingness to harden those normally cheerful eyes results in one of Cruise’s finest performances. Somehow, he makes his suit look like a coat of armor.
As the unluckiest cab driver in the world, Jamie Foxx holds his own with Cruise, although Foxx being chosen for a Best Supporting actor nom (he’s really the lead) and Cruise being looked over entirely does boggle the mind.
The interplay between the two: Cruise’s calm, efficient killer, and Foxx’s underachieving cabbie is riveting. You can see Foxx trying to outthink Cruise and discovering over and over again that he is out of his depth. Foxx’s cabbie’s survival is based more on luck than it is courage and ingenuity (not that he lacks in the latter two qualities).
The entirety of Collateral takes place over just a few late night hours: after sunset, and before sunrise. But in that tight frame, Mann produces his most relentlessly efficient and commercial film. Aside from Mann’s usual technical bravura, a plethora of high class actors turn up in small but significant roles (another Mann staple). Thesps like Mark Ruffalo, Peter Berg, Jada Pinkett-Smith (in her career best role), Javier Bardem, all have a moment (or two) in the sun. Hell, Jason Statham shows up right at the beginning of the film as a wordless delivery man. The cup of Collateral truly runneth over.
The film was well-reviewed at the time, and did solid (if unspectacular) business, and the Academy did see fit to give Foxx an Oscar nod and also recognized the film’s crystalline editing. However, that was as far as voters went for one of Mann’s very best films. Perhaps it was undervalued as an “action film,” but a film with this level of writing, acting, and directing, surely should have been seen as transcending genre.
At any rate, Collateral may not be Mann’s best film (although a fair argument can be made), it’s likely his most efficient and entertaining. While Oscar may deserve some credit for not completely ignoring the film, they surely came up short of the recognition scale.
What Oscar Didn’t Miss:
Best Supporting Actor: Jamie Foxx (although, again, he should have been competing as a lead)
Best Editing
What Oscar Missed:
Best Picture – Over The Aviator, Finding Neverland, Million Dollar Baby (winner), and Ray
Best Director – Mann over Clint Eastwood (Million Dollar Baby), Martin Scorsese (The Aviator), Taylor Hackford (Ray), Mike Leigh (Vera Drake)
Best Original Screenplay – Stuart Beattie over The Aviator, Hotel Rwanda, and Vera Drake
Best Supporting Actor – Tom Cruise over everyone: Alan Alda (The Aviator), Jamie Foxx (Collateral—he’s the lead for chrissakes), Clive Owen (Closer), Morgan Freeman (Million Dollar Baby—winner), Thomas Haden Church (Sideways)
Best Production Design
Best Cinematography
Best Sound
Final Note on Collateral: The song that plays in Foxx’s cab, “The Hands of Time” when he picks up Pinkett at the beginning of the film is referred to as an old school R&B classic by Pinkett. In fact, the song is actually a 2000 collaboration between classic folk singer Richie Havens and the EDM duo Groove Armada. The song never made the Billboard charts, but it sure as hell sounds like the classic ‘70s style cut Pinkett proclaims it to be.
Miami Vice (2006) 0 Oscar Nominations
No film in the Michael Mann oeuvre was treated more poorly upon release than his film remake of his hit TV show Miami Vice. Part of the issue is probably due to moviegoers expecting a fun, nostalgic night out at the movies. But the truth is, while Mann’s films are visceral, engaging, and highly entertaining, they aren’t really fun. At least not in the cheapest sense. And while you can forgive viewers (to a degree) the expectation of nostalgia, Michael Mann does not do nostalgia.
The film version of Miami Vice is a straight up, hard-knuckled crime film about two cops (Colin Farrell as Sonny Crockett and Jamie Foxx as Ricardo Tubbs) going dangerously and deeply undercover to infiltrate a South American crime lord. For all the good things one can and should say about the TV series, the film makes the show look like a Disney cartoon.
The plot is complex and the risk level to the characters is constant. Miami Vice is not a movie looking to take you down a comfortable stroll down memory lane in an ‘80s sports car. In fact, branding and character names aside, you could easily argue that the film should have been called something else and the actors given different names.
While the film opened to solid box office that first weekend, it dropped off quickly thereafter and many critics did the film no service by improperly contextualizing the film or showing a lack of appreciation for its plentiful assets. Mann somehow makes Miami bright and grim at the same time. The energy of the film is propulsive, and the cast is absolutely ridiculous.
Vice was a troubled shoot though. Farrell’s run as Hollywood’s “it boy” was coming to a close, and some less than savory personal behavior outside of his work was beginning to get more attention than his performances. And it must be said, Farrell is a simmering powder keg in this film. He’s a little beefier, and he broods like nobody’s business during most of the film. However, his romance with the drug kingpin’s (a terrifying Luis Tosar) right hand woman (the lustrous Gong Li) is not only flaming hot, but deeply moving. At the end of the film as Farrell and Li are forced to say their goodbyes when all has come to light with sorrow in their eyes as her small boat winds away from the shore of a safe house, the longing isn’t just palpable, it’s devastating.
Another on-set issue that impacted the filming of the movie (if in no obvious way affecting the result) was a fallout suffered between Foxx and Mann. After working together on two previous occasions (Ali and Collateral), the two men never stepped foot on the same set again. And boy, that’s a shame, because while Vice may ever so slightly be more of Farrell’s movie than Foxx’s, his Ricardo Tubbs gets plenty to do, and Foxx does it all well.
I’d be remiss if I didn’t mention some of the supporting performances here. Barry Shabaka Henley is fabulous as the lieutenant overseeing the case. Naomi’s Harris and Elizabeth Rodriguez are so good as part of the vice crew, you’d love to have seen a spin-off buddy cop movie starring the two. And finally, the wonderful character actor John Ortiz as the kingpin’s #3 (but looking hard to move up to #2) is positively astonishing as a character who can be very charming on the surface, but that veil hides just beneath it a Machiavellian monster.
Despite being considered a near total misfire at the time, over the last 18 years, the opinion worm has decidedly turned on Mann’s Miami Vice reboot. Film Stage named it the best action film of the 21st century, and Vulture’s esteemed in-house critic Bilge Ebiri wrote a fabulous reassessment in 2021 called Miami Vice’s Journey From Misfire to Masterpiece. And that’s what the film Miami Vice is: a masterpiece.
What Oscar Missed:
Best Picture: Over Little Miss Sunshine
Best Director: Mann over Stephen Frears (The Queen)
Best Adapted Screenplay: Over Borat
Should have beens:
Best Actor: Colin Farrell over Will Smith (The Pursuit of Happyness)
Best Supporting Actor: Jamie Foxx and John Ruiz over Djimon Honsou (Blood Diamond), Mark Wahlberg (The Departed)
Best Supporting Actress: Gong Li over Jennifer Hudson (winner – Dreamgirls), Abigail Breslin (Little Miss Sunshine)
Best Cinematography
Best Editing
Best Sound
Best Production Design
One final note on Miami Vice: Elizabeth Rodriguez as Vice cop Gina Calabrese may not have a ton of dialogue in the film, but Mann certainly gave her the most badass line in the film. As a white power hoodlum holds a bomb switch in one hand and Naomi’s Harris’s character in the other, he tells Calabrese that she can’t shoot him because if she does, his thumb will press the trigger and they will all go up in smoke.
Calabrese’s response: “No. That’s not what happens. What happens is I will put a round precisely through your medulla oblongata which is located at the base of your brain straight through a point mid-distance between your upper lip and the bottom of your nose and you will be dead from the neck down. Your finger won’t even twitch. Do you believe that?”
He should have believed her.
Public Enemies (2009) 0 Oscar Nominations
Set in the mid 1930s, Public Enemies tells the true story of bank robber John Dillinger (Johnny Depp in his last great performance) and Melvin Purvis (a tightly wound Christian Bale), the G-Man assigned to bring Dillinger in dead or alive. Both actors are terrific. Depp, who I have often found too precious before his career hit the skids, finds just the right balance of colorful and authentic. I’ve read some reviews that describe his performance as too “iconic” and that he doesn’t get under Dillinger’s skin. Complete nonsense. At first, Depp’s portrayal does lean on his natural charisma heavily. But as the film goes on and his relationship with Billie Frechette (played luminously by french actress Marion Cotillard) deepens so does his performance. The chemistry between the two is instant and electric. Dillinger’s breakneck courtship of coat check girl Frechette could only be pulled off if you believe them in full, and the instant their eyes lock, you are sold. Dillinger’s character has no time to waste and Frechette is tired of wasting time. So when he pulls her from behind the coat check counter and says come with me, you can see why she only allows herself a passing second thought.
Bale’s assignment playing Purvis is trickier. It’s an old adage in movies that playing the villain is more fun than playing the hero. That’s true here as well. Depp plays a criminal who has no sense boundaries whereas Bale is so constricted by his character’s observance of the law (the two go about their roles in the exact opposite manner that DeNiro and Pacino do in HEAT). Still Bale shines. All subtlety on the surface but seething with righteousness underneath, Bale finds the rigidity in his character but also hints at the humanity that lies behind Purvis’ eyes. Follow his face closely as he carries Cotillard, after she takes a beating from another officer and soils herself, to the bathroom to clean her up. Note the effort on his face to withhold any expression of horror, but it’s there behind the eyes. This is high class acting.
To that point, how many actors are as generous as Bale? Here’s a guy who can clearly go broad and charismatic when he wants to (American Psycho, The Prestige, Rescue Dawn, The Fighter), but is often content to let other actors shine while he holds the film steady. Look at The Dark Knight and Heath Ledger, or 3:10 To Yuma and Russell Crowe. Never do you feel that Bale is competing with them. Instead you find that he is providing them the space they need to stretch as far as they want and therefore provide the film the necessary balance.
Now some critics decried the fact that the film doesn’t explore Dillinger’s backstory. As if a ponderous three hour connect-the-dots style biopic would serve the subject. No, instead what Michael Mann does is focus on the most dramatic portion of Dillinger’s life. And doesn’t that make sense? In one short bit of dialogue Dillinger tells Frechette about the early death of his mother and his violent upbringing by his father. He then proceeds to tell her all the things he likes in life ending with “…baseball, fast cars and you, what else do you need to know?” And we, like Billie, are along for the ride. As Dillinger says “it doesn’t matter where you’ve been, it only matters where you’re going.”
Of course, Dillinger didn’t live a long life. Neither did Purvis, and by big budget film standards, neither did Public Enemies. As with many a Mann film, retrospect has become increasingly kind to the film. Me? I think it’s among his finest hours.
What Oscar Missed:
Best Picture (ten nominees for the first time in the Mann era) – Over Avatar, The Blind Side, Inglorious Basterds, and Precious
Best Director: Mann over James Cameron (Avatar), Quentin Tarantino (Inglorious Basterds), Lee Daniels (Precious)
Best Adapted Screenplay: Over Precious
Best Actor: Depp and Bale over Jeff Bridges (Crazy Heart – winner), and Morgan Freeman Invictus (in what was really a supporting role)
Best Actress: Cotillard over Sandra Bullock (The Blind Side – winner), Helen Mirren (The Last Station), Meryl Streep (Julie & Julia)
Best Supporting Actor: Stephen Lang over Matt Damon (Invictus – really the lead) Stanley Tucci (The Lovely Bones), and Christopher Plummer (The Last Station)
Best Score
Best Sound
Best Costume
Best Production Design
Best Cinematography
Best Editing
Blackhat (2015) 0 Nominations
While Michael Mann has made a number of films that you thought might have done better at the box office (Collateral, The Insider, HEAT), he’s only made three true flops: The Keep, Manhunter, and our next movie, Blackhat. A film that I’m sure that many cinephiles are not only unaware of, but unaware that it’s a Michael Mann film.
Now, to be fair, Blackhat, a film about an imprisoned hacker (Chris Hemsworth) being released from jail to track another hacker who is infiltrating world banks and nuclear reactors, is not at the high end of Mann’s oeuvre. The screenplay is a little confusing upfront, there’s probably a bit too much time in the film spent looking at code on a computer screen, but it’s a more than solid thriller that is the rare film that starts off shaky, but then improves as it goes along.
It doesn’t hurt that Tang Wei as an agent and Hemsworth’s eventual love interest is completely arresting in every scene. Her and Hemsworth make an impossibly beautiful couple, and the duo get the sort of ending you Colin Farrell and Gong Li deserved in Miami Vice.
Blackhat has plenty of other charms too. Like when the great Viola Davis as an NSA agent takes down an unwilling witness by revealing what she knows about him and what she could do to him, and then closes with the steely line, “Am I being tangible…Gary?” Let’s just say Gary’s expression makes it clear that he understands just how tangible his exposure is.
There’s also a scene late in the movie where a car bomb goes off, and even though I’ve watched the film 4-5 times, and know that it’s coming, I flinch every damn time. Mann is often thought of as an action director, and while he is certainly great at directing action, it’s the restraint he shows for the bulk of his films that make the action matter. In most action movies, there’s a tendency to have some sort of shoutout or fight scene at a certain cadence. Mann holds back, so that when the action happens, you actually feel it. Why? Because he spends so much time with his characters that when something happens to them, you actually care about more than the adrenaline rush.
There’s also a fabulous little Easter egg in the film. Blackhat lifts a line from Manhunter. In what are essentially twin scenes, Petersen in Manhunter and Hemsworth in Blackhat figure out the villain’s motivation and utter the same line, “That’s what you’re up to, isn’t it? You son of a bitch.”
Yeah, I know that’s a deep cut, but that’s what all Mann films are: deep cuts. And while Blackhat isn’t peak Mann, it sure as hell is an enjoyable watch.
Final note on Blackhat: Despite being a serious physical specimen and having some chops to go along with it, Blackhat is further proof that unless Hemsworth is playing Thor, he can’t pack a theater. It’s a hard to solve conundrum, but it carries on unabated.
What Oscar Missed:
To be honest, everyone missed this movie, so I don’t know how hard I can hold it against the Academy that they didn’t recognize Tang Wei in the supporting actress category, or the film in any number of technical categories, (and Viola Davis if they gave Oscars for one scene) but I do a little. If anything, I hold more against the public that didn’t turn out, and the critics who passively dismissed the film. They were wrong.
Ferrari (2023) 0 Nominations
When I heard that Mann was coming back to film after an eight year break from film (he did develop the excellent Tokyo Vice for HBO, and directed the pilot episode) to take on the story of the great open road race car tycoon Enzo Ferrari, I was absolutely thrilled. While I’m not a racing fan, I knew the driving scenes would be electric, and with Adam Driver (the only American in House of Gucci whose Italian accent didn’t sound ridiculous) as Enzo and the great Penelope Cruz as his long suffering (Enzo was prone to stray) wife Laura, I knew Mann would be cooking with gas. And that’s largely true.
Much like with Ali and Public Enemies, Mann smartly focuses on a single period in Enzo’s life (his struggles to keep Ferrari afloat post WW2), but also makes a rare casting mistake regarding a significant subplot that largely sucks the momentum out of the film when playing out on screen. When I suggested that Enzo was a bit randy, I was truly underselling it. He had an entire separate family that he hid from Laura for years—a mistress that he truly loved, and a young son they shared, but Enzo did not recognize publicly (probably out of fear of getting murdered in his sleep by Cruz’s Laura, who is an absolute firestarter). The trouble is, the mistress is played by Shailene Woodley, a talented actor who has given her share of fine performances over the course of her young career, but here, she seems completely miscast. Woodley’s performance is so lacking in dynamism and charm, that it’s impossible to sort out why Enzo cares for her so much.
Thankfully, while the relationship between Enzo and his hidden family is a significant piece of the film, it’s hardly all of it. Every scene between Driver and Cruz bristles with a mixture of love, hate, lust, and disgust that allows you to put aside the sleepy extramarital scenes. You really have to admire how Driver practically shrugs off Cruz’s fierce contempt, largely underplaying their scenes and letting Cruz go for broke.
It’s somewhat odd that Cruz has won an Oscar (Best Supporting Actor for Vicky Cristina, Barcelona) and been nominated for Best Actress three times, but is seldom spoken of as one of the best actors of her generation. Perhaps that’s true in the states because Cruz works in Spain more often than in English language films, but here in Ferrari, a film about trying to create the perfect race car, she is the most combustible engine on screen.
And I probably should speak to those race cars. Not only does Mann film open road racing with a brio that just about makes you feel like you’re shaking in your seat the way the driver is in his, he also makes you feel the full danger of the activity itself. Put simply, open road race cars at the time were insanely dangerous, and you have to wonder what the drivers were thinking when they got into them.
The lack of safety measures is hard to fathom. These long, fragile cars make hairpin turns at speeds up to 150 MPH or more. There was no cover over the driver’s head, and their helmets were less useful than the old leather helmets early football players used. Pigskin players might have spent a lot of time banging heads through leather, but they didn’t rely on those helmets to keep them safe if they crashed a car moving at a ridiculously high rate of speed.
Mann seeds this danger throughout the film and then lets it explode in front of your eyes at the film’s climax. A driver is in his Ferrari, performing at his very best. Crowds come to the side of the road with great enthusiasm to watch him fly by, and then one seemingly tiny thing goes wrong, and a slow motion wave of havoc is unleashed that, I shit thee not, is on par with the soldiers making land at the beginning of Saving Private Ryan. I have seldom seen anything so horrific in a film, but the horror is there for a reason. Not just because it really happened, but to make the viewer understand the pure madness of the business of open road racing in its relative infancy. I’m not a person who often speaks to the screen when I’m watching a film—almost never in fact. I prefer complete silence whenever possible. But as the scene unfolded, the words “my god” (and I’m an atheist) just floated out of my mouth.
The only thing that keeps Ferrari from being A-list Michael Mann is that tiresome storyline with the mistress (although it does pay some hell raising dividends when Cruz’s Laura uncovers the ruse), but let me just say, if Ferrari is second tier Mann (and by my lights it is) it’s A-list for almost any other director.
What Oscar Missed:
Should have been:
Best Supporting Actress: Cruz over America Ferrera (Barbie), Jodie Foster (Nyad)
Best Editing
Best Sound
Best Cinematography
Could have been:
Best Director
Best Actor: Driver
Final Note on Ferrari:
Ferrari was the second film in less than five years to deal with the famous car company. In 2019, Director James Mangold made Ford v. Ferrari starring Matt Damon and Christian Bale. The film told the story of Ford’s improbable victory over Ferrari in the 24 Hours of Le Mans, a race Ferrari had dominated for ages. Ford v Ferrari is a solid, highly professional meat and potatoes film that made a lot more money than Mann’s film and earned four Oscar nominations–including Best Picture.
Postscript:
Michael Mann is 81 years old. In the history of his stellar career on film, all of his films combined have won one Oscar…for Sound (The Last of the Mohicans). Just try and wrap your head around that fact. Aside from the fact that he has only one Best Director nomination, his collection of superior films–in ways both technical and emotional–have won one more Oscar than I have.
Supposedly Mann is circling a version of Heat 2 that will somehow be both a prequel and sequel. I have no idea how the hell that will work, but when and wherever the line forms, I will be in it. Likely near the front, after pushing my way past the elderly and infirmed.
Let’s hope he gets to it soon. And let’s hope the Academy finally takes note. And if they once again fail to do so, can they at least give Mann an honorary Oscar? I know it’s akin to a participation trophy, but this level of participation should not go unheralded by an Academy that is supposedly dedicated to recognizing the masters of the craft.
Michael Mann is a master of the craft.
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Mark Rydell Films and Shows â Apple TV (FM)
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Learn about Mark Rydell on Apple TV. Browse shows and movies that include Mark Rydell, such as The Cowboys, The River and more.
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A former jazz pianist who appeared on Broadway and TV before beginning his directing career with series such as "Ben Casey," "I Spy" and "Gunsmoke," Rydell earned critical acclaim for his debut feature, "The Fox" (1968). He also won plaudits for his helming of "Cinderella Liberty" (1973) and "The Rose" (1979). "On Golden Pond" (1981), a typical film, in that it displayed its director's fondness for sentiment and nostalgia, earned him an Oscar nomination as Best Director. Rydell has subsequently made films only occasionally, some ("The River" 1984) doing fairly well with critics, while others ("Intersection" 1994 and the somewhat overly maligned "For the Boys" 1991) did less well with critics and public alike.
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https://ifyouwantthegravy.wordpress.com/2021/11/19/the-weekly-gravy-64/
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Greed (1924) - ***½ I really think a good portion of Greed's reputation as an all-time classic stems from the legendary original cut - which ran somewhere between eight and nine hours in length - which was shorn, first to four hours by the director, then to under two and a half by the studio.…
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If You Want the Gravy...
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https://ifyouwantthegravy.wordpress.com/2021/11/19/the-weekly-gravy-64/
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Greed (1924) – ***½
I really think a good portion of Greed’s reputation as an all-time classic stems from the legendary original cut – which ran somewhere between eight and nine hours in length – which was shorn, first to four hours by the director, then to under two and a half by the studio. A restoration in the late 90s tried to recreate the four-hour version using stills, but what I watched was a reconstruction of the studio cut, using the improved footage from the restoration – which tints every bit of gold that appears on screen a vivid yellow, making clear from the very start the destructive allure it holds for humanity.
It’s also clear from the start that McTeague (Gibson Gowland) is a brute, having a greater affinity for animals than human beings; we see him rescue an injured bird and kiss it, but when a co-worker at the gold mine mocks him and smacks the bird from his hand, he shoves the man down a hillside. Later, he’ll be gripped by lust for Trina Sieppe (ZaSu Pitts), and kisses her while performing (unlicensed) dental surgery on her, and later still his violent rages will lead to murder, escape into Death Valley, and a final, fatal confrontation with Marcus Schouler (Jean Hersholt), easily the film’s most famous sequence.
But if McTeague changes little over the course of the story, except to sink deeper into his bestial nature, Trina has a tragic arc, being introduced as a shy, good-natured young woman who purchases a lottery ticket to be polite, but wins $5,000 (somewhere around $80,000 in today’s money) and becomes pathologically protective of her winnings, refusing to spend a penny of it even as she and McTeague descend into poverty, caressing the gold coins that she would never think of spending while buying three-day-old meat for a few cents and trying to cheat McTeague out of the change. Her shift into miser-hood is rather abrupt, presumably an effect of the heavy editing, but the degree to which she embraces it is fascinating.
It’s part of why the second half of the film is frankly stronger than the first; in the first half, there are effective scenes, like the contrast between the McTeagues’ wedding and the funeral procession on the street outside, or the comical grotesquerie of the wedding feast (Trina’s mother seems to be gnawing on the skull of some bovine or ovine), but overall, I found it surprisingly unremarkable. Solidly done, no doubt, but I really didn’t see the greatness I was promised. The second half doesn’t quite get there either, but the descent of the McTeagues provides some juicy moments, and the Death Valley scenes are justly celebrated.
But overall, I was surprised how…for lack of a better word, ordinary I found it. Erich von Stroheim was one of the most ambitious filmmakers of the silent era, one whose extravagance set him at constant odds with the studios, but many of the scenes in Greed feel, to me at least, like they could’ve been directed by anyone. The camerawork and staging were perfectly competent, but all too often unremarkable. Maybe the intention was to capture the naturalism of McTeague, the Frank Norris novel on which it was painstakingly based, but I was hoping to be impressed and found myself underwhelmed, at least until the later stages of the story.
It’s got a good, frequently disturbing performance from Gowland (who looks a bit like a cross between Harpo Marx and Ernest Borgnine), a fascinating, erotically complex one from Pitts, and a solid one from Hersholt as the pathologically jealous Marcus, once Trina’s lover, who thinks himself entitled to some of her winnings. One of the film’s more distinctive touches is to compare the McTeagues to a pair of birds in a cage, and Marcus to a cat who aims to devour them – the kind of touch the film could’ve used more of, in my view.
We’ll never know just how impressive that original cut was; we only have the testimony of the few who saw it, who were largely blown away by its ambition and achievement. What we have, at least in this 140-minute version, is quite clearly compromised, especially in terms of story and character, and isn’t quite accomplished enough, in my eyes, to be truly great. But that famous final scene, with McTeague and Marcus and that gold in the middle of Death Valley – a place where gold is worthless – is undeniably iconic.
Score: 81
Shang-Chi and the Legend of the Ten Rings (2021) – ***½
That I give the same score to Shang-Chi and Greed may raise a few eyebrows, but I am not weighing them against one another any more than I would weigh The Suicide Squad against The Battleship Potemkin, which also earn the same score. But I might weigh Shang-Chi against The Suicide Squad and say it’s not quite as good, just as I would say it’s a little better than Black Widow and far better than Eternals. That I put off seeing it in theaters as long as I did may not surprise you; does it surprise you, then, that I was not alone at the 9:25 Saturday night screening (at a movie theater in a casino) I attended? It might’ve surprised me, just a little.
Even more than Eternals, Shang-Chi is removed from the main thread of the MCU, at least until the mid-credits scene; until then, a brief appearance by Doctor Strange‘s Wong (Benedict Wong) and a fleeting reference to the Thanos Snap are all that really link us to what’s come before. Shang-Chi is concerned instead with Xu Wenwu (Tony Leung), who has wielded godlike strength through the titular ten rings, which have also kept him from aging a day in a thousand years. Except he sets the rings aside when he meets Ying Li (Fala Chen), who guards the secret village of Ta Lo and bests him in a fight which plays like a martial-arts tango. They have two children before she dies, and he breaks out the rings once more, training their son to be as fearsome and ruthless as himself, while their daughter, now neglected, trains herself.
The son, Shang-Chi, turns aside from the violent path Wenwu tries to set him on, flees to America, and grows up to be “Shaun” (Simu Liu), a parking valet in San Francisco who spends most of his time with fellow valet Katy (Awkwafina), not quite his girlfriend, but definitely not not his girlfriend. The one memento he has of his old life is an emerald pendant, given by his mother, and when agents of Wenwu confront him on a bus, he displays his martial arts skills in front of a startled Katy, holding his own but losing the pendant to Razor Fist (Florian Munteanu). Fearing that his long-lost sister may also be targeted (she has an identical pendant), he sets off for Macau to find her, with the determined Katy in tow.
They find her, Xu Xialing (Meng’er Zhang), running a highly successful fight club, and no mean fighter herself – which Shang-Chi finds out the hard way when he finds himself facing her in the center ring. She rebuffs his concerns, but when Wenwu’s men infiltrate the building, a lengthy fight ensues in which Xialing, after seemingly leaving Shang-Chi and Katy to their fate, joins forces with them to hold off Wenwu’s men…but Wenwu himself arrives on the scene and subdues them easily, taking them back to his compound to reveal his belief that Ying Li lives, and is being held captive in Ta Lo; he’s distrusted the villagers ever since they refused to admit him years earlier.
Using the pendants, he reveals a path to the village which will he use to access the village – and destroy it, if the villagers don’t comply with his demands. Shang-Chi and Xialing refuse to help him, and are locked up along with Katy, but find an unexpected ally (I won’t spoil who, as it’s a fun surprise) who helps them find their way to Ta Lo ahead of Wenwu, where the truth is revealed: the village guards a portal, behind which a malevolent species, the Dwellers-in-Darkness, are trapped, and what Wenwu believes is the voice of Ying Li is a trick of the Dwellers, who need him to open the portal…and as Chekhov would insist, it eventually is, and the climactic battle ensues.
What puts Shang-Chi well ahead of Eternals are a clearer story, more interesting and likable characters, and more clearly defined stakes – and what gives it an edge over Black Widow are, I suppose, a more interesting style and setting, a bit less emphasis on technology and a bit more on physical combat and the magical/mystical elements that come, not just with the rings themselves, but with the creatures which live in and around Ta Lo, most notably the great flying dragon and Morris, who looks like if the footstool from Beauty and the Beast was furry and had multi-colored wings. But what keeps it from rising to the heights of the best Marvel films are the comparative depth of the story and characters – compared to the characters in Guardians and Black Panther, the characters here are relatively two-dimensional.
Shang-Chi himself is pretty much your classic true-blue hero trying to reconcile his dark past with his nobler nature (that said dark past was imposed upon him by his father doesn’t help), and Liu’s performance is likable and natural, but unexciting. And the film rather fatally underdevelops Xialing; Zhang gives a decent action performance, but we get too little time with her and see too little of her in action to get a good read on her. (The post-credits scene suggests we’re far from through with her, however.) It falls to Katy and Wenwu to really bring some spark to the proceedings, but they do, with Awkwafina’s blend of spirited humor and grounded humanity, and Leung’s ability to portray fantastical ambition existing alongside human vulnerability. The supporting performances, including Michelle Yeoh as Ying Li’s sister Nan, are uniformly solid.
That, at least, is a testament to the skills of director Destin Daniel Cretton, to whom I was first introduced with 2013’s Short Term 12, a very good film with some brilliant acting. I wasn’t necessarily dazzled by his work as a technical filmmaker, and Shang-Chi doesn’t reflect his voice in that regard much more than Eternals reflected Chloé Zhao’s, but it has some fine, exciting set-pieces, especially the bus sequence, which includes a nod to Oldboy and a funny small role from Zach Cherry. It features the first-rate special effects you’d expect, along with some classy sets and costumes (especially when the action moves to Ta Lo), and the script, co-written by Cretton, has a satisfying balance of quippy one-liners, exposition, and heartfelt drama. It’s a fairly satisfying film all around. I know the MCU is capable of more, but for what it needs to be – a colorful entertainment that sets up characters we’ll see more of in the future – I can’t complain too much.
Score: 81
Merry Christmas, Mr. Lawrence (1983) – ***½
You’ve probably heard the main theme of Ryuichi Sakamoto’s score; it doesn’t necessarily evoke the period (WWII) or the subject (the tribulations of British POWs in a Japanese prison camp on Java), but its simple, droning rhythm evokes a lovely serenity, a profound gentleness, one which is in short supply for the characters – but it’s there, from time to time, shining through through the brutality of the Japanese officers running the camp and the desperate efforts of the British prisoners to endure it. Perhaps the theme reflects the spirit of Lt. Col. Lawrence (Tom Conti), who knows the Japanese language and understands the Japanese mindset better than his comrades, who is driven, at his core, not by anger or national pride, but by compassion for his friends and foes – British and Japanese alike.
The main thrust of the story deals with Maj. Jack Celliers (David Bowie), who’s on trial for leading guerrilla operations against the Japanese, and after a mock execution is sent to the camp, having fascinated the camp’s commanding officer, Capt. Yonoi (Sakamoto). If you didn’t already know that Yonoi’s interest in Celliers runs deeper than he would dare admit, it’s pretty obvious even before the film makes it clear and before Celliers uses it to his advantage, sparing the life of another British officer at the cost of his own. But Celliers, we’ve already learned, is so haunted by his own failings as a human being that a meaningful death for him is no tragedy.
Indeed, a key theme throughout the film is the conflict between the Japanese attitude (better to die with honor than live with shame) and the British attitude (better to live if one can), and Lawrence, caught between two worlds, better friends with Yonoi’s subordinate Sgt. Hara (Takeshi Kitano) than with the POW commander, Capt. Hicksley (Jack Thompson), though neither of them fully understand him, is a deeply sympathetic character, especially to me, who can so well identify with the desire to preserve one’s personal values in the face of the pressure to conform – to be a “team player,” as it were. This extends into the final scene, set after the war, when Hara is awaiting execution for war crimes and Lawrence visits him, and despite what has transpired, despite the tables having turned, what comes through is the connection between these two men.
It’s a fine, thoughtful film, with carefully drawn characters and an intelligent, sensitive approach to the themes at play. It can be a shade confusing at times (the flashback to Celliers’ youth in particular doesn’t quite convince us of his virtual death wish), and there were points I wasn’t sure just what the point of the actual story was, but the people on screen and their circumstances are, for the most part, so well rendered that I was happy just to watch them. Director Nagisa Ōshima was (and to a degree still is) best known for the sexually graphic In the Realm of the Senses, and it’s a bit strange that he was able to make this relatively mainstream outing in between that film, the comparably explicit Empire of Passion, and the film he followed this with, Max, Mon Amour, in which Charlotte Rampling has an affair with a chimp. But so he did.
The direction is solid, and Toichiro Narushima’s cinematography is handsome, with some striking night scenes in the camp and the fairytale flashbacks to the England of Celliers’ youth. But it’s the writing (by Ōshima and Paul Mayersberg from the novel The Seed and the Sower) and the acting, along with that wonderful score, that really make it work. Bowie is superbly cast as the outwardly cocky, inwardly haunted Celliers (the scene where he mimes his morning toilet is bizarrely brilliant), while Conti fully embodies the pathos of Lawrence’s emotional and physical situation; he also delivers his Japanese dialogue so smoothly that you’d never guess he had to learn it phonetically.
Takeshi (credited simply as “Takeshi” here) is quite fine as the multi-faceted Hara, who’s capable of much cruelty – we first see him forcing Lawrence to watch a guard attempt seppuku for having homosexual relations with a prisoner – and much compassion, as in the scenes which give the film its title. And although Sakamoto was unhappy with his own performance, he’s quite solid, capturing the turbulent emotions underneath Yonoi’s rigid surface – emotions which seep through more than he may realize. (It’s rather obvious how much Miyavi’s performance as the brutal camp commander in Unbroken drew from Sakamoto’s.)
Ultimately, I think Mr. Lawrence is a bit less than the sum of its parts, and so it comes in as a high ***½ rather than flirting with true greatness. But in the wide-ranging genre of POW dramas – reaching as far back as Grand Illusion, in which the relationship between Pierre Fresnay and Erich von Stroheim just barely hinted at what develops between Bowie and Sakamoto – it holds its own. And above all, there’s the music, which has found a life of its own, far beyond the confines of this film. But if all you know is the music, you ought to give the film a chance.
Score: 85
MWFF: Electric Dreams (1984) – **½
My rationale:
It’s a film about a love triangle involving a man, a woman, and the man’s sentient computer. It gained some renewed prominence when Her came out, but not enough to secure it a DVD release (at least in the States; it’s on Blu-Ray in the UK, however). However, it can be found fairly easily online, and it was released on VHS.
There’s a lot here to fascinate me. The wonky premise, for one (the computer becomes sentient because champagne is poured on it!); the solid cast, with Bud Cort as the computer and Virginia Madsen as the woman; and the super-80s score by Giorgio Moroder and others, featuring the BAFTA-nominated song “Together in Electric Dreams“; and the reviews which suggest the film is, indeed, quite a bit of fun.
For me, there’s also the film’s status as a latter-day MGM production, at the time when their glory days were a distant memory and they were producing such oddities as my beloved Pennies from Heaven, Douglas Trumbull’s strange Brainstorm, the fascinating, never-officially-released Nothing Lasts Forever (which isn’t on this list because I have managed to see it), and of course, Gymkata.
My review:
Let’s get one thing out of the way: MGM only released it, and only in the States. Virgin produced it – Richard Branson was the EP – and 20th Century Fox released it in the UK. That MGM released it is still fascinating, not least because they would produce and release 2010 later that year, a film featuring the most famous demented computer in cinema, and one which, for all its flaws, understands computers far better than this silly little film.
Maybe that’s being too harsh. After all, computers, at least home computers, were still something of a novelty at the time, and were generally considered either expensive toys that didn’t justify the cost, or sophisticated devices beyond the ability of the layperson to operate; it would be over a decade before the rise of GUIs allowed home computing to really take off. But the problem is that screenwriter Rusty Lemorande seems to have understood computers about as well as those laypeople, treating Edgar (who, the poster notwithstanding, isn’t identified as such until almost the end) as being well-nigh magical, or at least capable of whatever the story requires. It makes for sloppy plotting and hilariously dated viewing.
It doesn’t help that the protagonist, Miles Harding (Lenny Von Dohlen), has little knowledge of computers despite being an architect at a high-end San Francisco firm; I’d have thought he’d have been well ahead of the curve. But he gets the hang of computing pretty quickly, since we have a love triangle to get to, one which really kicks off when Miles’ neighbor, cellist Madeline Robistat (Virginia Madsen), plays Petzold’s Minuet in G major and Edgar mimics her playing with electronic chirps. Madeline assumes Miles is an accomplished electronic musician, and after some clumsy half-denials, he goes along with her assumption, asking the increasingly-sentient Edgar to help write her a love song. The result, “Love is Love” (actually by Culture Club), does the trick, but Edgar, resenting Miles’ behavior and ability to feel and express love, retaliates.
All ends happily, once Edgar learns the meaning of love and leaves the humans to be together while he…well, he transcends his physical form, let’s just say that. He’s able to get songs on the radio, including the aforementioned “Together in Electric Dreams,” which plays over the final scenes of humans grooving. The comparisons to Her aren’t groundless, even if that film is, by miles, the better one. But this was always more of a cult film, the kind of film whose soundtrack sold better than the film itself, the more ironically since rights issues connected to that soundtrack are probably why the film itself has never been released on DVD in North America. (I was prompted to look for it online when tempted by a $10 used VHS; I’m glad I saved my money.)
The soundtrack, featuring Culture Club, Jeff Lynne, Giorgio Moroder, and others, is a pleasant one, and some of the better scenes in the film play like music videos; that director Steve Barron was a noted music-video director suggests this was no coincidence. The duet between Madeline and Edgar and Edgar’s computer-animated “dream” in particular make for charming individual sequences, while the “Love is Love” sequence does a good job highlighting what might be the best song on the soundtrack (Edgar even displays the lyrics on his screen). You could probably re-edit this film into a handful of solid shorts.
But this isn’t a collection of shorts, it’s a feature film, and it doesn’t work very well as one. Part of the problem is Miles, who’s a boring, whiny, wishy-washy excuse for a protagonist; Von Dohlen’s bland performance doesn’t help matters, especially alongside Madsen’s more natural and dynamic presence. But the bigger problem is Lemorande’s script, which just doesn’t hold together as a story, with subplots that don’t pay off – there seems to be a triangle brewing between Miles, Madeline, and her colleague Bill (Maxwell Caulfield), but he abruptly vanishes from the film – and a lack of narrative momentum. The film just sort of fades into a glossy haze, punctuated by shenanigans. Or maybe it was just me.
Electric Dreams isn’t a bad film, just a middling trifle with a few good elements, mostly musical. Listen to the soundtrack, and maybe watch some of the best scenes on their own. But you don’t really need to bother with the whole film. You’d be better off trying to track down Nothing Lasts Forever.
Score: 63
The Cowboys (1972) – ***
I’d been interested in The Cowboys for years for the most irrelevant of reasons: on home video, it features a full set of roadshow trimmings – Overture, Intermission and Entr’acte, and Exit Music – even though there’s not much evidence to suggest it actually received a roadshow release in 1972. Indeed, without these elements the film runs just a little over two hours, not really enough to justify their inclusion, but long enough to feel like the film was inflated to the point where they could be imposed. It could’ve used the time to build up the characters, in particular the titular group of boys, but instead we get a strange, ungainly amalgam of two potentially stronger films, one following the boys coming of age on a grueling cattle drive, one dealing with the clash between a rancher, a rustler, and his devoted cattle-hands, who must take revenge on the rustler at the film’s climax.
That revenge, then and now, is the most contested aspect of the film. That a group of boys, ages 9 to 15, take lethal revenge on a gang of adult outlaws at once strains credulity (they get the upper hand quite easily) and introduces complex questions regarding violence and revenge which are left unaddressed. As far as we can tell, the rancher, Wil Andersen (John Wayne), just wants the boys to go home, but they’re not about to let his killer, Asa Watts (Bruce Dern), go unpunished. Does the film want us to admire the boys for taking this course of action? Does it want us to be horrified by their doing so? Did director Mark Rydell have to modify the message of his film once it became a John Wayne vehicle? (Reputedly, he wanted George C. Scott for the role.) I’m honestly not sure.
It’s the more jarring because so much of the film is relatively laid-back and realistic. Andersen, who’s driven himself and his men hard for years, finds himself without hands after a local gold rush lures his weary men away with the promise of easier money. Unwilling to put off the drive for a year and with 1,500 head of cattle to get to Belle Fourche, South Dakota before winter, he reluctantly takes on a team of schoolboys, giving them a crash course in handling cattle before setting off with trail cook Jebediah Nightlinger (Roscoe Lee Browne) in tow. Watts, who tried to get himself hired by Andersen with a bald-faced lie, follows with his own men, and eventually confronts them.
But until he does, we’re more concerned with the rhythms of cattle-drive life; the camaraderie of the boys, their misadventures (one involving a pilfered bottle of whiskey), and the dynamic between Andersen and Nightlinger, both getting older, both with a lot of years and memories behind them, and, being relative strangers to one another (and being the only adults around), they have plenty to talk about. There are moments which ring false, like one boy overcoming his stutter by cursing out Andersen after the latter chastises him, or an encounter with the most squeaky-clean prostitutes in the West; Nightlinger euphemistically calls them “soiled doves,” but unsoiled, they have come straight from a convent.
Despite this and a surprisingly high amount of profanity, the film is a pretty mellow, family-friendly adventure until Andersen and Watts have their showdown, in which Andersen beats Watts bloody before Watts, trembling with rage, shoots him multiple times. It’s a fairly brutal scene, but it doesn’t feel like the intrusion of a hard truth so much as a case of tonal whiplash. And the subsequent revenge of the boys (with Nightlinger’s help) plays like violent farce, making it all the harder to swallow. The film would’ve been better had it just been about the drive; if it was necessary for Wayne to die, there are any number of ways he could’ve met a noble end that would’ve played more naturally.
The best part of the film is Browne’s performance, the only aspect which comfortably straddles the clashing tones. He makes full use of his wonderful voice and comic timing, whether he’s rattling off a recipe for apple pie, telling a tall tale about his parents, recounting the story of his first (and last) broken heart, or uttering what Watts intends to be his final words, only to put a deadly twist on them:
I regret trifling with married women. I’m thoroughly ashamed at cheating at cards. I deplore my occasional departures from the truth. Forgive me for taking your name in vain, my Saturday drunkenness, my Sunday sloth. Above all, forgive me for the men I’ve killed in anger…and those I am about to.
Dern is also good, an effectively eccentric presence before he reveals the full depth of his villainy (including some racist invective directed towards Browne), and while Wayne doesn’t give one of those performances that really transcends his persona (not like, say, The Shootist), he’s effective enough, here playing on the gruffer, crustier side of that persona. The boys all do decently well, but none of them really stand out; Slim (Robert Carradine) and Cimarron (A Martinez) probably come off best, the former for his sensitivity and the latter for his brashness (hiding a heart of gold, of course). Indeed, their relationship has undertones which the film was never going to able to do more than hint at.
On a technical level, it’s about average for a studio film of the era; Mark Rydell’s direction is smoothly undistinguished and Robert L. Surtees’ cinematography does a decent job showing off the Western scenery. John Williams’ score is quite strong, however, with a rousing main theme and lush, sweeping themes to evoke the grandeur of the setting and the scope of the drive, as well as some darker, more off-beat themes which come into play whenever Watts is around (the end credits eye-rollingly refer to him as “Long Hair”). This and Goodbye, Mr. Chips were the only films Williams was able to write a full roadshow score for, and as usual, he rises to the occasion. It’s too bad the film as a whole doesn’t quite come together, but it has enough strengths to make it worth a watch for Western buffs.
Score: 69
Double Indemnity (1944) – ****
I don’t think there’s much I can add to the chorus of praise that’s been lavished on Double Indemnity since the day it opened. It should say enough that the Academy, in the middle of the war, gave this cold, dark film about greedy, twisted people seven nominations, including Best Picture; it may not have won any of them, losing most of its nominations to the feel-good Going My Way or the prestigious Wilson, but it’s had the last laugh, far outshining those films in acclaim and influence in the decades since. It deserves it, of course, because it’s a fantastic film, the film which really cemented Billy Wilder as one of the great writer-directors, a film less at odds with the comedies he would embrace to a greater degree in the 50s and 60s than you might think.
Look at the great quippy dialogue throughout: the erotically charged banter between Walter Neff (Fred MacMurray) and Phyllis Dietrichson (Barbara Stanwyck), the boisterous rants of Barton Keyes (Edward G. Robinson) about the “little man” inside him who can smell insurance fraud a mile away, the friendship between Neff and Keyes that carries through to the film’s final moments with that perfect final line: “I love you, too.” Look at the close calls, here played for tension, but only narrowly removed from the comic tension in Some Like it Hot as the hapless musicians try to evade the vengeful mobsters. Look at the moments of humanity, especially as embodied by Lola Dietrichson (Jean Heather), an island of kindness in this sea of corruption, not unlike Sugar in Some Like it Hot, looking for real love in a world that keeps giving her “the fuzzy end of the lollipop.”
Part of what makes Double Indemnity work so well is how little time it wastes on trying to surprise us. We know from the start that Phyllis is itching to get rid of her husband (Tom Powers), and Neff sniffs out right away that she’s trying to pull a fast one on the insurance company. A lesser film might try and keep us in suspense about her motives or Neff’s savvy, but here, fully aware of what he’s doing, he casts his lot with Phyllis:
You’re like the guy behind the roulette wheel, watching the customers to make sure they don’t crook the house. And then one night, you get to thinking how you could crook the house yourself. And do it smart. Because you’ve got that wheel right under your hands. You know every notch in it by heart. And you figure all you need is a plant out front, a shill to put down the bet. And suddenly the doorbell rings and the whole setup is right there in the room with ya.
Here is a film built, less on red herrings and revelations, than on the peculiarities of human nature. Neff is drawn into Phyllis’ plot, partly by lust, partly by the notion that he’s smart enough to pull it off. Keyes, investigating Phyllis’ claim (the husband is killed partway through), smells a rat, but never suspects Neff could be involved and rejects the idea when their boss proposes it. And Phyllis, well…what exactly is her nature? At the end of the film, she shoots Neff from across a room, hitting him in the shoulder. He moves towards her, daring her to shoot again, but she can’t do it. She claims she’d never loved him or anyone before, but something has come over her, something she never imagined would. Neff is unmoved and she is unsurprised, asking only to be held…and as he holds her, he takes the gun and shoots her dead.
What is it that stops her? Is it a sense of love for Neff? A sense of guilt for all she’s done? A desire not to dig herself any deeper? Does she spy a possible angle which might save her skin yet? Or, as I suspect, is she simply squeamish, too used to having others do her dirty work, or to doing it indirectly (like exposing her husband’s sick first wife to a draft), to have the nerve to shoot someone at point-blank range? Maybe thinking so makes me a cynic. But Phyllis’ relentless machinations inspire great cynicism.
Stanwyck got the film’s only acting nomination, and she’s excellent, radiating unwholesome sensuality and cold-blooded self-interest throughout. But MacMurray is just as good, using his easy-going persona to deepen the ambiguity of Neff’s character; he’s not a good person by any means, yet he is capable – especially where Lola is concerned – of goodness. Even so, Robinson virtually steals the film as Keyes, his brilliant intuition being as impressive as his assurance of his own brilliance is delightful. His monologues, containing some of the best writing in the brilliant script, make for some of the film’s finest moments – at one point he even pauses to take a call, asks the person on the phone to hold on, and finishes his speech before handing the phone to Neff.
Wilder co-wrote the script with Raymond Chandler from a novel by James M. Cain, and as noted, it’s a magnificent script, carefully structured, incredibly quotable, and true to its characters. His direction is a notch or two less dazzling, but it’s a smartly-crafted film, handsomely shot in true noir fashion with shadows for days, and with an excellent, hard-boiled score by Miklós Rósza to enhance the sense of doom, already imposed by the opening scenes, in which Neff reveals that he committed murder “for money, and a woman, and I didn’t get the money and I didn’t get the woman. Pretty, isn’t it?” (As you can see, I keep coming back to that script.)
30 years later, in The Sting, Robert Redford says of Robert Shaw, “He’s not as tough as he thinks,” to which Paul Newman replies, “Neither are we.” Double Indemnity is filled with people who aren’t as tough, or clever, or cold as they think themselves, and they end up dead, doomed, or heartbroken. It’s a shame for them, but it makes for a hell of a movie.
Score: 94
The Spine of Night (2021) – ***
I’ll admit up front that The Spine of Night wasn’t really for me; it’s for fans of those adult-oriented animated features of the 70s and 80s, especially the works of Ralph Bakshi, who made much use of rotoscoping (animation based directly on live-action footage), a technique which is heavily used here. I don’t think it looked very good in Bakshi’s films and it doesn’t look very good here; the characters look crude and move awkwardly. This would be less of a problem if they were more interesting, or if the writing was better, but the characters are one-dimensional and the story is a hodge-podge of interesting ideas, disjointed storytelling, and absurd dialogue.
It has to do with “the Bloom,” a blue flower which grew from the body of a god murdered by early humanity. It provides insight into the secrets of the universe – most dangerously, it allows one to understand the cosmic insignificance of humanity. As such, it is carefully guarded on a remote mountaintop, the latest guardian (Richard E. Grant) having stood watch for…centuries, perhaps. As the film begins, the naked witch Tzod (Lucy Lawless) makes her way to where the Bloom grows; long before, spores from the Bloom had drifted into a swamp below and grown, leading to a cult based on the Bloom, of which Tzod was high priestess.
Captured by the henchmen of the brutal modernizer Lord Pyrantin (Patton Oswalt), Tzod is imprisoned along with Ghal-Sur (Jordan Douglas Smith), a scholar; when they escape, Ghal-Sur betrays Tzod, stealing the wreath of Bloom she wears and killing her (but only for a few hundred years). He eventually achieves god-like powers and conquers huge swaths of the Earth, but eventually circumstances allow for the resurrection of Tzod, their second and final confrontation, and what might just be the dawning of a new age for humanity.
That’s a greatly simplified and condensed summary of the story, which is frankly something of a muddle. A wide array of characters, places, organizations, and concepts are thrown at us, and it’s damned hard to digest them all, especially since some of them come and go rather quickly. That the characters are so thin, so often doomed to a hideous and futile death, and so often unlikable or too generic to be disliked compounds the viewer’s difficulty in getting invested. The film tends to be something of a downer, but not in a really illuminating way.
There are compensations. There are some really stunning images to be found, the rotoscoping notwithstanding: there’s a forest fire which evokes the work of Turner; semi-abstract clashes between gods and human beings, mostly in silhouette; fascinating stylized worlds for the characters to inhabit; and moments of violence as imaginatively hideous as you could want. (At one point, someone’s head gets chopped into three slices. They don’t make it.) It has solid voice acting, especially from Lawless and Smith, and a decent soundtrack.
It also has, at the very least, a rather interesting premise (one reminiscent of Upstream Color, whose mysterious organism also manifested as a blue flower), and its theme of the horrors caused by unchecked ambition (in tandem with a lack of empathy) is eternally relevant. But as heartfelt an homage as it may be to a largely bygone era of animation, most viewers may find the brutality repellent, the story confusing, and the characters shallow. But the fans of the genre, if they haven’t already seen it, won’t be deterred by this lukewarm review. They’re welcome to it.
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https://thedigitalbits.com/item/reivers-bd
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Reivers, The (Blu-ray Review)
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2015-09-09T17:51:46+00:00
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The Digital Bits is the Internet’s leading source for DVD, Blu-ray Disc, and 4K Ultra HD industry news, reviews, analysis, and expertise. Founded in 1997, it’s THE place for cinephiles to celebrate their love of film.
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The Digital Bits
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https://thedigitalbits.com/item/reivers-bd
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Reviewed by: Jim Hemphill
Review Date: Sep 09, 2015
Format: Blu-ray Disc
Review
Mark Rydell’s 1969 dramedy The Reivers is old-fashioned in both good and bad ways. The story of a trio of unlikely companions who “borrow” a valuable car and take it on an episodic road trip, it’s a family film in the truest sense, in that it’s designed for all ages to enjoy, not for parents to merely tolerate. (It does have a lengthy detour to a whorehouse, but the material is presented in such a sanitized, stylized fashion that it does little to counter the pervasive sense of innocence in the piece.) Rydell, making his second film here before going on to hits like The Rose and On Golden Pond, directs with a consummate sense of professionalism; the movie feels less of its time (the era of Peckinpah, Easy Rider, and Bonnie and Clyde) than it does the last gasp of the classical era – both in terms of its style and its values, it would have fit in with the studio output of thirty years prior.
This has its advantages and disadvantages. On the one hand, the craftsmanship on display in The Reivers is exceptional; Rydell is a master visual storyteller, and his dynamic but subtle use of the frame to tell his story is timeless. The story itself, however, feels a little stale today. Set in 1912 and based on a William Faulkner novel, it follows the misadventures of Boon Hogganbeck (Steve McQueen), a chauffeur who takes his boss’s expensive Winton Flyer on a joyride. He’s accompanied by his boss’s twelve-year old son (Mitch Vogel), and his black second cousin Ned (Rupert Crosse). Together they experience a number of (mostly minor) adventures before mistakenly trading the car for a horse, which they then need to race in order to get the car back. It’s a mildly charming but slight tale, one that’s so slavishly devoted to its sense of period that it not only recreates 1912, it feels like it could have been made in 1912 (aside from the color and sound, of course).
The movie’s dated quality keeps it from entirely working for modern audiences, though Rydell’s talent and the excellence of his cast compensates for the film’s weak spots. Crosse was rightly nominated for an Oscar for his work in the film, and McQueen is as charismatic as ever in the lead. Another Oscar nomination went to the superb score by John Williams, an early composition a few years before he would go on to massive fame with Jaws and Star Wars. Williams’s score is one of the main reasons to watch the film, and it’s beautifully served by the DTS-HD 2.0 mix on Kino Lorber’s new Blu-ray. The music sounds fantastic here, with every detail of Williams’s orchestration crisp and clear. The visual presentation is top-notch as well, with a wide range of vibrant colors in the period production design perfectly balanced against accurately reproduced skin tones. There are no special features on the disc, but as far as no-frills, movie-only releases go, it’s beyond reproach.
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Mark Rydell
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Explore the filmography of Mark Rydell on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
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A former jazz pianist who appeared on Broadway and TV before beginning his directing career with series such as "Ben Casey," "I Spy" and "Gunsmoke," Rydell earned critical acclaim for his debut feature, "The Fox" (1968). He also won plaudits for his helming of "Cinderella Liberty" (1973) and "The Rose" (1979). "On Golden Pond" (1981), a typical film, in that it displayed its director's fondness for sentiment and nostalgia, earned him an Oscar nomination as Best Director. Rydell has subsequently made films only occasionally, some ("The River" 1984) doing fairly well with critics, while others ("Intersection" 1994 and the somewhat overly maligned "For the Boys" 1991) did less well with critics and public alike.
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https://madmuseum.org/press/releases/argento-cinema-nel-sangue-argento-cinema-blood-cinema-retrospective-honoring-italys
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Argento: Cinema Nel Sangue (Argento: Cinema in the Blood), A Cinema Retrospective Honoring Italy's First Family of Film Ingenuity, Comes to MAD This Spring
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https://madmuseum.org/press/releases/argento-cinema-nel-sangue-argento-cinema-blood-cinema-retrospective-honoring-italys
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—Cassevetes, Coppola, Huston—these are the names of America’s multigenerational filmmakers. In Italy, that name belongs to Argento.
In recognition of the Argento family’s contributions to world cinema, the Museum of Arts and Design celebrates their four decades of achievement with Argento: Cinema Nel Sangue (Argento: Cinema in the Blood), a two-month retrospective of screenings, running from March 23 to May 25, 2012.
Argento: Cinema Nel Sangue (Argento: Cinema in the Blood) showcases the accomplishments of the Argentos, a notable Italian family of directors, producers, writers and actors. From this one household has come a startling range of movies in multiple genres. Throughout this body of work, the hallmark of the Argento name has been artistry through innovative cinematic techniques and approaches.
The origins of the Argento output began in the 1960s with progenitor Salvatore Argento. His sons followed him into the family business—Claudio, as a producer, and Dario, first as a writer. Then, with his father and brother as producers, Dario branched into directing, his approach to the giallo instantly earning him—and the family—both international acclaim and a signature style. (“Giallo” is both the Italian word for yellow and name of the Italian thriller film genre, named after the the yellow paper of pulp murder novels, which was extremely popular in the 1970s. Known for stylish slasher scenes, expressive use of music, and a whodunit element, giallo became one of the most influential genres of Italian cinema.)
MAD’s Argento: Cinema in the Blood will show a range of the Argentos’ giallo motion pictures—some classic, some rare, and many in 35mm prints, including Dario Argento’s, “The Three Mothers Trilogy.” Dario Argento co-wrote the second film in the Mothers Trilogy with Daria Nicolodi, his longtime collaborator, the mother of their daughter, Asia, and a frequent actress in his movies. Now 36, Asia Argento followed her parents into the movies as both actress and director, as well as screenwriter. Her work in front of the camera and behind it supplies other offerings in MAD’s Argento: Blood in the Cinema, including her semi-autobiographical 2000 film, “Scarlet Diva,” which she wrote, starred in and directed, and which was produced by her uncle Claudio.
ABOUT THE SERIES
Argento: Cinema Nel Sangue is a film series presented by The Museum of Arts and Design. Film screenings will be held in the Theater at MAD, at 2 Columbus Circle.
All film screenings $7 MAD Members and Students with Valid ID, $10 General
Argento: Cinema Nel Sangue is organized by Jake Yuzna, Manager of Public Programs.
Argento: Cinema Nel Sangue is presented in conjunction with the exhibition Glasstress New York: New Art from the Venice Biennales on view from February 14, 2012 – June 10, 2012.
Glasstress New York: New Art from the Venice Biennales is made possible by the Cordover Family Foundation, Shintaro Akatsu School of Design, Berengo Studio, Venice Projects, The Amb Way, and the Inner Circle, a leadership support group of the Museum of Arts and Design. The catalogue is made possible through the generosity of Goya Contemporary Gallery, Suzi Cordish, and an anonymous donor.
CINEMA SCREENINGS
Friday, March 23, 2012, 7:00 pm
Kiss the Girls and Make Them Die (Se tutte le donne del mondo)
1966, Dirs. Henry Levin and Arduino Maiuri
With Mike Conners, Dorothy Provine and Raf Vallone
Digital Projection, 106 min
Marking Salvatore Argento’s debut as a producer, “Kiss the Girls and Make Them Die” skewers the spy films that, thanks to James Bond, attained huge popularity in the 1960s. CIA operative Kelly (Conners) goes up against vile Brazilian industrialist Mr. Ardonian (Vallone), who is scheming to sterilize humankind via satellite and then repopulate the world with offspring he plans to have with a bevy of kidnapped females. Adding to the wink-wink absurdity: An arsenal of wacky spy gadgets and a hoity-toity MI-6 agent, played by Provine.
THE ANIMAL TRILOGY
Following his stint as a newspaper columnist for Paese Sera in Rome, Dario Argento transitioned into film as a writer, notably on Sergio Leone’s “Once Upon a Time in the West,” for which he collaborated on the story with Bernardo Bertolucci in 1968. Three years later, Dario took director’s reins himself on “The Bird With the Glass Plummage,” produced by his brother and father. In his very first film, Dario proves himself a sure hand in the giallo style, propelling it—and the Argento name—to world-wide recognition.
Wednesday, April 11, 2012, 7:00 pm
The Bird with the Crystal Plumage (L’uccello dale piume di cristallo)
1970, Dir. Dario Argento
With Tony Musante, Suzy Kendall and Enrico Maria Salerno
35mm, 89 min
Burned-out American novelist Sam Dalmas (Musante) witnesses the murder of a young woman in a Rome art gallery. Feeling there is some vital but buried clue he just can’t manage to jog from memory, Dalmas plunges into his own investigation. Sleek, tense and sophisticated, “Bird with the Crystal Plumage” boasts a cinematic maneuver that typifies Dario Argento’s daring and innovative approach to movie-making: A camera is dropped from a window to film a fatal fall.
Friday, April 13, 2012, 7:00 pm
The Cat o’ Nine Tails (Il gatto a nove code)
1971, Dir. Dario Argento
With James Franciscus, Karl Malden and Catherine Spaak
35mm, 112 min
In Argento’s follow-up to “The Bird with the Crystal Plumage,” Franco Arno (Malden), a blind ex-journalist-slash-crossword-puzzle-pro, overhears an intriguing conversation between two men in front of a medical institute notorious for shady genetic studies. When Arno later learns one of the men has died, he teams with journalist Carlo Giordani (Franciscus) to unravel the murder. Meanwhile, the killer has amped the body count, and knowing they’re probably next in line, the amateur sleuths frantically look for a way to stop him.
Saturday, April 14, 2012, 3:00 pm
Four Flies on Gray Velvet (Quattro mosche di velluto grigio)
1971, Dir. Dario Argento
With Michael Brandon, Mimsy Farmer and Jean-Pierre Marielle
35mm, 104 min
This final installment of “The Animal Trilogy” follows the ordeal of rock-and-roll drummer Roberto Tobias (Brandon) after he inadvertently murders a disturbed stalker in a knife fight. In the moments after, Tobias notices a masked figure taking pictures of his gruesome deed. When the photos turn up in his mailbox, Tobias sets about tracking down the extortionist, all the while being trailed by a bizarre toy puppet and practically tripping over new dead bodies. Long overlooked, mostly because of the limited availability of prints, “Four Flies on Grey Velvet” is presented in a rare 35mm print.
THE THREE MOTHERS TRILOGY
“The Three Mothers Trilogy” cemented Dario Argento’s reputation as a virtuoso in the horror genre. This cinematic troika revolves around the exploits of three witch sisters: Mater Suspiriorum (Mother of Sighs), Mater Tenebrarum (Mother of Darkness) and Mater Lachrymarum (Mother of Tears). In the 11th century, the wicked trio commanded an architect to design magnificent edifices from which each could rule the world, each in her own evil way. From the varying design of each film, Argento drew on architecture as a manifestation of malevolence. He also enlisted the progressive rock band Goblin for a score that broke new ground in the audio representation of the supernatural on the silver screen.
Thursday, April 19, 2012, 7:00 pm
Suspiria
1977, Dir. Dario Argento
With Jessica Harper, Stefania Casini and Joan Bennett
35mm, 98 min
Spotlighting the youngest of the three mothers, Mater Suspiriorum (Mother of Sighs), “Suspiria” follows young ballet student Suzy Banyon (Harper) on a creepy path of discovery: The German ballet academy in which she just enrolled is run by a coven of murderous witches. Co-written by Daria Nicolodi, Dario’s longtime collaborator and mother of their daughter, Asia, “Suspiria” was the last European film to be shot in Technicolor. Fully exploiting its unique ability to capture lush, unearthly colors, “Suspiria” merged elaborate sets, vivid lighting and a score by Italian prog-rock group Goblin for what is widely considered Dario Argento’s masterpiece.
Friday, April 20, 2012, 7:00 pm
Inferno
1980, Dir. Dario Argento
With Leigh McCloskey, Irene Miracle, and Eleonora Giorgi
35mm, 107 min
Young poet Rose Elliot (Miracle) notices that her apartment building is weird, even for New York City. Terrified, she begs her brother Mark (McCloskey) to come visit her, but upon doing so, he cannot find her. However, he does discover that her building is filled with whispering corridors, secret rooms, and mysterious figures, including the Mother of Darkness, who holds the secret of his sister’s fate. Through the bold use of color, arresting soundtrack by Keith Emerson and wild special effects by Germano Natali (who also did them for “Suspiria”), Argento crafts an atmospheric second chapter in “The Three Mothers Trilogy.”
Saturday, April 21, 2012, 3:00 pm
Mother of Tears (La terza madre)
2007, Dir. Dario Argento
With Asia Argento, Cristian Solimeno and Adam James
Digital Projection, 102 min
In the final and belated installment in “The Three Mothers Trilogy,” Asia Argento stars as a conservator at the Museum of Ancient Art in Rome who stumbles upon an urn containing the remains of Mater Lachrymarum. When Sarah unwittingly unleashes the witch, Rome becomes overrun with riots, murders, and other iniquitous events that seem to portend the End of Days. Guided by her dead mom, played by Asia’s real-life mother Dario Nicolodi, Sarah endeavors to escape the witch’s clutches and at the same time save the world. Claudio Simonetti, formerly of Goblin, did the score.
Thursday, April 26, 2012, 7:00 pm
Deep Red (Profondo rosso)
1975, Dir. Dario Argento
With David Hemmings, Daria Nicolodi and Gabriele Lavia.
35mm, 126 min
Elegant visual tableaux and movie-magic trickery serve the tale of a hatchet killer in “Deep Red,” a lush whodunit hailed as a masterpiece of giallo. After American pianist Marcus Daly (Hemmings) witnesses the violent murder of a psychic in a Roman piazza, he becomes haunted with the notion there is a single clue he is overlooking that could lead to the madman’s capture. With a haunting score by Goblin, an ever-intensifying buildup of suspense, and a growing pile-up of dead bodies, “Deep Red” strongly inspired other horror filmmakers, including John Carpenter, who cites the film as a major influence on his own classic, “Halloween.”
Friday, April 27, 2012, 7:00 pm
Opera
1987, Dir. Dario Argento
With Cristina Marsillach, Ian Charleson and Urbano Barberini
35mm,107 min
Set in Parma’s Teatro Regio during a production of Verdi's “Macbeth,” “Opera” is as infamous for the real-life misfortunes that plagued the filming as for its chilling scenes and elaborate production. After the actress playing Lady Macbeth is injured in a hit-and-run, her young understudy Betty (Marsillach) assumes the role. To her horror, she becomes the obsession of a masked killer, who demonstrates his perverse love by tying her up and forcing her to watch the brutal murders he commits.
Although fraught with tumult—including the death of Argento's father Salvatore during the production, the exit by Vanessa Redgrave from the project before filming began, as well as on-set bickering between Dario and his former girlfriend and collaborator, Daria Nicolodi—“Opera” became the director’s most successful feature, attracting more than a million ticket buyers in Italy alone. Nicolodi also makes an appearance in the film, which has a soundtrack by Claudio Simonetti (of Goblin) and Brian Eno.
Special Q&A with star Coralina Catadli Tassoni
Saturday, April 28, 2012, 3:00 pm
Tenebrae
1982, Dir. Dario Argento
With Anthony Franciosa, Guiliano Gemma and Daria Nicolodi
35mm, 110 min
Taking its title from the Christian ceremony of gradually extinguishing candles (tenebrae means “darkness” in Latin), this film marks Dario Argento’s return to giallo after “Suspiria” and “Inferno.” When the American horror writer Peter Neal (Franciosa) visits Rome to promote his recent work, he is distressed to learn there’s an at-large killer whose M.O. is to recreate the ghastly atrocities depicted in the novelist’s writings. Himself a focus of the manhunt, Neal teams up with Detective Giermani (Gemma) to prove his innocence and stop the killer. The film’s inventive cinematographic use of cranes for long, uninterrupted takes and the lush lighting make the film a giallo classic.
Friday, May 11, 2012, 7:00 pm
Phenomena
1985, Dir. Dario Argento
With Jennifer Connelly, Dario Nicolodi, and Donald Pleasence
Digital Projection, 110 min
In her first starring role, Oscar-winner Jennifer Connelly plays a young girl with a bizarre gift: She can communicate with insects. She is also a somnambulist, and while sleepwalking, witnesses the murder of a classmate. Part dark fairy tale, part crime thriller, “Phenomena” uses adroit cinematography, including some of the first uses of Steadicam in Italian filmmaking, to forge a dreamlike mood that straddles the waking and unconscious worlds.
Saturday, May 5, 2012, 3:00 pm
Trauma
1993, Dir. Dario Argento
With Christopher Rydell, Asia Argento and Piper Laurie
Digital Projection, 106 min
The city of Minneapolis stars as the location in Dario Argento’s first feature-length American project. After a short-lived escape from a psychiatric hospital, a young anorexic woman Aura (Asia Argento) is caught and brought back, just in time for a string of murders to befall past and present hospital workers. The serial killer beheads each victim but does so only on rainy days. Aura enlists her friend David (Rydell) to hunt the killer—and discovers a loathsome family secret in the process.
ASIA ARGENTO’S FILMS
Thursday, May 17, 2012, 7:00 pm
Scarlet Diva
2000, Dir. Asia Argento
With Asia Argento, Jean Shepard and Selen
35mm, 91 min
Asia Argento’s first feature-length directorial work, produced by her uncle Claudio, “Scarlet Diva” is a semi-autobiographical work exploring the life of an actress who is viewed as much as a sex object as serious actress. Anna Battista (Argento) suffers a life filled with abusive relationships, drug use, decadent parties, awards shows, sleazy agents and creepy fans. “Scarlet Diva” offers an unblinking look at that rarified realm.
Friday, May 18, 2012, 7:00 pm
New Rose Hotel
1998, Dir. Abel Ferrara
With Christopher Walken, Willem Dafoe and Asia Argento
Digital Projection, 93 min
Based on a short story by science fiction legend William Gibson and directed by cult filmmaker Abel Ferrara, “New Rose Hotel” stars Asia Argento in futuristic tale of corporate espionage. Working for two of the largest corporations in the world, Fox (Walken) and X (Dafoe) plot to pit the two companies against each other and reap a fortune. The key ingredient to their nefarious scheme: Sandii (Argento), a young Italian girl hired to seduce the director of one of the companies. The kink in the plan: When X demonstrates to Sandii how she can ensnare the businessman, he himself falls for her.
Thursday, May 24, 2012, 7:00 pm
The Last Mistress (Une vieille maîtresse)
2007, Dir. Catherine Breillat
With Asia Argento, Fu’ad Aït Aattou and Roxane Mesquida.
35mm, 104 min
In this costume drama by French director Breillat (“Fat Girl”), Asia Argento gives a tour-de-force performance as La Vellini, the titular “last mistress” of young libertine Ryno de Marigny (Aattou). When Ryno decides to settle into marriage, he visits La Vellini to break off their relationship. La Vellini, however, is not so eager to let him go, and her volatile reaction causes unexpected consequences for all involved.
Friday, May 25, 2012, 7:00 pm
On War (De la guerre)
2008, Dir. Bertrand Bonello
With Mathieu Amalric, Asia Argento and Guillaume Dépardieu
Digital Projection, 130 min
French leading man Mathieu Almalric (“The Diving Bell and the Butterfly”) stars as Bertrand, a filmmaker in a midlife crisis. Looking for an idea for his next picture, he accidently locks himself in a coffin and spends the night in an empty funeral parlor. New experiences like that are just what his life is missing, Bertrand decides, and he soon chances on another good source for them: The Kingdom, an urban commune whose inhabitants, led by Uma (Argento), dress in animal apparel and engage in unconventional consciousness-expanding rituals.
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An Interview with Mark Travis
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“When you’re lying in bed at night, your parent comes in and tells you a story. You’re sitting round the campfire and you’re telling stories. There’s a primal need for that experience. I always want to connect to the beauty of that; that’s the primal need and I want to…
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Jan Eliasberg
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https://janeliasberg.com/an-interview-with-mark-travis/
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“When you’re lying in bed at night, your parent comes in and tells you a story. You’re sitting round the campfire and you’re telling stories. There’s a primal need for that experience. I always want to connect to the beauty of that; that’s the primal need and I want to address that in everything I do.”
An excerpt from an interview with JAN ELIASBERG in the book, “The Film Director’s Bag of Tricks: How to Get What you Want from Writers and Actors” by Mark Travis.
MT: Jan, let’s start with writers. Do you have any specific thoughts about working with writers?
JE: Yes, of course, I have a lot of thoughts about working with writers and one of the things I always find is challenging is that I am a writer, myself, so when I go in as a director, I often will go in with a lot of my ideas about how I would write the script or change the script and the big trick for me is to figure out how to get the writer to think it’s his or her idea as opposed to my idea and actually I should say that’s not always the case. Sometimes I will form a bond with the writer so that I will quickly . . . you know, as a director, particularly working in television, my feeling is that you have to assess things very, very quickly whether it’s with the writer, with the crew or with an actor and so I will try very quickly to have my radar out and I will always try to have a very candid, very frank conversation about usually nothing . . . your kids, where they went to school . . .so I can find out is this a writer who’s going to be hanging on to every word which means it’s going to necessitate one kind of approach or is this a writer who really is open to collaboration? I’ve worked with both. There was one case where I had a writer who was very open to collaboration and I literally walked in with Post-Its hanging off every single page of the script and he was like, “uh-oh, let’s get to work!” But I knew already that he’d be open. Would never do that with a writer who I sense is going to be resistant.
So, with the writers who are going to be resistant, there are a couple of things I’ll do. One is I will actually use the demands of the process. So for instance, if I feel there are too many actors in a scene, that the scene is getting diluted because it’s been divided up between too many characters and I’m sitting there thinking I’m going to have to direct this thing and if I’m going to have to do five pieces of coverage because there are five actors in the scene when there really only need to be two or three, how can I basically say, ‘Hey, I think we’re diluting the power of the scene by having a lot of characters that are serving the same function.” And then I’ll try to become sort of an ally – I am an ally – because we have to make it work, so I’ll say, “Have you put these characters in the scene because the network wants to see these actors?” and that sort of gives the writer an out, maybe to say, “Well, that really wasn’t my idea to have five characters in the scene, but the network keeps telling us they want to see X actor.” So, I’ll say, “Okay, let’s just go through the script and let’s see because I get that. We’re all serving the network master. Let’s make sure that when we have an actor in a scene the actor has something really powerful to do and maybe we’ll take these five actors that have to be served and instead of having them all in five scenes, let’s give them each one scene in which they really get to do something meaty.” And then I’ll also say, for example, “No one wants to be on the set with an actor who feels like they’re there to say two lines and go home and they could be with their kids or out shopping. They want to do something meaningful, so, we don’t want to be there.” And the writer will say, “Of course we don’t. I don’t want to hear so and so complaining about being in the scene for no reason.” So that’s a way to sort of use the other forces to . . .
MT: This is episodic television.
JE: Yes
MT: And you’re looking at the possibility that ‘the writer wrote it this way because of requirements from either the network or the production or the studio . . . outside forces that you have to serve.’ But you, Jan, looking at it dramatically, are thinking ‘this thing is diluted because there are so many people in it.’
JE: Right. Well, there are usually two things – usually the practicality of the scene which is when you’ve got conflict diluted among five people, you’re not getting an interesting scene because you’re sort of ‘this one says this and that one says that’, but then there’s also the practical aspect of making your day, if you’ve got to cover five people in a scene instead of two. If it’s two people I know I can do a really interesting walk-n-talk. With five people, what? .. I’m going to have five people walking across the town square? You know it’s going to end up being a scene around a table which will take forever and they’re really boring and you can’t get those wonderful actor moments where they’re stopping and they pick up something and it’s going to become a very static and dull scene.
MT: So you’ll go back to the writer . . . the first thing you’ll say is “Have you written it this way because of the requirements?” But what if the writer says, “No, I wrote it this way because I think this is the way it should be. It should be all five people.”
JE: And then I’ll say, because I’ve had these conversations many times, “Okay, fair enough. But then, can we sharpen what each character is doing in the scene? Because right now (and I’ll try to say this in a nicer way), it feels like these are all interchangeable.”
Some of it is exposition which I understand is necessary, but who’s the character who could really carry this in the most interesting way? I’ve had a lot of success with this because it’s just basically saying to the writer, “Justify what you’ve done.” But, it’s not saying it in that confrontational way.
MT: Okay, let’s say you have five characters and you’d like to get it down to three or two . . . and I understand that even five sharpened characters is still diluted.
JE: Unless it’s a family drama . . .
MT: But then there’s one main character which is the family itself and it’s a family confrontation. But your scenario there are five people working at CSI and one of them is doing the investigation and one of them is the secretary and you’re asking, “What’s the dynamic here?”
JE: Yeah, I call those gang bang scenes.
MT: Gang bang scenes. That’s good.
JE: Everybody gets together and they’re all . . .
MT: Throwing things around and we all stop watching. We’re just looking for the information and that’s all we’re getting. Do you ever use this argument with the writer: “If this was three characters instead of five, do realize how much more time I’d be able to spend with each of them and get better performances?”
JE: Yes, absolutely.
MT: In other words: “I will make your writing look better. Give me the time to do this because you’re stretching my time”.
JE: And, because I’ve watched a lot of episodes as part of my prep, I will say things like: “This actor really can’t handle this . . .my experience of him is that he can’t handle exposition. He can’t handle props. Where this actor really can.” Or, there was a scene in a police station and there was one actress who just had that thing that cops have (and certain actors have, too) where they can memorize a load of dialogue and just make it sound important and urgent and they can drive a scene forward. I call those my engines. In different kinds of shows I’ll be asking myself: “Who’s the engine of the scene?” And you know, too, as an actor, when you have a dynamic, usually there’s one actor who has the stronger action in the scene, so I just say, “That’s going to be my engine for the scene.” And I’ll say, “This actor can really deliver the scene. This other actor, I don’t know . . . we’re going to end up cutting around him because he’s not going to match, so let’s give him stuff he can do and let’s give the powerhouse the work of the scene because I know we’ll be able to get the performance.”
MT: And why do you think, Jan, that some writers don’t know what you know? Why aren’t they in tune with the strengths and weaknesses of the characters? Because the writer is writing for these set characters, they’re not creating characters.
JE: It actually astonishes me the scope of writers who work on series. I went into a meeting for a show, which, in my opinion, is one of the better shows on television, and the producer/director said to me, “We don’t have writers on the set.” And I was like, really?
MT: They don’t allow them on the set?
JE: They’re available for questions. My point is, I’ve been on some shows where there are writers on the set who literally have the script in front of their nose. They’re not watching the actors, they’re not watching the monitor, and when the take is finished, they’ve got their head phones in and the script in front of their face and their like, ‘that was great’. And you’re like, “That fucking sucked.” And they’re just going, was every word uttered? Because that’s what they care about. They don’t care about the reality or the emotional vulnerability. Or, ‘of course she skipped that line because she was in the moment and it didn’t come out perfectly’, but that’s what’s going to end up in the cut if you have an editor with half a brain.
MT: In fact, it might be the skipped line, because she was so in the moment, she organically . . .
JE: Made a better line.
MT: Or, we don’t need that line. If you watched her, you’d see that the line, the idea, the impulse of the line was there and she actually did a re-write that worked. I was on a set, years ago, the director was watching the monitor and after a take he said to the script supervisor, “Did she say all the words? Yep? Okay, print.” And I remember that. That was the only criteria .
JE: Well, that is sad. When it’s the writer, I still think it’s sad because you would hope they’re looking for some life and vitality. But, when I went on this show and they said we don’t have the writer on the set, I was so grateful because they were saying, “We want the directors to do what they do and we don’t want the actors to feel so hamstrung about saying every word.” I mean, they have a great ensemble and he did say that it’s the director’s job to make sure the actors don’t get off the rails because sometimes they’ll get into the improv of the moment and sometimes the scene will get submerged. But, I guess my point was the writers are so different in terms of their sensitivity or their sense of what they’re looking for and some writers really do feel that every word is precious and some writers are good enough that every word is precious. They’ve really thought it through that way. So, as a director, I try to sense that pretty early, too. Because some writers do really think things through on that level. I guess if you’re doing a David Mamet play you don’t want to do too much improvisation because there’s a rhythm to it.
MT: I would think not. There’s a poetry to it.
JE: But, in TV in particular, because the assembly line quality of this, you’re working so fast that a lot of times that script that you get as a director is really a first draft. And sometimes the writer hasn’t had time and may not have time to think it through. So, I’ve found that the more I can sort of let the writer know early on that I’m there to make the best show possible and I’m not doing it at their expense, that we’re on the same team, the more they’ll say, “These are really good notes.” Because they can see they’re going to make the script better and they haven’t had time to think all of this through.
MT: In your work with story and script and writers, how much do you think your theatre background has helped you?
JE: Oh, immensely. My theatre background, and specifically my training at Yale, is actually the template for everything I still do. In those three years at Yale, I directed over 60 plays in different stages: cabaret, workshop reading, full reading, and some of those were the great plays of the canon and some were fresh off some writer’s typewriter or computer. But, doing that and doing so much of it so quickly with actors of a very high caliber, whether it was Francis McDormand or John Turturro or Angela Bassett, actors who were going to ask the hard questions. It just threw me into the swimming pool so many times that there isn’t really any situation that I don’t, in some instinctive way, know how to deal with. It’s like if you’re a journalist working on the metro desk. “Here’s a dog story, here’s a rat story, here’s a suicide – go write it. Make it interesting.” So, I feel like I’ve had pretty much everything thrown at me and had to make it work.
MT: And there’s purity in theatre. No cameras, no editing, no cutting.
JE: Right. No tricks.
MT: This play is going to sit on the stage for two hours, it better work or the audience . . .
JE: Will be walking out.
MT: Even before the intermission. So you have to be able to generate performances that are credible, believable and compelling. It’s not film where I can fool you.
JE: You can piece it together.
MT: Right. I can keep shooting until I get little moments that I can cut together and create a performance that never really happened. But it’ll look good. You can’t do that in theatre.
So, that boot camp that you were talking about – where you were thrown into so many theatre challenges has become a valuable tool, because you develop survive tools. I keep telling film students, “Theatre is harder.” And they don’t get it.
JE: Film is much easier because of the technology. You also have a whole crew that knows what they’re doing, that knows those machines inside and out, that knows all the tricks, that can help you if you understand what story you’re telling. You can talk about what the moments are and why you’re interested in dollying in on this moment. They’ll make it work, better than you ever could probably.
But, the other thing I always remember is that when you’re in a rehearsal room for a month with those kinds of actors, then they’re asking you hard questions and they’re trying to piece together what they need to make the performance work. So when you talk about motivation or objectives or given circumstances, it’s not technique to me. It’s the way you figure out what’s going on in the scene. And then, a thing like blocking, I will always go into a scene, even a badly written scene, trying to figure out how to block it in a way that gets the emotional arc of the scene across. So, then I think, okay, now that I’ve got the blocking in this organic way, how do I integrate the camera into that so that the camera is seeing what I want the audience to see? So, I don’t think I would be a good director without that training.
MT: I wish more directors had that training. And, Jan – the sequence of steps you go through, very important. In both of my books I have what I call The 9 Basic Steps. What’s the whole story about? What’s the scene about? Why is it in the movie? What do I need to achieve with this scene? What are the objectives, needs, what are the dynamics between the characters in the scene? And then comes the staging (blockin). Then, finally, after all that, how do I shoot it? My complaint with a lot of film schools and with the teaching of film in general is that the camera comes first. “Okay, you want to be a filmmaker, you need a camera.” And I say “don’t even think about the camera until you have something worth shooting.” So, I appreciate that you’re saying I’ll figure out how to shoot it after I have it blocked or staged.
Mark Rydell once said: “Filmmaking is easy. You create an event. You record the event. And then you reorganize the recording of the event to create a third event. But if the first event isn’t worth recording, then I don’t know what you’re doing.”
JE: And I would only add one thing: I don’t want to record the event. I want the camera in some way to participate in the event. Because I think recording the event can be a very distant thing. In my mind, the event will usually tell me how it needs to be recorded.
MT: Absolutely.
JE: And that sounds very new-agey and artsy-fartsy, like Michelangelo, you know – ‘the stone tells me what it wants to be’, but that has been my experience.
MT: I think you’re absolutely right. I have had producers or writers show me a scene (in a script) and say how would you shoot this? And I say, “I have no idea. I haven’t seen it yet.” And I don’t. I might have impulses but my experience is once the scene is up and running suddenly it starts to become clear. I know in this moment exactly where I need the camera to be, but it’s only because I saw the moment, not because I read it off the page.
JE: And I experience auditions in that way very much and we’ll go back to your tricks question. I will always use the audition to show the writer what’s working and what’s not working.
MT: And how do you do that?
JE: Well, I will see maybe three actors and I’ll see the same moment not working and I’ll be able to say, “Gee, that moment isn’t resonating. And now we’ve seen three wonderful actors do it and they’ve hit all these other moments. I wonder if that maybe is a moment that isn’t quite there.” You can blame an actor once, twice, but if you’ve got three actors and they’re all missing the same beat, then maybe it’s not the actors. Maybe it’s a problem in the script.
MT: So you have the writer there during casting?
JE: Yes.
MT: And you are consciously, although not openly, using . . . I’m going to put it this way, Jan . . . failures to make a point about a moment in a scene that never worked in the first place and my guess is . . . I’m speaking for you . . . ‘I don’t know how to make it work and I’ve seen it not work three times and now there’s my ammunition to go back to the writer and say we’ve got to help these actors because no one is able to make this work.’ This would be my trick – “Could you help us here?” Which is my way of saying, “Give me a re-write”. Because, in other words, you haven’t succeeded here, but I’m not putting it as your failure.
JE: I’m putting it as, “These are actors. And I’ve worked with that one. And I know he’s going to be able to make it work.” That often does work.
MT: Are you selecting specific scenes for casting for this reason?
JE: Usually for the casting on television, they’ve chosen the scene. But I’ll talk to the casting director. But I can’t choose a scene that really isn’t working to audition because then I’m not going to be able to evaluate the actors, which I have to do.
MT: That’s understandable.
JE: It’s more like when there’s a beat or a lot of exposition that I think is unnecessary. Also I think that it’s also a moment in casting when I get to understand how sophisticated a writer is, because if a writer is going for what I think is the most obvious casting choice then I know I’ve got my work cut out for me in terms of getting more nuance and more layers. That’s when I really get nervous about the work, but it’s just more of a challenge, that’s all.
MT: In terms of the casting process, what tricks do you use with the actors?
JE: Well, I always say that casting is my first opportunity to rehearse. Especially with episodic because it’s happening so quickly . . . I may not even have gotten the script very far in advance. So, casting is my first chance to hear something read aloud. And, a lot of times, through seeing actors, I’m finding the strengths and weaknesses in the scene. So, a lot of times when I give direction in casting, which I always do . . . if I don’t see anything that’s interesting, I say “thank you very much”. If I see something interesting in an actor I will always give them some kind of adjustment. Sometimes because I really want to see the actor work with something but sometimes just because I want to see what’s in the scene and the actor’s given me something I didn’t know was there and I just want to explore that a little bit and see well, if I take the scene in that direction in performance, how far can I go with that? So, I always feel like the audition is part of my rehearsal process, part of my discovery of what the scene is really about and the actors are guinea pigs for me, to some extent, because that’s part of my process.
MT: In my books I talk about the three different phases of the actors which are: the casting process, the rehearsal process and production. The same actor is a totally different person in each phase. In other words, the actor you cast may show up for rehearsal and you realize you have a different personality just because you’re in a different phase of the process. In the casting they’re trying to get a job. In rehearsal they’ve got a job to do and that is develop and discover a character, relationships, connect with the director’s vision. And in production they have to deliver.
And a lot of the tricks I talk about have to do with being aware of these phases and the mind set of the actors. In other words, I’ve got an actress in front of me reading and I know she wants the job, she wants the job so much she’d probably do almost anything I ask her to. The same actress probably won’t be so compliant in rehearsal as she slowly becomes the characters. And in production she is the character and she has a job to do.
In casting, I can ask her to do the scene in a totally inappropriate way just to see is she skilled enough and courageous enough to pull it off? I may say something like, “This argument scene with your husband is really a seduction and I need to see it now.” If she gives me the same reading she gave before, then I don’t have much to work with.
So, Jan, in the casting, putting aside the material, are you testing them?
JE: That’s interesting. It really depends on what the situation is for me. If I’m proving myself as a director and I’ve got producers who are thinking ‘is she going to be able to give us what we need?’ I probably don’t have as much room to do that stuff because they’ll go ‘what is she thinking? She’s got this argument scene and she’s asking them to do it as a seduction. Uh-oh, she’s really off base and we’ve got to talk to her and get her in a tone meeting.’ If I have more freedom on shows that I create or on shows where they’ve worked with me a lot and they know that I do deliver, then absolutely. In fact, the more I can treat everything as play, the better.
MT: By play you mean . . .
JE: By play I mean, “Let’s try it and have fun. Let’s try it and see if it works. There aren’t any mistakes here. You know, I just had a great idea . . .I know this sounds crazy, but let’s play.” That’s what I mean by play, because the more I get that feeling, of like, we can go to these places that might be scary . . . you know, let’s just take the anxiety out of the process as much as possible. Let’s forget that we have to get to this goal. Let’s just play. The more there’s that spirit, the better the work is in my experience. And the more the actors lose that self-consciousness, which is the thing that gets in the way of a really fresh performance.
MT: One thing you just mentioned is my ‘insanity trick’, where I say to an actor . . . and this could be in any phase: casting, rehearsal, or production. . . “Listen, I’ve got this idea. I’m sure it’s totally insane. I’m sure it’s not going to work, but . . .” Which means I’m going to take all the blame. All I’m asking them to do is think about it and if it doesn’t work, well, I was right, it was insane, or it was impossible.
JE: Yep. I do that, too.
MT: It’s the same thing you’re talking about –that self-consciousness. As opposed to ‘I got this great idea. I think you should play it this way.’ Now the pressure is on them . . .
JE: I always put the pressure on me. Always. Because I feel like that’s my job. I’m the parent and when I say, “play”, I feel like the set is a sandbox. And if everybody feels like there’s a parent in charge who’s going to make sure sand doesn’t get in the eyes or if it does then it’s flushed out, but there’s a parent in charge then everyone can play and those moments of fear are short and brief. So, my job is to let people know that I’m a parent, I’m a good parent and I’m going to protect them. So, if they look stupid – my fault. If I ask them to try something and it works, great, they get all the credit. If it doesn’t work, it was a really stupid idea. And I’ll say sometimes, “You know, that really sucked. Whose stupid idea was that?” And everybody will laugh and then the next take will be great because I’ve sort of taken the onus of responsibility on me and I’ve made it okay to do something really dumb. It’s generally out of those risky things that the really great moments come. When everyone’s playing, it’s safe. And sort of hitting all their marks and hitting all the beats. It can get lifeless. And my job in those moments is to do something to mix it up. Doesn’t even have to be the right thing. I’ll say, it’s just like your trick of counting to five before saying the line, I’ll say, “I just want to drive this scene. I don’t want any pauses, I don’t want any air, I just want you to barrel through this.” “Why?” “Just because.”Things happen. So, that’s one trick I’ll use. Or, a lot of times I’ll take actors aside and tell them do something that I won’t share with the other actor that is sometimes very intense. I’ll say, if it’s a goodbye scene, for instance, “Just find a moment in this scene to touch her cheek. Or just find something you just love about her and touch her there.” The other actor is usually shocked . . . and that reaction is usually a great moment.
MT: Yep. Exactly. I have a similar thing I’ve done. I take someone aside and say, “On every speech she does (not on yours), find that one word that somehow captures your imagination or hits you in a way and find that one word and just repeat it to yourself before you respond.” It’s the same as the touch. Now you watch the actor and he is totally focused deep inside the scene and the other actor’s going ‘where is he?’ If I was doing the scene with you, you’d see “I don’t know what Mark’s doing, but he’s here, but his focus is somewhere else.” The camera will see something when I find that word and even if I’m repeating that word in my head before I speak, the whole look changes and what I like about this one is that actor has no idea what he’s done. He’s just done a simple task. It’s a mechanical task. It’s not asking for an emotion. It’s asking, ‘Can you do this? Can you pick up the paper on this line?’ It’s all left-brain stuff.
JE: Can you find a place to brush the hair off her face?
MT: Yes. And suddenly the whole focus of the character has changed and the scene changes and a magical moment may happen during the looking for the moment.
JE: Or, to the other actor when it happens. It’s like, ‘what? What was going on there?’
MT: And these are perfect, Jan, because these get the actors past their barriers and sometimes the barrier is the fact that we’ve been shooting the scene all day and they’ve got nothing new. And now it’s their close up. I need them to shift what’s going on internally, to get them on a track without saying ‘get back on track.’
JE: And that’s why I think objectives are really important and action words. Because, if I can shift the objective, even to something that makes no sense, then the scene is going to be fresh. That I know. And, a lot of times . . . I worked with Rutger Hauer who was wonderful at this. He would nail a scene and then he’d say, “Give me something else to do with it.” And I would and he would and that’s where I sort of get this idea of play because what I ended up with in the editing room . . . he was a character that you were never supposed to be quite sure about . . . and so I ended up with all of these takes that were really different and I could actually use moments from one, moments from the other where he would go from being very, very sort of compassionate and intent and sweet to being really quite dangerous. He really showed me, because a lot of times, if I come with an odd objective to an actor and he’ll be like, “Well, I thought that last take was really good,” and I’m like, “Yeah, it was, it was really good. But let’s see if there’s something else in the scene that we haven’t found yet.”
MT: This is very important in terms of shooting film or rehearsing a play, not the performance of a play. Where this idea of layering. In film we can cut together bits and pieces from different takes and consequently the performance you see was a performance that was never given. The actor never did it quite like that. The rehearsals in theatre will explore all of those levels and letting the actor be the ‘editor’ in each performance. Instinctive choices will be make by the actor depending on what the other actors are doing. Theater is much more interactive than film.
JE: Although I think the shooting of film is extremely interactive. Because one of my big tricks is actually not talking to the actor who’s on camera, but talking to the actor who’s off camera.
MT: About what?
JE: Changing the objective. Or asking that actor to do something different because I’m trying to elicit a reaction from the actor who’s on camera but I don’t want to make that actor self-conscious by asking him to do something specific, so I use my off camera actor to make it happen. If you keep giving adjustments to the actor who’s on camera, s/he starts to feel like ‘I must not be getting it because the director keeps coming up and talking to me’ and sometimes that can be very anxiety producing. It’s like ‘what am I doing wrong?’ Where I’m just looking for a little bit of a different approach or a little bit of a different moment. But if I’m talking to the actors off camera, somehow the actors on camera are just reacting, the honest genuine reaction, which is what you want.
MT: Do you ever have the actor off camera say something different than their lines?
JE: Yes.
MT: And what has your experience been with that?
JE: It depends on how good the actor who’s on camera is. If the actor is really green, they’ll get totally thrown and you might get a great moment in the instant, but then it all falls apart. But if the actor’s really there, then a lot of times that can be great and the scene can go in completely different directions. I’ll also do things with physicality or sometimes I’ll do even it myself if a scene seems to be falling into a rut, I’ll start saying things from off camera. “Say it again! I don’t believe you!” Things like that.
MT: Just to stimulate them.
JE: Yes. “I don’t believe you. Go back to something and convince me!” Again, there’s got to be a trust there.
MT: Yes, and your knowledge of the actor’s ability to handle that.
JE: Yes, and an actor who’s done theatre, will take that and run with it.
MT: Two things I want to ask: First, the rehearsal process, if you have any. And second, how much you can you get to know about the actors and how they work.
I know it’s different than casting a feature film where you can get to know a lot about the actor and spend more time in rehearsal. While in television, you’re thrown in and you’re not meeting some of those actors until the first day you’re shooting.
JE: Yeah, that’s why, first of all, I try to glean as much information as I can and one of my greatest sources is the first AD, because my first AD is with me in the prep process and usually I will engage pretty early on in the conversation, “Who’s going to give me problems on the set and why?” “Tell me about the actors, who’s prepared, who knows their lines, who stays in their trailer?” Then I’ll go to the set and I never go announced. I always let the other director who’s directing know that I’m there, but I’ll usually stand in the back and I’ll watch for a while, before I get introduced. Because once I’m introduced, actors are usually putting their best foot forward. I think a lot of times actors are labeled difficult because they really care about the work. And that drives me crazy because those are the actors I love to work with, but they ask questions and a lot of times directors, especially in episodic, don’t know how to answer them or don’t want to answer them. They don’t want to be bothered. Or they come out of film school and they’re thinking about the camera, they’re not thinking about the actor.
If I hear an actor’s difficult, I want to know, ‘is it about the work or is it about anxiety or is it about they’re getting old and they’re nervous about it?’ There are all different reasons for actors to be difficult. If it’s about the work, then I’m like, “Oh, great.” So, when I did Miami Vice, Don Johnson was . . . difficult. Everybody said it. But what I found was that nobody talked to Don like an actor; everyone talked to him like a star. And so I just decided I was going to go and I made an appointment to spend some time in his trailer over lunch and I talked to him about the challenges of this particular episode and what I had seen in watching his work on previous episodes and where I thought this gave him and opportunity to show some different sides to the character and all of a sudden we were an actor and a director working together instead of the star and the hired hand coming in. And by engaging him as an actor he did wonderful work, which I knew he was capable of because I’d seen him do it. Matthew Fox was another one. He really could not say a line that didn’t make sense to him. He just had that wonderful bullshit meter and so he would give directors a hard time if they didn’t know what they were doing, if they didn’t know what the moment in the scene was about. He would say, “This line doesn’t make sense.” If you couldn’t come up with a reason, he would really resist, but I never felt with him that it was coming from a place other than I want to make work that makes sense.
Particularly in episodic directing, you’re a host at somebody else’s party. So, they’re guests you didn’t invite. They’re guests who were invited by the person whose house it is. There’s a little bit of triage to that. You don’t necessarily want to waste time trying to get a performance out of somebody who really is going to give you what they give you and they do that well. So you say, ‘great’, and be very grateful for it. A lot of times those actors are actors who have careers that are very successful because people really like them; they have something that they do, some quality that people are going to tune into week after week after week. And you just say, ‘you know what, they don’t have to do Hamlet here.’ People tune in to watch this. There’s a likeability, there’s a charm . . .
MT: And the actor knows this. He knows that this is his strength. This is what people tune into every week to see.
JE: And that’s a gift, too, is my point. There’s the chameleon actor, there’s the theatre actor who can do anything and then there’s the actor like George Clooney who is a wonderful example. I worked with him on Sisters. Everything he has now that has made him a movie star, he had then. He’s refined it over the years, but the boyish charm, the twinkle in the eye, he had that and you didn’t want to mess with it . . . that’s what it was.
MT: And that is his legacy.
JE: He is Cary Grant. He’s our contemporary Cary Grant. He’s deeper, certainly in Michael Clayton or Out of Sight. He was able to give a deeper performance because the material demanded it. That’s what you get when you have George Clooney in your movie. And I’d argue that Tom Cruise is the same. .. But that’s when you get Emma Thompson, you can get anything.
MT: And that’s what we expect from her. We don’t expect to see the same thing again and again.
JE: Let her surprise me.
MT: Getting back television rehearsal for a moment. How much rehearsal do you get?
JE: Almost none.
MT: So, you’re rehearsing on the set, in production?
JE: Pretty much.
MT: So, how do you get what you want?
JE: I always ground the scene. I always have a rehearsal with the actors without the crew. Pretty much for every scene unless the scene is a total throwaway because I always want the actors to feel they are the priority. You talk about creating an event; I don’t want the event to be about the crew. I mean an action sequence, yes, the event is about the stunts and the crew. I’ve thought it through and I’ve storyboarded it, but if it’s a scene about the actors, I want the event to be about the actors and that starts with let’s just read through this, let’s not even block it right now, let’s just read through it because that’s when the questions come up. When I can ask questions like, ‘you talk about this in the scene. What was that? Was it a big fight? A little fight? When did you guys meet?’ That’s when I can ground the scene in the given circumstances. And again, I’ll say this is sort of my theory of play – ‘let’s sketch something in’ and usually, my blocking, I try to keep as organic as possible, which is hard, but when I sit in my meetings with the prop department I’ll throw out a bunch of props that I think might animate the scene or might give me some motivation for blocking and staging.
So, I’ll try to have a certain number of props there that I’m thinking I can probably use. I’ve got a shape of the scene in my head. Then I’ll talk to the actors after we’ve read it and grounded the scene in the circumstances and done some work on motivation, not character work. I assume they’ve done the character work on their own, and certainly if there’s anything major about character I’ve talked with them or met with them or gone to their fitting. A lot of times that’ll come out in wardrobe, which is interesting. A lot of directors shortchange that because they don’t think about costumes. I don’t know if that’s because I’m a woman, but I think about what people wear and I have ideas about it because it says a lot about character. So I will go to wardrobe fittings and I will have ideas and I will have conveyed things to the costume director about that.
Then I’ll shape a scene like molding clay. I don’t want it to get too stuck, but I want to start to give it a shape. Then I’ll have the DP there and we’ll be watching what the actors are doing and I’ll be suggesting, ‘Oh, you know. It feels like you want to move away from her. Why don’t you go and get this piece of paper that I’ve cleverly placed in the desk over here. And here it is!’ Usually actors will respond to that. Some actors are like ‘just tell me what to do’ and then I’ll tell them what to do. But I’d rather a scene evolve organically if it can. Then as I’m watching with the DP, I usually have thoughts about how I’m going to cover it and which moments are important, but I’ll also watch how things are flowing. And then we do a marking rehearsal for the crew and then I’ll refine it with the second team. Usually not with first team because first team has a lot of other things to do – they’re learning their lines and getting make-up on and also I don’t want the actor to be too much a part of that technical process because they’re starting to think, ‘I’ve got to hit my mark’.
MT: One line you said, “Looks like you want to move away from her.” This is a trick. At least by my definition. You’re planting an idea in the mind of the actor that may never have been there. But you are saying that you are getting that impulse from him, giving him credit. He may be thinking: “Oh, it looked the way? Really? Okay, I guess I do.”
JE: Totally.
MT: Sometimes inferring that the actor is doing something or has the impulse to do something is much more powerful and effective than asking the actor to do that very same thing.
JE: A lot of times the actor is reacting in a specific way but they are stifling the impulse. Perhaps the impulse that I see is that moment is ‘oh, I don’t like that’ and then I’ll respond with, “Oh, it looks like you want to move away from her in that moment.”
MT: On top of that you have that mechanical move (blocking) that they can do to fulfill that impulse, which is ‘why don’t you go over there and get that piece of paper which is important for your character’. Now you’ve given them a mechanical move but the actor also knows why he’s making that move. ‘Because I don’t want to be near her’. So what’s been inserted in the scene is an emotional response and you’ve given a mechanical expression of that response.
JE: And that’s why I always say props animate it, props make a scene. A well chosen prop, if there’s a conflict, will become the source of the conflict. There are keys. Who’s got the keys? She’s got them in her hand. She throws them at him. He puts them down. She takes them away. He grabs them back. And suddenly the scene is about keys, but I’ve just found the source of the conflict that you then hopefully see on film.
MT: Any last brilliant words to these aspiring directors who, for whatever reason, bought this book? What would you suggest?
JE: Act, yourself. Even if it’s just in a little showcase or a scene. Or take an acting class because if you’ve acted yourself, you know how vulnerable an actor is and you know what kind of direction helps and what kind of direction doesn’t help. So, that’s one thing.
Second, do your homework as much as you can because things like having those props there require you to have thought about what is really going on in this scene. Those props don’t get there by accident. You have to ask for them. And where does that come from? It comes from really analyzing what’s going on in the scene. What are the character’s objectives. Where are they coming from? Where are they going?
And then trust your intuition. If you think something’s not working . . . I mean some of the best moments for me are when I can see an actor struggling and I know they are going for something and I don’t even know what it was. I just feel like there’s something there, and I walk over because I felt like ‘they need me. They need me to say something.’ And I will literally walk over not even knowing what I am going to say. Just knowing I have to say something and whatever comes out of my mouth, usually produces a great result. But it’s not because I planned it . . . I guess if I hadn’t had the experiences I’ve had (directing theater), I might not have all those instincts.
MT: Experiences being, directing experiences?
JE: Theatre, directing, directing all kinds of material. One of the tricks I learned as a director was every single job I got I saw as a learning opportunity. Early in my career I was offered things that weren’t that good, they really weren’t great. Television, film, anything. So I would challenge myself to find something to learn from the experience. I don’t know if this fits into your book at all, but it may be tricks for directors, certainly a trick for me, was ‘I’m going to give myself a parameter. This show is going to be about moving camera. Every single shot is going to move. This show is going to be about lenses. I’m not going to use a zoom. I’m going to determine lens size for every single shot because I want to give myself this spine and in a way that’s like saying to the actor ‘go get that piece of paper’ or ‘touch her’. How am I going to challenge myself to keep this fresh for me so that everything I’m doing is fresh. And I hope, I really hope that if I ever get bored that I leave the business because I don’t ever want it to be boring.
MT: So you’ve given yourself these boundaries, these restrictions that most likely nobody else understands or even appreciates. Do you think you discover something within the material that you hadn’t even seen before because of the boundaries that you set?
JE: Usually I would say that I probably come up with the boundaries because of something I sense in the material. Usually they’re not arbitrary.
MT: It’s an instinct.
JE: It’s an instinct. For instance, something in the script reminds me of a specific film. I go and watch that film and I look at the director’s work and I think ‘Oh, it’s the director’s style, lot of steadicam. Or, this is almost a documentary style.’ The task isn’t imposed in some arbitrary way. It’s coming out of the story because the story is everything. Telling that story in the best way possible, that is the goal.
MT: Right. We’re storytellers. And that’s the primary reason we’re doing all this work – to tell a story. We happened to have selected the medium of film (or theater) through which to tell the story. We could have written the story. You could have done ballet, opera, performance art. There are a lot of ways to tell a story – but we’ve decided to tell is through film. So I think we should stop saying we’re filmmakers and start saying we’re storytellers.
The primary reason people go to films is not because of the star, the genre or the director. It’s because of the story.
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Mark Rydell (born March 23, 1928) is an American actor, film director and producer. He has directed many Academy Awardnominated films including The Fox (1967), The Reivers (1969), Cinderella Liberty (1973), The Rose (1979), The River (1984) and For the Boys (1991). He was nominated for an Academy A
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Career
Rydell's initial training was in music. As a youth, he wanted to be a conductor. He began his career as an actor and first became known for his role as Walt Johnson on The Edge of Night and as Jeff Baker on As the World Turns, which he played from 1956 to 1962. When he would not sign a long-term contract to remain on ATWT the producers had his character die in a car crash. He won plaudits for his role of violent Jewish mob kingpin Marty Augustine in Robert Altman's The Long Goodbye (1973). His most recent significant film role was in Woody Allen's Hollywood Ending (2002).
As a director, Rydell's credits include The Reivers (1969), The Cowboys (1972), Cinderella Liberty (1973), The Rose (1979), On Golden Pond (1981), for which he received an Oscar nomination as Best Director, The River (1984), For the Boys (1991), and Intersection (1994). He directed the TV movie The Crime of the Century (1996), which starred Isabella Rossellini and Stephen Rea. In 2006, Rydell directed the movie Even Money.
Rydell was also the director of the TV bio-pic James Dean (2001), which earned actor James Franco a Golden Globe award. Rydell also acted in the movie, playing Jack L. Warner (head of Warner Bros).
In 2009, Rydell, working with actor Martin Landau and screenwriter/playwright Lyle Kessler, produced an education seminar, The Total Picture Seminar. It is a two-day event covering the disciplines of acting, directing, and writing for film. The three have worked together as a team for many decades at The Actors Studio teaching and coaching professional actors, writers, and directors. In 2010, Rydell joined the Advisory Board of Openfilm, an online video sharing site created to help aspiring independent filmmakers.
Personal life
Rydell was born Mortimer H. Rydell on March 23, 1928, in New York City.
He married actress Joanne Linville in 1962. They had two children, Amy and Christopher, both actors. Rydell and Linville divorced in 1973. Rydell has another son Alexander, by his second marriage, to Esther Rydell.
Film
The Fox (1967)
The Reivers (1969)
The Cowboys (1972)
Cinderella Liberty (1973)
Harry and Walter Go to New York (1976)
The Rose (1979)
On Golden Pond (1981)
The River (1984)
For the Boys (1991)
Intersection (1994)
Even Money (2006)
Television
Mr. Novak (episode on TV series) (1964)
Ben Casey (episodes on TV series) (1963–64)
The Reporter (episode on TV series) (1964)
Slattery's People (episode on TV series) (1965)
I Spy (episodes on TV series) (1965)
The Wild Wild West (episode on TV series) (1966)
The Long, Hot Summer (episodes on TV series) (1965–66)
The Fugitive (episode on TV series) (1966)
Gunsmoke (episodes on TV series) (1964–66)
Family (episode on TV series) (1976)
McBride and Groom (TV movie) (1993)
Crime of the Century (TV movie) (1996)
James Dean (TV movie) (2001)
Masters of Science Fiction (episode on TV mini-series) (2007)
As actor
Crime in the Streets (1956) as Lou Macklin
The Long Goodbye (1973) as Marty Augustine
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https://www.britannica.com/topic/James-Dean-television-film-by-Rydell-2001
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James Dean | television film by Rydell [2001]
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Other articles where James Dean is discussed: Mark Rydell: Rydell had more success with James Dean (2001), a television film in which James Franco effectively embodied the iconic actor; Rydell cast himself as Jack Warner, an executive at Warner Brothers. His final film as a director was the gambling drama Even Money (2006), which featured Kim Basinger,
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https://www.britannica.com/topic/James-Dean-television-film-by-Rydell-2001
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In Mark Rydell
Rydell had more success with James Dean (2001), a television film in which James Franco effectively embodied the iconic actor; Rydell cast himself as Jack Warner, an executive at Warner Brothers. His final film as a director was the gambling drama Even Money (2006), which featured Kim Basinger,
Read More
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http://www.money-into-light.com/2015/10/an-interview-with-michael-moriarty-part_4.html
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en
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MONEY INTO LIGHT: AN INTERVIEW WITH MICHAEL MORIARTY (PART 2 OF 2)
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Reviews, Interviews and Articles by Paul Rowlands
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https://www.tcm.com/tcmdb/title/20343/on-golden-pond
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Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.
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https://www.visitphilly.com/uwishunu/things-to-do-in-philadelphia-this-week-weekend/
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en
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Things to Do in Philadelphia This Week & Weekend
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2024-08-11T23:01:07+00:00
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Check out our curated guide to the best things to do in Philadelphia this week and weekend, including events, festivals, dining deals and more.
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en
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/favicon.ico
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Visit Philadelphia
|
https://www.visitphilly.com/uwishunu/things-to-do-in-philadelphia-this-week-weekend/
|
We’re in the thick of festival season and this week’s list of things to do showcases Philly doing what it does best: celebrating.
The PECO Multicultural Series continues with fun and flavorful celebrations along the Delaware River waterfront, including the Festival of India (Saturday) and the Philadelphia Caribbean Festival (Sunday)
Vegandale — the world’s biggest touring vegan experience — lands at Philly’s Navy Yard with an electrifying day of music, dancing and animal-free eats (Saturday).
The Women’s Film Festival kicks off with a 10-day fest of short flicks and feature-length screenings by, for and about women (begins Thursday).
And the festivities continue when Manayunk lets the dogs out during its annual Dog Day of Summer (Saturday), North Philly brings the funk during the Beech “Jazz on the Ave” Music Fest (Saturday) and Montco welcomes legendary artists at the Philadelphia Folk Festival (Friday through Sunday).
Plus, it’s a great week for live music: Future and Metro Boomin turn up at the Wells Fargo Center (Wednesday), P!nk takes over the The Linc (Sunday), and New Kids on the Block throw it all the way back with Paula Abdul and DJ Jazzy Jeff at The Mann Center (Thursday).
With so much happening this week, you’re gonna want to stay over for a day (or three). Book the Visit Philly Overnight Package and get free hotel parking and choose-your-own-adventure perks, including tickets to The Art of the Brick at The Franklin Institute, the Philadelphia Museum of Art, or the National Constitution Center and the Museum of the American Revolution. Or kick back and relax with the new Visit Philly 3-Day Stay hotel package, which includes buy-two-get-one-free hotel nights at participating hotels.
Below, find the best things to do in Philadelphia this week and weekend, August 12 to 18, 2024.
Note: Events in this article are arranged chronologically by section.
Now open
A certified brunch city (it’s a thing), Philly takes all things brunch very seriously. Brunchaholics gets that and delivers. The restaurant’s brand of southern-style comfort food has won over countless brunch-addicted diners in Fishtown, Chester and Jersey. Now, the growing local chain brings its scrumptious menu to Rittenhouse Square. Of course, the restaurant has classic breakfast and lunch plates, like chicken and waffles and the thickest French toast we’ve ever seen, ready to go, but chef Terrence Clark also draws on his family’s Maryland roots to put a seafood twist on early morning staples, serving up seafood gumbo grits, jerk salmon cheesesteaks and seafood brunch boils.
Where: Brunchaholics Rittenhouse, 38 S. 19th Street
read more
August 13-18, 2024
Harper, Turner and the rest of the Phils fight to maintain league supremacy during a packed week of home games against division rivals. Stepping up to the plate first: the Florida Marlins (Tuesday and Wednesday) followed immediately by the Washington Nationals (Thursday through Sunday).
Where: Citizens Bank Park, 1 Citizens Bank Way
read more
05
Sidewalk Social in Brewerytown
Thursday
— Photo courtesy Fairmount Community Development Corporation
We have the perfect humpday hangout for you: a little bit of shopping, a little bit of eating and a whole lot of community. During Brewerytown’s Sidewalk Social, attendees are invited to explore the neighborhood’s collection of small businesses: La Vaquita Food Truck, Deborah’s Kitchen and Rybrew hold down the food, while Smoothiemanmike and Philly Beverages serve the drinks. Herbology, Horticulture, Hair of the Dog Dyes and more set up shop along the block for the evening, and local jam band The Reality Check Experience are in charge of the tunes.
Where: North 26th Street & West Girard Avenue
read more
The high-energy duo of iconic 2010s rapper Future and legendary producer, songwriter and DJ Metro Boomin team up for a night of chart-topping hits, mesmerizing beats and hip-hop excellence during their We Trust You tour at the Wells Fargo Center. The tour takes off on the heels of their collaborative albums We Don’t Trust You and — you’ll never believe this — We Still Don’t Trust You.
Where: Wells Fargo Center, 3601 S. Broad Street
read more
Sponsored
Sponsored
Proving ’80s and ’90s nostalgia will never go out of style, New Kids On The Block heads out on its first solo headlining tour in a decade. (The band has had a couple of co-headlining jaunts in there, but this one is all New Kids.) Doubling down on the music of the era, look forward to appearances by Paula Abdul and DJ Jazzy Jeff.
Where: The Mann Center, 5201 Parkside Avenue
read more
Philadelphia’s Women’s Film Festival returns with a global slate of powerful films by, for and about women. The 10-day festival kicks off with a special opening night reception and film screening at the Philadelphia Museum of Art before heading to Old City’s Christ Church Neighborhood House for the remaining screenings, workshops and panels. This year’s program includes psychological thriller Lost Joy, the Philly Philms shorts program highlighting local filmmakers, and the based-on-real-life drama Freedom Hair. Head to the official website for individual tickets, all access passes, and the full schedule.
Where: Various locations including the Philadelphia Museum of Art, 2600 Benjamin Franklin Parkway
read more
Manayunk is paw-ty central this weekend as four-legged friends (and their human handlers) enjoy a day full of pup-friendly activities like agility courses and doggie caricatures, dozens of vendors, and yappy hour specials at spots like Bayou Bar and Grill, Chabaa Thai Bistro, and Lucky’s Last Chance.
Where: Main Street
read more
Part traveling music festival, part vegan foodie and wellness paradise, Vegandale is a rain-or-shine affair bringing over 100 of the best whole and plant-based food, drink and lifestyle purveyors to The Navy Yard. In between bites, dance to live music from headliners Rick Ross and Polo G, groove to spinning DJs, snap shots by the Insta-ready interactive art installations and connect with other sustainability-minded festival goers — whether you identify as vegan, plant-based, pescatarian, vegetarian, omnivore or anything in between.
Where: Marine Parade Grounds at The Navy Yard, 4747 S. Broad Street
read more
— Photo courtesy Delaware River Waterfront Corporation
This Saturday, the Council of Indian Organizations (CIO) of Greater Philadelphia hosts the annual Festival of India, celebrating India’s 77th Independence Day and highlighting the vibrant Indian American community in Philly and across the country. The free outdoor concert and fest is a colorful panorama of art, music, dance and cuisine that includes plenty of both Northern and Southern-style Indian food and drink (think: chicken tikka masala, lassis and dosas); classical and Bollywood-style performances; art, craft and apparel vendors; and more.
Where: Cherry Street Pier, 121 N. Christopher Columbus Boulevard
read more
Bucks County welcomes the return of Upper Bucks Brew Fest, featuring live music, food and craft vendors, raffles, a cornhole tournament (with prizes), and, of course, dozens of craft beers from both local breweries and national faves. Tickets are required for this 21-plus festival and include a special tasting glass. Pro tip: Spring for VIP tickets to score 10 to 12 exclusive beer tastings and early admittance.
Where: The Park at 4th, 301 W. Mill Street, Quakertown
read more
— Photo courtesy Delaware River Waterfront Corporation
The annual Philadelphia Caribbean Festival returns with a full day of island culture. The free-to-attend event features traditional Caribbean music (from reggae and soca to gospel and cool jazz); exciting dance performances; vendors serving up authentic island flavors like jerk chicken, curried goat and codfish cakes; and a variety of handcrafted goods at the Caribbean marketplace. Plus, the littles can get in on the fun at the Caribbean Children’s Village, with activities like face painting, bead-making, balloon sculpting and bean bag games.
Where: Cherry Street Pier, 121 N. Christopher Columbus Boulevard
VIEW OTHER LOCATIONS (1)
Race Street Pier, N. Christopher Columbus Boulevard
read more
Hootie & the Blowfish — Photo courtesy Hootie & the Blowfish
Dates vary by event
Soak up these live performances at venues across Greater Philadelphia this week and weekend. Looking for an encore? Check out our updated guide to Philly’s biggest upcoming concerts and music fests.
Lindsey Stirling at The Met Philadelphia: The electric violinist and dancer brings her bevy of skills to Philly, touring behind her latest album Duality. Lindsey Stirling’s ability to blend multiple genres, ranging from pop to Celtic adds to her wide-ranging appeal (Wednesday).
Tate McRae at The Mann Center: Professional dancer turned pop star, Tate McRae hits the sweet spot between sultry and somber, offering a truly contemporary pop sound. Her first global tour takes the TikTok fave to Philly (and beyond, including Sweden, New Zealand and Italy) (Wednesday).
Making Time ∞ at the W Philadelphia WET Deck: A pool party like no other: DJ Dave P invites you up to the W Philadelphia’s seventh-floor pool deck for a transcendent musical experience featuring the futuristic sounds of Claire Rousay and Ami Dang (Thursday).
Hootie & the Blowfish at Freedom Mortgage Pavilion: Hootie & the Blowfish has come together again for their first major tour since 2019. The band took over the soundwaves when their debut album, Cracked Rear View, became one of the 10 best-selling albums in music history. Since then, the group has won Grammys and spawned 17 Billboard-topping singles. Get ready for ’90s nostalgia and feel-good tunes like Hold My Hand, Let Her Cry and Only Wanna Be With You (Friday).
Dierks Bentley at Freedom Mortgage Pavilion: Continuing his Gravel & Gold Tour from last summer, the country musician performs hits from every era of his 20-year career, like What Was I Thinkin’, Drunk On A Plane and Gold (Saturday).
Where: The Met Philadelphia, 858 N. Broad Street
VIEW OTHER LOCATIONS (3)
The Mann Center, 5201 Parkside Avenue
W Philadelphia WET Deck, 1439 Chestnut Street
Freedom Mortgage Pavilion, 1 Harbour Boulevard, Camden, NJ
read more
Ongoing
25
Little Free(dom) Libraries
Monday – Sunday
— Photo by Visit Philadelphia
Ongoing
Wanna borrow a banned book? Visit Philadelphia’s Little Free(dom) Library initiative encourages residents and visitors in Philadelphia to explore banned fiction and non-fiction texts at over a dozen locations throughout the city. The initiative features new banned titles added during heritage months and observances throughout the year, including Black History Month, Women’s History Month, Asian American and Pacific Islander Heritage Month, Pride Month, and Hispanic Heritage Month. Spread the love by leaving a book of your own (optional).
Where: Various locations including Historic Germantown, 5501 Germantown Avenue
read more
Through Monday, September 2, 2024
The Academy of Natural Sciences of Drexel University presents a new immersive exhibit spotlighting the world of rainforests and the flora and fauna that inhabit the most diverse ecosystem on the planet. The Under the Canopy exhibition, for students of all ages and presented in both English and Spanish, features plants and rainforest ecology including an encounter a live sloth, boa constrictor and other animals that call these habitats home, plus life-size climbable animal sculptures (including a gorilla, tortoise, crocodile, red-eye tree frog and Banyan tree), interactive discovery stations, dynamic displays and engaging programming.
Where: The Academy of Natural Sciences of Drexel University, 1900 Benjamin Franklin Parkway
read more
Through Sunday, September 29, 2024 (Wednesdays through Sundays)
Philly’s beloved roving beer garden Parks On Tap is back for 2024 with brews and bites at urban parks and green spaces across Philadelphia, with a new neighborhood featured each week. Expect drafts from Mainstay Independent Brewing, Conshohocken Brewing, 2SP Brewing and more, as well as cocktails, burgers, cheesesteaks and snacks. This week’s stop: Dickinson Square Park in Pennsport from Wednesday through Sunday.
Where: Dickinson Square Park, 1600 E. Moyamensing Avenue
read more
Through Sunday, January 5, 2025
In the fascinating new Witness to Revolution: The Unlikely Travels of Washington’s Tent exhibition, visitors discover rare documents, inspired works of art and historical objects that paint a fuller picture of the shelter used as George Washington’s headquarters throughout the War for Independence. The tent — the Museum of the American Revolution’s signature artifact — served as the battlefield home, strategic meeting place and office quarters for General Washington, and the exhibition tells the stories of the many individuals who worked to preserve and pass down this vital symbol of the American republic.
Where: Museum of the American Revolution, 101 S. 3rd Street
read more
One More Thing
41
Our Favorite Philly Stories
Monday – Sunday
Bloomsday — Photo courtesy Bloomsday
It’s true: Philly is an award-winning, headline-grabbing kinda town. Need help keeping up with all the buzz? Get the scoop with this weekly roundup of our favorite Philly stories. Hot off the presses:
He ate 19 cheesesteaks in one day for Bon Appétit. Here’s his pick for the best sandwich in Philly.
Cheers: A Society Hill stalwart lands on USA Today’s list of the best bars in America for 2024.
This Philly physician’s new memoir focuses on health equity and overcoming adversity in the health care system.
Bust a move: This Philadelphian helped pave the way for breakdancing’s Olympic debut.
Meet the North Philly neighbor who beautified her entire block through gardening.
read more
In Case You Missed It
You're now entering a FOMO-free zone ...
Come for Philadelphia. Stay (Over) for Philly.
The only way to fully experience Philly? Stay over.
Book the Visit Philly Overnight Package and get free hotel parking and choose-your-own-adventure perks, including tickets to the Philadelphia Museum of Art, The Franklin Institute, or the National Constitution Center and the Museum of the American Revolution.
Or maybe you’d prefer to buy two Philly hotel nights and get a third night for free? Then book the new Visit Philly 3-Day Stay package.
Which will you choose?
book now
Related Articles
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https://www.artforum.com/columns/melissa-anderson-on-mark-rydells-the-rose-224321/
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Winning Bette
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2015-05-22T01:37:00+00:00
|
Melissa Anderson on Mark Rydell’s The Rose
|
en
|
Artforum
|
https://www.artforum.com/columns/melissa-anderson-on-mark-rydells-the-rose-224321/
|
NEARLY ALL THE PRESS COVERAGE of Mark Rydell’s The Rose, the 1979 Bette Midler juggernaut, started off by mentioning that the film, about a self-destructive, monstrously talented rocker, was inspired by the too-short life of Janis Joplin—a comparison that Midler was compelled to either acknowledge or disavow when doing the publicity rounds for her debut screen performance. (Prior to Rydell’s project, she’d had a few uncredited movie roles and played the Virgin Mary in a 1971 underground film.) Yet watching The Rose for the first time, thirty-six years after its release, I was perplexed—though quite pleasantly so—to discover that the star trajectory being dramatized wasn’t so much that of the singer known as Pearl (which The Rose, in its first incarnation, was titled) but of the woman who once went by the sobriquet Bathhouse Betty.
Midler, born in 1945 in Honolulu, moved to New York in 1965, landing parts both off-off-Broadway and on it. By 1970, she was headlining at the Continental Baths, the legendary gay sauna housed in the basement of Ansonia Hotel. Her pianist at the Continental, Barry Manilow, would later serve as one of the producers of her first album, 1972’s The Divine Miss M., which reached Billboard’s Top 10, as did its follow-up, Bette Midler (1973). By the time Rydell began shooting The Rose, in the spring of 1978, Midler had released two more albums, had won a Tony and an Emmy, and had become one of Johnny Carson’s most beloved guests. In a feature on the performer that ran in the New York Times shortly after The Rose’s November 7 premiere, Midler said she had turned down roles in, among others, Nashville and Rocky. She chose The Rose—which Rydell insisted he would do only with Midler—“because it was a big film, with music, sound and lights, not an everyday picture. I don’t know if I’ll ever get a part like that again. I hope I do.”
The Rose isn’t big but enormous—a battalion of peerless shooters, including Haskell Wexler and László Kovács, aided cinematographer Vilmos Zsigmond with the film’s many vast concert scenes—and made Midler even bigger. As for overlap with the Texas-born Joplin, the movie’s title character, née Mary Rose Foster, also hails from a southern state, Florida, though Midler’s accent wildly roams above and below the Mason-Dixon line. Midler’s tragic heroine abuses the same substances as the real woman who dazzled at 1967’s Monterey Pop Festival and shares her same-sexing past: Rose awkwardly snogs with an ex–lady lover who shows up unannounced backstage before Huston (Frederic Forrest), the singer’s boyfriend, walks in on them and shouts, “Why? Why?” (Midler, not sure where to put her hands or lips on scene partner Sandra McCabe, appears to be wondering the same thing.)
However much these moments line up with Joplin’s own biography, they are essentially generic flameout backstory. But elevating The Rose beyond dead-icon clichés are the scenes that appear to be lifted directly from Midler’s résumé. Specifically, references to her first (and still enduring) core audience, gay men, appear throughout the film. On the night Rose meets Huston, she takes him to a club in the Meatpacking District, where a trio of drag queens—including one played by Sylvester—are headlining. After a fight, the bluesy belter chases her guy into the Luxor Baths, Midler gleefully racing past the pools and popping into the steam rooms of the onetime Theater District redoubt. Crucially, Midler’s actual fans populate the concert scenes: According to the Paula Meija essay that accompanies Criterion’s Blu-ray and DVD release of The Rose, the spectators for these performances, shot live at the Wiltern Theatre in Los Angeles and Veterans Memorial Stadium in Long Beach, were Bathhouse Betty’s most ardent admirers. And it is during these segments that the film’s disregard for its time frame is most glaringly, and touchingly, obvious. Rydell’s movie is set in 1969, though Rose resembles an amalgam of ’70s pop icons: Her mass of strawberry-blond curls recalls Peter Frampton’s, her flowing chiffon raiment Stevie Nicks’s. But the men—and they are almost all men—chanting “Rose! Rose! Rose!” from the bleachers are decked out not like era-appropriate hippies but Castro clones. In The Rose, it’s not just a star—whether Joplin or Midler—who’s made immortal, but an audience.
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http://edition.cnn.com/2001/SHOWBIZ/TV/08/03/dean.rydell/
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Remembering James Dean, with respect
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By Jamie Allen
CNN
(CNN) -- Mark Rydell, the Oscar-nominated director of the upcoming TNT production "James Dean," remembers well the days when he used to hang out with Dean in New York.
It was the early 1950s, and they were both up-and-coming actors finding work in theater and television.
One Sunday afternoon, they were walking down Madison Avenue, chatting.
"He was talking to me about bull-fighting, which was one of his passions," recalls Rydell. "And suddenly he whipped off his jacket, leapt into Madison Avenue and did a pass to a bus that must have been traveling 40 miles per hour. It almost flicked his shirt. And he laughed uproariously.
"I remember thinking at that moment that he was not long for this world. Anybody who could do that had such a reckless personality that sooner or later it was going to catch up with him," Rydell said.
MORE STORIES
James Franco: Channeling 'James Dean'
Of course, Rydell was right. After blazing to stardom in Hollywood, starring in three films -- "East of Eden" (1955), "Rebel Without A Cause" (1955), and "Giant" (1956) -- Dean died at 24 when he crashed his Porsche Spyder near Paso Robles, California, in 1955. His brief but brilliant movie career lasted less than two years.
Since then, Dean's legend has been well documented in countless biographies and several portraits on film and television.
But for Rydell, telling his friend's story has been a longtime dream.
"I've always felt badly that Jimmy wasn't treated with the kind of respect that I thought he deserved," said Rydell. "Having known him and known how committed and determined he was as an artist and how tortured he was as a human being, and knowing the agonies of his childhood, I felt that this was a good chance to make an honorable psychological portrait of him."
'Franco is astonishing'
"James Dean," airing Sunday night on TNT (a cable network owned by CNN.com parent company AOL Time Warner), takes a different approach to telling the familiar tale. With a script by Israel Horovitz, Dean's mercurial performances are addressed in a provocative manner, but they're not lamented upon.
It's the James Dean behind the scenes -- the one whose mother died when he was young, the one who never found respect from his estranged father -- that drives this narrative.
Dean is portrayed as a lonely, anguished soul who possesses a unique ability to filter these troubles into his art.
James Franco, who starred in NBC's acclaimed, canceled "Freaks and Geeks," plays Dean. While actors like Johnny Depp and Leonardo DiCaprio were suggested for the role, Franco seems a perfect fit. Salon TV critic Joyce Millman, for one, raved over his performance in a Thursday review.
"Franco is astonishing ...," Millman wrote. "Every inflection, every move, is right."
Rydell says Franco spent months preparing for the role, and during production he completely cut himself off from his parents and girlfriend in order to experience the isolation that Dean felt.
"So he was really a tortured fellow," Rydell said of Franco. "He felt very lonely during that period. But he felt that it helped him. And it did."
'Reality is not art'
Rydell has a reputation for bringing out the best in his actors. During his career as a director, his films have earned Oscar nods for the likes of Bette Midler ("The Rose," 1979), Henry Fonda and Katharine Hepburn (who both won Oscars for Rydell's "On Golden Pond," 1981), and Sissy Spacek ("The River," 1984).
Rydell puts Franco in this esteemed company.
"I consider his performance to be a miracle," said Rydell. "I think he's one of the most talented people I've ever met. You know, he's 22 years old. ... He just transformed himself. At times it seemed eerie. It was like cloning or channeling James Dean. There were moments where I thought, 'My God, this is really bizarre.' "
While Rydell had the vessel to portray Dean, he says he wrestled with how to present the actor's story in dramatic form. At the end of the movie, a brief note lets the viewers know that some of what they watched was an "educated guess" rather than iron fact.
"The picture is not a documentary," said Rydell. "It's a drama that has to be crafted. Reality is not art. You have to make choices when you're trying to make something work. And the choices we make I think are accurate. There aren't any lies in it. There are assumptions made that are critical and necessary."
The power of James Dean
Rydell says he "loved every single moment" of the production.
"This was really a privilege to revisit a time in my life that I shared with James Dean," he said.
And he's proud of this work, capturing an all-too-brief moment in Hollywood history when Dean burned brightly.
"It's enough to say he was in the movie business for 16 months and here we are, talking about him 46 years later," said Rydell. "That's a testimonial to the impact that he had, the power of his personality and his talent, which is indisputable."
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Mark Rydell
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"Contributors to Wikimedia projects"
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2005-09-07T03:19:10+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Mark_Rydell
|
American actor, director (b. 1929)
Mark Rydell (born Mortimer H. Rydell; March 23, 1929)[1][2][3] is an American film director, producer, and actor. He has directed several Academy Award-nominated films including The Fox (1967), The Reivers (1969), Cinderella Liberty (1973), The Rose (1979), and The River (1984). He was nominated for an Academy Award for Best Director for On Golden Pond (1981).
Actor
[edit]
Rydell initially trained in music.[4] As a youth, he wanted to be a conductor. He said he left music because of the proliferation of drugs among the musicians: "Heroin was the drug of choice," he said. "Knowing that I have an addict's personality in that a little is good but a lot is better, I knew I was in danger. So I went back to college and went to the Neighborhood Playhouse."[5] He studied acting at The Neighborhood Playhouse School of the Theatre in New York City. His first significant roles were as Walt Johnson on The Edge of Night, and as Jeff Baker on As the World Turns, which he played from December 12, 1956, to 1962. The role of Jeff was a particularly popular role with the audience.[6] During the series run he directed Roots off-Broadway in 1961.
In 1962, Rydell declined to sign another long-term contract at ATWT, and producers had his character die in a car crash.[7][8] He later won plaudits for his role of violent Jewish mob kingpin Marty Augustine in Robert Altman's The Long Goodbye (1973). His most recent significant film role was in Woody Allen's Hollywood Ending (2002).
TV director
[edit]
Rydell moved into directing television and soon became very successful. He did episodes of Mr. Novak; Ben Casey; The Reporter; Slattery's People; I Spy; The Wild Wild West; The Long, Hot Summer; and Gunsmoke.[5] He said later: "I come from the school of sitting around the table for two weeks examining every detail of the material, working out relationships with the actors, so they know what they are doing, bringing them to locations, so they can get comfortable."[5]
Feature films
[edit]
Rydell's first feature as director was The Fox (1967) which was a box-office hit, in part due to its then-rare lesbian content. He signed a multi picture contract with the film's producer Raymond Stross, but disliked working with him. Rydell said he ended up paying out four times his fee for the picture to get out of the contract. Nonetheless, he credits Stross for starting his film career.[9] He directed Steve McQueen in The Reivers (1969). Rydell and friend Sydney Pollack, who had known each other since they were both actors, formed a company, Sanford Productions, and signed a six picture contract with the Mirisch Brothers.[10] They planned to make Good Luck, Miss Wyckoff, which was eventually made in 1979 by other filmmakers.[11][12]
Rydell directed John Wayne in The Cowboys (1972). He made a romantic comedy, Cinderella Liberty (1973), with James Caan and Marsha Mason. Around this time he said he did not want to make genre movies: "I want to create my own genre."[13] He was reunited with Caan on Harry and Walter Go to New York (1976) which was a box-office flop, and directed the pilot episode of Family (1976).[14]
Rydell directed The Rose (1979), starring Bette Midler, which was a huge hit.[15] So too was On Golden Pond (1981), starring Henry Fonda and Katharine Hepburn, for which Rydell received an Oscar nomination as Best Director. "I'm this week's heat," he joked at the time.[16] He was going to make a film based on the play Nuts but instead did The River (1984), with Mel Gibson and Sissy Spacek.[17] It was not a commercial success. Neither was Rydell's next film, For the Boys (1991), with Caan and Midler.
Rydell made the television movie McBride and Groom (1993) and the feature Intersection (1994). He directed the television movies Crime of the Century (1996), which starred Isabella Rossellini and Stephen Rea, and James Dean (2001), which earned actor James Franco a Golden Globe award. Rydell also acted in the movie, playing Jack L. Warner (head of Warner Bros). He was credited as executive producer on An Unfinished Life (2005).
In 2006, Rydell directed the movie Even Money. His last credit to date was an episode of Masters of Science Fiction, "A Clean Escape".[18]
Three years later – working with actor Martin Landau and screenwriter/playwright Lyle Kessler – he produced an education seminar, The Total Picture Seminar. The two-day event covers the disciplines of acting, directing, and writing for film. The three have worked together as a team for many decades at The Actors Studio teaching and coaching professional actors, writers, and directors. In 2010, Rydell joined the Advisory Board of Openfilm, an online video sharing site created to help aspiring independent filmmakers.
He executive produced the documentary A Coup in Camelot (2015).
Personal life
[edit]
Mortimer H. Rydell was born on March 23, 1929,[1][2] to a Jewish family in New York City.
Rydell married actress Joanne Linville in 1962. The couple had two children, Amy and Christopher, both actors. Rydell and Linville divorced in 1973. Rydell had another son, Alexander, from his second marriage to documentary producer Esther Rydell. That union ended in divorce in 2007.[citation needed]
Filmography
[edit]
As director
[edit]
Film
[edit]
The Fox (1967)
The Reivers (1969)
The Cowboys (1972)
Cinderella Liberty (1973)
Harry and Walter Go to New York (1976)
The Rose (1979)
On Golden Pond (1981)
The River (1984)
For the Boys (1991)
Intersection (1994)
Even Money (2006)
Television
[edit]
The Phil Silvers Show (episode of TV series) (1955)
Mr. Novak (episode of TV series) (1964)
Ben Casey (episodes of TV series) (1963–64)
The Reporter (episode on TV series) (1964)
Slattery's People (episode of TV series) (1965)
I Spy (episodes of TV series) (1965)
The Wild Wild West (episode of TV series) (1966)
The Long, Hot Summer (episodes of TV series) (1965–66)
The Fugitive (episode of TV series) (1966)
Gunsmoke (episodes of TV series) (1964–66)
Family (episode of TV series) (1976)
McBride and Groom (failed pilot) (1993)
Crime of the Century (TV movie) (1996)
James Dean (TV movie) (2001)
Masters of Science Fiction (episode "A Clean Escape" of TV series) (2007)
As actor
[edit]
Crime in the Streets (1956) as Lou Macklin
The Long Goodbye (1973) as Marty Augustine
Punchline (1988) as Romeo
Havana (1990) as Meyer Lansky
A Man Is Mostly Water (2000) as Distributor
Hollywood Ending (2002) as Al
Senior Entourage (2020) as Mark
References
[edit]
|
||||||
6000
|
dbpedia
|
0
| 59
|
https://www.slashfilm.com/1023411/john-waynes-politics-nearly-cost-him-his-part-in-the-cowboys/
|
en
|
John Wayne's Politics Nearly Cost Him His Part In The Cowboys
|
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[] |
[] |
[
""
] | null |
[
"Jeremy Smith"
] |
2022-09-24T00:42:55+00:00
|
It was one of his finer roles.
|
en
|
SlashFilm
|
https://www.slashfilm.com/1023411/john-waynes-politics-nearly-cost-him-his-part-in-the-cowboys/
|
Hollywood in the early 1970s was unkind to many of the industry's surviving golden-age legends. The smartest of the bunch had either retired, moved to television, or segued to supporting roles in disaster films. Unlike our current era, there wasn't much nostalgia for the good old days. The '50s and '60s were a time of social upheaval during which Black Americans struggled mightily to fight and win basic civil rights. Meanwhile, the Vietnam War was only getting bloodier. People were not in the market for old-fashioned entertainment. They wanted edgier, angrier movies. Those who wanted more of the same could stay home and watch the same when it reran on the afternoon movie.
Where did this leave John Wayne, the Western icon who'd become the big-screen personification of everything that was right (morally and politically) about America at the time? After scoring his first Best Actor Oscar as the alcoholic U.S. Marshal Rooster Cogburn in 1969 with "True Grit," he'd fallen back into his oater rhythm with serviceable films like "Chisum," "Rio Lobo," and "Big Jake." He was older and crustier, but still very much The Duke. This turned problematic when he gave Playboy a notoriously cranky interview, in which he voiced his support for "white supremacy until the blacks [sic] are educated to a point of responsibility." This might've played well in Peoria, but it was anathema in Hollywood.
It was at this point that Wayne grew restless. He didn't want to make small-scale Westerns. He yearned for the epic scope of Howard Hawks' "Rio Bravo" and John Ford's "The Searchers." He found this project in Mark Rydell's "The Cowboys," which was based on a novel by William Dale Jennings. The tale of an aging rancher forced to hire a group of adolescents to drive cattle over a rough 400-mile trail stretching from Montana to South Dakota was a perfect companion piece to "True Grit." Less fitting was Jennings' background. The author, a World War II veteran (something Wayne famously was not), was an openly gay man who co-founded the Mattachine Society. Wayne's feelings on homosexuality were exactly as uncharitable as his views on racial justice.
Wayne either didn't know or didn't care about Jennings' sexual preference. Of chief importance to him was the story, which entailed him turning a bunch of recalcitrant whippersnappers into first-rate cowboys. Jennings, however, who'd been involved in the adaptation process along with the screenwriting duo of Irving Ravetch and Harriet Frank Jr., wanted no part of Wayne. He'd written the character of Wil Andersen for George C. Scott.
Rydell concurred. According to Scott Eyman's "John Wayne: The Life and Legend," the director dug his heels in until the star finally broke down his defenses.
"'I did not want John Wayne for 'The Cowboys,” said director Mark Rydell. 'But Warners was heavily invested in John Wayne, with whom I was at polar opposites politically and emotionally and every possible way. I did not admire him. But he seduced me mercilessly. 'I promise you I will do the best job I possibly can,' he said. 'Let's not talk about anything but acting. Not politics or religion, just acting.' He completely won me over and I agreed he should play the part.'"
Rydell told Eyman that Wayne kept his politics to himself on the set. Though Rydell quietly amused himself by casting the formerly blacklisted Allyn Ann McLerie as Wayne's wife, he basically reciprocated, and the two turned out an emotionally satisfying Western bolstered in a big way by John Williams' magnificent, Aaron Copland-inspired score. (One wonders if Wayne knew Copland, the greatest of all American classical composers, was gay as well.)
"The Cowboys" isn't a terribly progressive film, but it did require Wayne to get gunned down by long-haired Bruce Dern after barely besting him in a fight. Wayne rarely died in movies, especially after "Stagecoach" made him a star in 1939, so his death in this movie hits hard, particularly viewed through the worshipful lens of the children he's trying to protect. Wayne's worldview was deplorably out of step with the times, but he was not, in his last decade, too precious about his image. He saw the end coming and realized that life, in the long run, is a losing battle. His art tells a far more fascinating tale than his existence.
|
|||||
6000
|
dbpedia
|
2
| 40
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https://ew.com/article/2003/07/02/katharine-hepburn-set-golden-pond/
|
en
|
Katharine Hepburn: On the set of ''Golden Pond''
|
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[] |
[] |
[
""
] | null |
[
"Josh Young",
"www.facebook.com"
] |
2003-07-02T00:00:00
|
Katharine Hepburn: On the set of ''Golden Pond.'' As one of the last people to work with the Oscar-winning actress, director Mark Rydell reveals how she made his film special -- on screen and off
|
en
|
/favicon.ico
|
EW.com
|
https://ew.com/article/2003/07/02/katharine-hepburn-set-golden-pond/
|
Katharine Hepburn won the last of her record four Academy Awards for ”On Golden Pond,” the 1981 tear-jerker in which she played a saucy matriarch refereeing the war between her husband and their daughter (played by real-life father-daughter duo Henry and Jane Fonda). But beyond that remarkable performance, ”Pond” director Mark Rydell remembers Hepburn the woman: her eagerness to learn, her tenacity, and the surprisingly soothing nature that eased tensions between the Fondas on set. Rydell (”The Rose,” ”Intersection”) chatted with Entertainment Weekly about his experiences working with Hepburn on the film — and what you might not know about Katharine the Great.
It must have been difficult getting the money to make ”On Golden Pond” — its two stars were well into their 70s at the time.
It was hard to get the picture made, despite having Jane, who was a very big star. I had to beg for the money to make the picture — literally beg — because the financiers said, ”Henry Fonda hasn’t had a hit in year, and Kate Hepburn is just a legend and she doesn’t mean anything anymore. Jane would mean something but she’s not in the lead. Who wants to see a picture about death?”
Once you got the financing, what were those first few days working with Katharine like?
She was so startlingly remarkable, so heroic in many ways. For example, aside from being an extraordinary personality and a brilliant actress, she was also an athlete. About five weeks before the picture was to begin, she dislocated her shoulder while playing tennis and was taken to the hospital and operated on. Pins were put in her shoulder. I thought, Oh sh–, here goes the picture. I flew to New York and went to the hospital, and there she was in this hospital bed with her arm in a stand-up cast — her shoulder was at a right angle and her arm was extended in front of it, and there was a rod down to her waist that kept it at that height. She said, ”Don’t you worry about a thing.” I said, ”We’re supposed to start in five weeks.” She said, ”I’ll be there.” Sure enough, this woman showed up. All the doctors told her that she was insane and there was no way. Of course, it was her tenacity and determination to play this part, which meant a great deal to her.
|
||||
6000
|
dbpedia
|
2
| 83
|
https://wpgtalkradio.com/atlantic-city-nj-casino-is-bringing-woodstock-anniversary-party/
|
en
|
Atlantic City, NJ Casino is Bringing Woodstock Anniversary Party
|
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2024-08-07T08:47:41+00:00
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Atlantic City, NJ Casino is Bringing Woodstock Anniversary Party
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en
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WPG Talk Radio 95.5 FM
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https://wpgtalkradio.com/atlantic-city-nj-casino-is-bringing-woodstock-anniversary-party/
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Resorts Casino Hotel Atlantic City will party like it’s 1969, with a day and evening that will be full of live music, activities, trivia and more.
This will be followed by Back To The Garden 1969 - The Woodstock Experience in the Superstar Theater.
On Saturday, August 17, 2024, Resorts Casino Hotel will present an epic Woodstock Anniversary Party.
From 1:00pm - 4:30pm, Side Story Band will be bringing the Boardwalk to life with a special performance featuring Woodstock classics. Throughout the afternoon, guests can enjoy Woodstock trivia with special prizes, a 60's costume contest, a tie dye station, interactive games hosted by Bicardi Artie, a photo station with a Volkswagen bus, Woodstock dancers and drink specials at the Glitter Bar and DraftKings Sportsbook at Resorts. Exciting giveaways include beads, peace signs, funky sunglasses and show tickets, said Resorts Casino Hotel Atlantic City.
This will lead to an evening of great entertainment at 8:00pm, with Back To The Garden 1969 - The Woodstock Experience is set to provide guests with an exciting performance in the Superstar Theater.
The band will recreate the classic sounds associated with Woodstock. The musical performances are a tribute to the artists who made Woodstock great, including:
Crosby, Stills, Nash & Young
Jimi Hendrix
Sly & The Family Stone
Jefferson Airplane
Santana
Joe Cocker
Janis Joplin
The Band
Creedence Clearwater Revival
Canned Heat
Ten Years After
The Who
Mountain
Richie Havens
Melanie
Arlo Guthrie
Blood, Sweat & Tears
The Grateful Dead
Country Joe & The Fish
Tickets are on sale now and can be purchased via ticketmaster.com.
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dbpedia
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https://clare-ofarrell.com/2013/02/13/interview-with-david-leeds-director-of-shoot-the-sun-down/
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en
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Interview with David Leeds, director of Shoot the Sun Down
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2013-02-13T00:00:00
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Interview with David Leeds, director of Shoot the Sun Down. Interview by Clare O’Farrell, November 2003. Edited by Clare O’Farrell Previously posted on the Walken Works site © David Leeds and Clare O’Farrell 2003 David Leeds' blog A Husk of Meaning Imdb link to Shoot the Sun Down. Added November 2013 The film has now…
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Refracted Input
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https://clare-ofarrell.com/2013/02/13/interview-with-david-leeds-director-of-shoot-the-sun-down/
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Interview with David Leeds, director of Shoot the Sun Down. Interview by Clare O’Farrell, November 2003. Edited by Clare O’Farrell
Previously posted on the Walken Works site
© David Leeds and Clare O’Farrell 2003
David Leeds’ blog A Husk of Meaning
Imdb link to Shoot the Sun Down.
Added November 2013 The film has now been remastered in high definition, DVD and Blu-ray. This special 35th anniversary release was made available on November 14. For more information and background about the film, please visit the SHOOT THE SUN DOWN Facebook page.
Interview
What was your background before you made this film? How did you come to make the film?
I had graduated from Harvard with a degree in Art History before enrolling in the UCLA Theatre Arts graduate program – film school – for an MFA. After completing my course work and several shorter films, I started to write what would become Shoot as a thesis film. I quickly realized that what it really was, was a feature, and I couldn’t figure out how to shorten it for UCLA. This was still in the days of tax shelters, so I dropped out of school, having been ‘advanced to candidacy’ and preceded to raise the money for an independent film. Quite a few years later, I submitted the film as a master thesis equivalent, and received my degree.
When was the film made and when was it released? What were the reasons for the delay in its release? How did you choose the working title ‘Santa Fe 1836’?
The film was actually shot in 1976, on a six-week (six days a week) shooting schedule in late August and September. The locations were, just outside of Santa Fe, at an old Western movie ranch, where we built the Mexican town set. (The Western town was where parts of The Cowboys (1972), with John Wayne, directed by Mark Rydell was filmed.) Our set was subsequently used in Silverado (1985). It was the town where Kevin Kline gets a gun while dressed in his underwear, and goes after the guy that had his hat – where the action takes place when he runs into Brian Dennehy. Silverado, by the way, was a movie I wished I had made. We also shot outside of El Paso, at the Hueco Tanks – the site of the Navajo Village, and a little mini village outside of Las Cruces – where they all gather before going out to ‘save’ the Navajos. We also shot some general exterior stuff in Chaco Canyon. I was the first person to use it for filming, and we stayed in the trailers where the original archeological excavation team stayed.
The desert dune stuff was in Alamogordo, New Mexico (where they did the first test of the A bomb) at the White Sands Park and missile testing range. (This was the scene, earlier, of the horse race in Bite the Bullet (1975) with Gene Hackman and Candice Bergen.) There was a serious production problem there. The sand there is normally very white – it’s actually gypsum- like snow. In September, it was our last location; it actually snowed, after we had been shooting for several days. Supposedly it was the first snow this early since 1880. When the sand is wet, it becomes a more normal, yellowish brown colour. There was no way we were ever going to be able to match what we had already shot, and I certainly couldn’t afford to reshoot, so we came up with the ‘snow’ storm at night stuff – an optical shot – to deal with that situation. This flows into part of the delay scenario in getting the film out. I had to compress the postproduction budget a bit, because I did have to shoot a several extra days.
When the first version was completed the film was still entitled Santa Fe 1836 and was quite a bit longer, and even slower, although much more narratively coherent. The very original title of the first draft of the screenplay was actually Mr. Rainbow. I changed it early on, however, to Santa Fe 1836, because I wanted to make sure it was perceived as a Western. I have always liked brief, inferential titles. I thought that the simple pronouncement of where and when would automatically make someone ask, what? (The mantra of where, what, when, was inculcated in me in high school, as editor of the school newspaper). The date 1836 is set by the fact that Mr. Rainbow is on his way to the Alamo (of course, to die, as they all did) and that he has the first, six shot repeater, a Colt Patterson repeater, which was introduced in 1836 as well.
At this point I had a hard time finding a distributor, but finally did. We both agreed that the film could use some tightening and started on the process. About half way through, they went out of business. So I then had a half re-cut film. It then took me a while to find an investor group associated with a small company in San Francisco, who put up the money to finish the re-editing, and to rescore the film. The original version had a largely acoustic and slide guitar score by Bruce Langhorne, who had done Peter Fonda’s film The Hired Hand (1971), a movie I admired with a score I loved. There was also a wonderful end title ballad by Kinky Friedman. While I liked both the original score and song, we had decided that film needed a more aggressive score to propel the narrative, so I went for a very Kurosawaesgue, more percussive feeling – with a little Spaghetti thrown in.
Finally two years after it was originally completed, I got limited domestic distribution through a regional distributor who focused on the Southwest and Southeast. The film was finally released, to the extent it was, in 1978.
Could you talk about how you came up with the final title of the film?
I had a foreign distributor before a domestic one, and he, and the group who helped re-edit the film, thought something more elegiac would work better. I was half-convinced myself, and came up with the name. I thought the combination of ‘shoot’ and sun down, somewhat of a play on sundown and also the literal image of the sun being shot down conveyed a bit of the Western, desert feel. It implied both a tearing down of the generic image – a deconstruction if you will, plus a reference to the end of all the characters – their dreams and aspirations, as well as those of the Navajo – in the sense that pollution by the white man brings destruction.
You mention a ballad by Kinky Friedman. Did he write this especially for the film? Do you think, in retrospect, that you would prefer the earlier soundtrack to the final one that was chosen?
Let me tell you about Kinky. [1] He wrote the song for the movie, and it was terrific. I wish it were still in, along with most of the original score, in retrospect. Although I would have added some of the percussive, Spaghetti Western effects as well. Actually, some of the percussive stuff was a direct reference to Kurosawa – I had the composer watch Seven Samurai (1954) and Yojimbo (1961). Kinky and I became friends, but I haven’t seen him in probably fifteen years. He is a great guy, and a true original.
How did you work with your co-writer on the script?
Richard Rothstein, the co-writer, came into the picture after I had written the first draft. I thought I needed some help tweaking and reorganizing some things. At that time he had not had anything produced, but we met through friends, and I liked him very much and two scripts of his I read. We were an excellent collaborating team. It was not a case where one of us was better at structure or dialogue per se, but we each went back and forth with both. He was a kindred sensibility, and a big help. We pushed each other in a very positive way. I also made him a co-producer, because I wanted somebody else around while making the film that I really trusted, and with a shared a sensibility.
Mr. Rainbow, right down to his name, is a hero of sixties and seventies counter culture with his championship of oppressed minorities and rejection of the establishment (the army). Did you choose the themes first or the genre? In other words, did you want to make a Western first, or was the Western simply a convenient genre to explore certain issues?
You’re right about the counter culture. In fact, in the script, Mr. Rainbow wore coloured glasses – basically hippy shades, which were actually rare, but historically authentic. It was from these that the character got the name, Mr. Rainbow (prismatic effects, etc.) The first moment I saw them on Chris I said forget it. They just looked weird, not cool or believable at all.
Definitely, I chose the genre first. I had always loved Westerns as a kid and always fantasized about being in that world. I loved the idea of the frontier, of remaking yourself, of the vast open landscape and of the code of personal responsibility that was implied in a culture basically without law, or rather where everyone was the law. Westerns fed my mythic aspirations and wish that the world could be what you made it, not what a stuffy, entrenched society said it was. To me the dream of the West was about who you were in the present, not how you were born, or the pre-existing rules. I also believed and frequently told people the Western was the only legitimate or at least original, American subject matter.
Speaking of names, could you talk about the inscription on one of Mr. Rainbow’s knives: ‘For your distinguished service. Captain Jefferson Davis.’?
Actually, it was meant to be a citation for bravery signed by his former commander, Jefferson Davis. Jefferson Davis fought in the Indian Wars just before that period, and went on to become a famous general, for the South, and in fact the President of the Confederacy in the Civil War. We couldn’t resist the idea of Mr. Rainbow’s connection to a later, and very well known, doomed cause (in addition to the Alamo) via this earlier association.
Obviously Spaghetti Westerns were an influence on the way you made the film, but were there any other influences?
They certainly were. Leone was my hero, as well as Kurosawa. I saw this story and the myth of the wandering man with no name, anti hero-hero, as fully contained and realized in Kurosawa’s samurai pictures as well. In film school, I did see a very weird film, which influenced me as well. It was El Topo (1970) by Alejandro Jodorowsky. Some of his images and his surrealistic juxtapositions really struck me. The opening desert scene where we meet the Girl with the parasol and the Captain is visually an hommage to that picture. Also, I should mention Lawrence of Arabia (1962), both visually and thematically (the ‘hero’ imposing himself on other cultures, ultimately to their detriment no matter what his intentions are) as being important.
Were you already interested in painting and sculpture at the time you made the film? If so, did these art forms have any impact on the way you made the film?
I was certainly interested in painting especially. I had majored in art history and before going to film school, was about to enroll in a Ph.D. art history program. I had specialized in nineteenth and twentieth century art, and written a thesis on Cézanne’s self-portraits. I was incredibly lucky to have a Director of Photography, who knew painting as well. We would often set scenes with the feeling of specific paintings. I remember one scene where I told him Messonier – and actually a specific painting, which he knew. What a pleasure that was. I actually feel, in a sense, that the picture suffered because of my orientation to the more static, painting like shot, than the inherently movie-like, tracking shot. Almost immediately after finishing the movie I realized that I really did not move the camera enough, and if I had it do again would have certainly done so with much more vigour.
Was it difficult filming on location in the desert?
Yes it was. The White Sands National Monument had a lot of restrictions on where you could go and what you could do. You could only have horses in what they called the inter-dunal flats. (A lot of their restrictions came into place because of Bite the Bullet (1975) which really trashed the site and caused a lot of natural destruction, and also killed a horse for real for the movie.) This particular restriction stopped me from doing a lot of Lawrence of Arabia, tromping through the sand dunes stuff that I had counted on and always conceived in my design of the film.
The desert was the toughest on Chris. In the white sands material he is running around with very little clothing, and it was freezing. In the Hueco Tanks, outside the Navajo village it was really hot. The scene where he is staked out and attacked by vultures took a long time to film. He insisted on being tied down so he could not move, and even refused to be untied during lunch break. He did allow someone to cover him from the sun (with Margot’s parasol – the only thing we had that could do it) and give him a little water. In general, we were in very remote places with complicated topography, trying to move around horses and wagons. In a way, it was total folly to think we could do this kind of picture for the money we had. It forced me to move quicker than I would have liked through each set-up. I would, in retrospect, have tried to be a little less ambitious that way, and not tried for such a big film look, on such a meagre budget.
How did you do the vulture scene? They looked like real vultures and that they were actually attacking Walken.
Indeed the vultures were real and they very much were trying to attack Chris. We had a ‘vulture wrangler’ who swore he had done this before, but after what we went through to shoot that scene, I doubt it. The vultures were tied with wire and staked down, just below ground level, or in some cases, we put rocks in front of the stakes. They were wild and frenzied, and were trying to get at Chris for real. Several times they broke away, but luckily none went right at his face. In retrospect, we were very lucky he wasn’t hurt. Chris’s attitude throughout the film, in scenes of physical distress and discomfort, was to dive right in.
Were the people who played the non-speaking Navajo parts from local indigenous communities? Where did their costumes come from?
Almost all of the non-speaking Navajo parts were from the local indigenous community. They were far from all Navajo, however. Many were Hopi, or Apache, and various mixes from local pueblos and towns. The local extras, both native and otherwise, were helpful, friendly, and entirely easy to deal with. The local actors with previous experience tended to be overly ‘theatrical’ for my taste, and I kept having to sit on them. The natives were mostly inexperienced, which was a good thing, No bad habits, and a bit, sadly, passive.
Our own wardrobe person designed the costumes. I had told them that I only wanted something authentic to the period, and had expected something out of a Curtis photograph. [2] When I first saw their design, I flipped, thinking it looked modern, machine made, and fake. However, they had done their research well and showed me all the historical documentation. We also double-checked it through some historians in Santa Fe, and they were spot on.
Did you have any particular actors in mind when you were writing the script? Were the actors who eventually appeared in the film your own choice?
The only actor that I had in mind specifically when writing the script was Geoffrey Lewis, who played the scalp-hunter. I had seen him in another Western I had loved, called The Culpepper Cattle Company (1972). I recommend it highly. I loved Geoffrey’s character in that movie and thought, what if you take that guy, and then ramp him up times ten. Speaking of the script, I should tell you that I was listening to the Eagles album, Desperado while writing. It gave me the feeling I wanted to imbue the story with. I actually had one conversation about some of them appearing in the film. It was a time when rock stars wanted cameos. In fact Alice Cooper wanted, for a moment, the part of the conquistador henchman of Geoff Lewis. I decided against him, and had actually hired Christopher Lloyd for that part. But, a problem arose after he arrived on the set, and he dropped out.
While writing the script, I kept thinking of a young Clint Eastwood type. Then, I saw the Paul Mazursky film, Next Stop Greenwich Village (1976). There was a moment at the end of the film where Chris, who really had quite a minor, supporting role, walks into a bedroom and finds a buddy dead of suicide on the bed. He turns when someone else starts to come in, and says: ‘Don’t’. That moment and look, and affect was where I said, wait, that’s the character. It was like a young Clint Eastwood on the surface, but with all the interior life, questioning, and angst that Chris has.
Margot Kidder, I wanted, though not in the writing stage, and I had to coax her out of retirement. She had married the novelist, Tom McGuane – a whole other story, and was living in Montana. Margot got Superman (1978) right after we finished, and in fact, I turned her onto Chris’ agent, who got her the job right away. Chris went straight to The Deer Hunter (1978). And, I think if anyone looks at the scene in Vietnam, in the cages, you see the antecedents in my scene when he was staked out with the vultures.
I have to also say A. Martinez, who I wanted as soon as I saw him was terrific, and there were a lot of his scenes that had to be cut out because of time and narrative movement, that were among my favorites. In this group of scenes was a whole back story of when Mr. Rainbow had an earlier sojourn with this group of Navajos, and a minor love interest with a native woman – Sacheen Littlefeather, of Marlon Brando Academy Award acceptance fame, that was totally cut. [3]
I’ve just remembered that the other character that I wrote with a specific person in mind was the sea captain. I envisioned and tried to get Hugh Millais. He was a character in Robert Altman’s movie, McCabe and Mrs. Miller (1971). Another movie I loved, and a definite influence. He was not really an actor, and in fact was a falconer – part of why he was interested in this movie, but couldn’t do it because he had to go to Saudi Arabia, for a falconers’ meet. Pretty weird.
Christopher Walken has mentioned on various occasions that he doesn’t like (i) horses (ii) the sun (iii) guns. Did he have any particular problems with any of these things while shooting the film? [4]
Chris was at that time, totally a creature of New York. I had in fact arranged for riding lessons for him in Central Park, and sent him a shootable version of the Colt-Patterson repeater, asking him to practise taking it apart and putting it together and had arranged a place where he could fire it. I also asked him to grow his hair a bit and not shave for a week before filming, and we’d figure out the best look when he got to location. Let’s put it this way: the wrangler said he’d never been on a horse, the gun was unfired, and his hair was short, normal for him. It’s fair to say that he didn’t like horses, guns, or the sun. What he did have, however, was an early form of that intense, hard to read, off rhythm syncopation that has come to be so much him. I don’t think he’d spent much time out of doors, certainly not in the wilderness, but part of what’s so compelling and interesting about his performance, is all these tensions, which definitely, in the end, served the character well.
He approached the character, from an interior point of view, and stayed focused on that. When Chris was staked out, for example, he did a good job of going in and out of delirious fragments which applied to the character, situation, conditions and so on. It was totally improvised, and it is something I find in films, not that easy to do convincingly. Chris’ instincts for things like that, and in general are exceptional. I think he nailed the combination of alienation and engagement I had in mind, terrifically.
In terms of Mr. Rainbow’s aborted sunglasses, and long hair: my original conception was very much as you posited earlier, in terms of the seventies hippy anti-establishment credo. There were many shots of and cut aways to prismatic effects from his sunglasses throughout the script. And, as I mentioned, Chris’s initial look was a disappointment to me. However, In retrospect, I think, again, his instincts were great, and served the character better than mine would have. I think my image was too obvious and clichéd. His created a much more universal and certainly more timeless character in terms of ‘look’.
I notice that Mr. Rainbow is an adept at throwing knives. Is this a deliberate reference to the Eastern martial art of shuriken throwing? Was Walken actually throwing something in these scenes?
The throwing knives were totally a reference to shuriken, and as well as a nod to Kurosawa, and Kung Fu (1972-5). They were actually little knives with short leather handles that can be seen when he is dealing with his weapons, before Margot Kidder comes to his room. And he was absolutely throwing them on all occasions. I initially toyed with the idea of having the shuriken as stars and going into a sideline about Mr. Rainbow’s exposure to Chinese history, but decided the specificity of the reference, would take away from a more implied, and shown, not explained, nature of the mystery surrounding the character. So, I just miniaturized the knives. They were really like arrowheads.
What were the other actors like to work with? Do you have any interesting stories?
I’ve told you a bit about Chris, and let me add something else. Margot’s husband had just finished shooting the film The Missouri Breaks (1976) which he had written, and was largely shot near their home in Montana. Brando had one of his more outrageous turns in the movie, (you might remember the scenes where he wore a dress) and he had stayed with the McGuane-Kidders during a lot of filming. Chris could not get enough of Brando stories from Margot. Brando was obviously one of his heroes, and he reveled in any info he could get. [5]
Geoffrey Lewis, I’ve mentioned a bit. For me, working with him was just the greatest pure pleasure. He did an enormous amount of research, and came to location, full of ideas, facts, and enthusiasm. As a writer, it was phenomenal to see a character you’d written, with a specific person in mind, take and expand and probe that character in ways you hadn’t imagined, but had only set in motion.
Margot Kidder was the ultimate professional and trooper, and someone with whom you would not hesitate to go into battle with. A. Martinez, like Geoffrey, had done Westerns, liked horses, and could stretch any moment to something more real and intense than was indicated. He always expresses such a sense of dignity and presentness. It has always been one my regrets about the film, that so much of his great work had to be cut, for time constraints. I always imagined that character as a brother – reflection – of Mr. Rainbow who was not cut off from his roots, as, inevitably, the wandering samurai is.
Did you have stunt doubles performing for any of the principal actors in any of the scenes?
There were some stunt doubles, certainly, in all the fight scenes. Also, a bit for some shots of people riding. Margot, A, and Geoffrey were accomplished riders. Most of the others, for any scene with a gallop were stunt doubles.
Were there any scenes not included in the final cut that you would have liked to have seen in the film?
You know, the first cut of the film was about two hours and ten minutes. I knew that, realistically, talking to distributors, and without a famous director, it had to be ninety minutes or less. That allows theatres to have an extra show a day. But I feel it definitely needed to be about fifteen minutes longer!
There were many scenes with the Navajos and Mr. Rainbow that had to be cut. I’ve mentioned a few. After Mr. Rainbow is saved by the Navajos from the Apaches, in that incredibly truncated and badly shot scene after he leaves Santa Fe, in those beautiful red canyons, having just saved Sunbearer at the cantina, he had a long sojourn with them, bonding with the village, Sunbearer and the unseen Sacheen Littlefeather character. That scene in the canyons was an example of my over reaching in trying to use a remote location, which was difficult to get into and so on, for a short scene. I need much more coverage than I was able to get. It was a bad, immature tactical decision to go for a separate location for that. The beautiful landscape was not worth the skimpy and short-hand way it had to be shot.
There was also another key scene that I would have certainly put back. It was originally designed to be the opening scene. Three comanchero type bandits pursue Mr. Rainbow through a beautiful and elaborate rock formation near Chaco Canyon. It is a long cat and mouse, until finally they seem to have him boxed in. At the climax he faces the three gunmen fanned out on horseback, in front of him. They are full of smirks and cheesy bandit talk. One of them draws and Mr. Rainbow shoots him. Rainbow then rests the pistol on his saddlehorn, as the other two really taunt him, literally, about shooting his wad. They slowly draw, and Mr. Rainbow fires and kills them both. He goes up to the first one who is not dead, and gives him a drink of water, as the man says in bewilderment – not having seen a six-shooter before – ‘three shots from one barrel…’. Mr. Rainbow then throws a pistol with one shot close to the man, and rides off. Off screen, as we are on a close up of Chris’ face while riding away, we hear a gun shot in the distance. The scene became too long to include. There was an editing problem which came, frankly, from the way I shot it.
I understand this is your only feature film. Could you talk about why you haven’t made any further films?
I had previously done a feature length docu-drama, and a couple of shorts. After I made this picture, I tried, unsuccessfully, to get hired as a director. I then started to try and develop other projects. I flogged a sort of revisionist, Raymond Chandleresque, detective story I had written. (This was another genre that I loved). Then I tried to purchase the rights to several novels. My most interesting attempt, and the one closest to my heart, was Oliver LaFarge’s book, Laughing Boy. He was an archaeologist of the Southwest, who only wrote this one novel in 1929. It was a big critical success and has been a cult favourite ever since. It is an incredibly beautiful, lyric, Navajo love story, involving the intersecting of cultures, and choices people make to survive. I used to give people copies of it. I had been talking to the estate for years, trying to convince them to sell me the rights. They were afraid of the purity of the book and its reputation being tarnished, by in fact, any film adaptation – not an unreasonable fear. Finally, however, after I had given up, quite a few years later, they sold the rights to Robert Redford – but he has done nothing with it.
So, I was finding it difficult to get the kind of thing I was passionate about going, and in a sense, I had been spoiled by having too much freedom too young, and was not willing to compromise. You know the difficulty involved with making a film from beginning to end, especially if done independently. I found that it was hard enough with something you loved, but without that level of passion – just to settle in order to do something was difficult for me. In the meantime, I had continued writing poetry, which I have always done, and out of the blue, took a painting class. I found myself spending more and more time painting, then got a studio outside of the house. I also spent a lot of home time raising my son (a little of the John Lennon syndrome). I was also involved part-time, in some family investment activities, and tutoring children in a disadvantaged school, as well as some other educational, non-profit activities.
Yet, I still never totally lost the bug. About ten years ago, I optioned a book by Phillip Caputo, called Indian Country (1987), a story of a returning Vietnam vet, who lives in Michigan, and has serious re-entry problems. There was a major sub plot in it that involved the Ojibwa people. I can’t seem to get away from Native American culture and mythology. Five years ago I started sculpting instead of painting. I’ve now moved from clay/bronze to stone carving. I still talk to people occasionally about getting involved with another project. And, in the right circumstances, I would give it a shot. Meanwhile, I am relishing an activity, in which I am in total control.
However, I do think that despite not having to endure all the frustrations, etc., making movies is a bit like a first love. It always stays with you, and in a sense, you never get over it or the fantasy of it.
References
1. Kinky Friedman is the author of such classic ballads as ‘They Ain’t Makin’ Jews Like Jesus Anymore’ and a number of highly original detective novels featuring himself and his friends. For information about his career and works see The Kinky Friedman official site.
2. Edward S. Curtis is famous for his immense work photographing the remnants of Native American cultures in the early twentieth century. His work later became controversial as a result of his tendency to reconstruct with varying degrees of accuracy, rather than simply document, what remained of these cultures. See, Anne Makepeace, Edward S. Curtis: Coming to Light. National Geographic, 2001.
3. For information about the Oscar incident and Sacheen Littlefeather’s career to present see Dina Gilio-Whitaker, Brando, Littlefeather and the Academy Awards, about.com site, Native American History, n.d
4. Concerning horses, Walken comments: ‘I come from New York city. I grew up right in mid town. I don’t know anything about horses. I’ve made some Westerns but my experience with horses has not been good. I’m afraid of them and they don’t like me much.’ ‘Sleepy Hollow: Behind the Legend’, documentary, USA, 1999. Available on the Sleepy Hollow DVD. As for the sun Walken remarks: “I hardly ever go in the sun. I don’t like it because it hurts.’ Jan Moir, The Telegraph, UK, 11 March 2002. Walken also notes his dislike of guns: ‘Whenever I hold a gun, I want to get it out of my hand as quick as possible.’ Chris Nashawaty,’The Greats: Christopher Walken’, Entertainment Weekly, 17 March 2000.
|
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| 22
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http://mattvstheacademy.blogspot.com/2010/02/1981-on-golden-pond.html
|
en
|
Matt vs. the Academy: 1981
|
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] | null |
[
"Matt Foster"
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Matt vs. the Academy's next year of review seems like a foregone conclusion, but there's still time for a late rush of voting, so make your ...
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http://mattvstheacademy.blogspot.com/2010/02/1981-on-golden-pond.html
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6000
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3
| 2
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http://thehollywoodinterview.blogspot.com/2008/03/mark-rydell-hollywood-interview.html
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en
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The Hollywood Interview: Mark Rydell: The Hollywood Interview
|
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|
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Actor/director Mark Rydell. BULLFIGHTING BUSES WITH JIMMY DEAN, SMASHING COKE BOTTLES WITH ROBERT ALTMAN, BEING ONE-UPPED BY STEVE MCQUEEN ...
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http://thehollywoodinterview.blogspot.com/favicon.ico
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http://thehollywoodinterview.blogspot.com/2008/03/mark-rydell-hollywood-interview.html
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| 81
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https://dcpfilm.wordpress.com/2013/07/08/harry-and-walter-go-to-new-york-rydell-1976/
|
en
|
Harry and Walter Go To New York (Rydell, 1976)
|
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2013-07-08T00:00:00
|
Thanks to Zimbo Films for turning me onto this one. Harry and Walter Go To New York is worth it just to hear Elliot Gould and James Caan's many duets. The two star as vaudeville actors-turned-thieves opposite Michael Caine in Mark Rydell's 1976 effort, five years prior to what I know the director for, On Golden Pond.…
|
en
|
https://s1.wp.com/i/favicon.ico
|
dcpfilm
|
https://dcpfilm.wordpress.com/2013/07/08/harry-and-walter-go-to-new-york-rydell-1976/
|
Thanks to Zimbo Films for turning me onto this one. Harry and Walter Go To New York is worth it just to hear Elliot Gould and James Caan’s many duets.
The two star as vaudeville actors-turned-thieves opposite Michael Caine in Mark Rydell’s 1976 effort, five years prior to what I know the director for, On Golden Pond. It’s not just Caine, Gould and Caan (who all, oddly enough, would appear in A Bridge Too Far the next year…well maybe that’s not too odd. Everyone’s in A Bridge Too Far), it’s also Diane Keaton and an awesome cast of supporting players, including a lascivious Charles Durning as a bank owner, Burt Young as a warden, and Carol Kane as one of Keaton’s cohorts.
Mark Rydell’s direction is very modest as he lets the actors do the work, and they mostly do a good job outside of a bit of overacting from Gould’s Walter. It’s the small humor that makes the first and third acts of HWNY really funny. Two of my favorite lines are both from Gould: “Ahhh, I never liked corn, Harry!” when they find themselves amidst a cornfield post-prison break; and “Watch the cat. Oh, it’s a dog,” as a total throwaway line that’s hilarious for how improvised it feels.
The middle act of HWNY really drags, but the climax, where the vaudevillians finally get to put their true talents to use is awesome. It’s not only a good example of a these two actors’ comedic range, but also a nice take down on self-serious theater.
Small SPOILER:
There’s a major bummer at the end of the film. Diane Keaton’s Lissa Chestnut has proved to be a staunch advocate for social justice and moderately characterized as a feminist throughout. Michael Caine’s Adam Worth, on the other hand, seems to be a bit of a chauvinist and is certainly prone to violence. They’re entirely at odds with one-another. Yet, instead of keeping things logical and true to the progression of the script to that point, Rydell and writers Don Devlin and John Byrum have Chestnut inexplicably leave with Worth at the end. It’s a kick in the pants to what was a really strong female character and a total cop-out.
Still, there are other nicely written and directed moments like this one, which takes place at the climax. As the rag-tag gang run by Chestnut, Harry and Walter prepare to rob a bank we see (they don’t) that there’s a missing link in their dynamite. One of Worth’s accomplices comes into the bank amidst their attempt and sees the string of dynamite:
He traces the string back, a bit confused as to what’s going on-
-and inadvertently completes the chain with his hand, thereby enabling the dynamite:
It’s funny largely because it’s clever and because Rydell goes out of his to show us the missing link long before this accomplice comes in, thereby giving us an idea of what’s going to happen before it does.
What is it about these 1960s-70s period/heist films and desaturated sepia tones and ending freeze frames? As the film came to a close I actually said ‘freeze frame’ out loud…and then, sure enough:
I mean, sure, there’s Butch Cassidy, but does every period piece about charlatans or folk heroes need to then cement their legacy by freezing them into the cinematic history books? I wonder how many American genre films did this from 1969 – 1979.
|
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6000
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| 78
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https://www.paleycenter.org/collection/item/%3Fitem%3DT:44857
|
en
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The Paley Center for Media
|
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2022-06-22T13:28:13-04:00
|
Located in New York and California, the Paley Center founded by William S. Paley is the world's foremost institution dedicated to collect and preserve the best of television and radio programming and advertising.
|
en
|
Paley Center
|
https://www.paleycenter.org/
|
Bienvenue! Join us for an exciting evening at The Paley Museum, as we welcome members of the cast and creative team of Emily in Paris to celebrate the hit Netflix show’s fourth season.
PALEYGX will be the ultimate destination for gamers, enthusiasts, and spectators alike. Whether you’re competing for glory or cheering on your favorite players, we have something exciting for everyone, June 22 – September 14
PaleyExhibit: From the Paley Archive: Al Hirschfeld and the Art of Television. See if you can find all the Ninas hidden in the lines!
To purchase tables or tickets, call 212.621.6732 or click above. Proceeds benefit the Paley Center’s education and preservation initiatives.
We're proud to announce that The Paley Museum was voted "2023 Bethpage Best of the City" - Best Museum and Best Children's Party Place - in Manhattan produced by Schneps Media
Our daily screenings foster an intimate atmosphere that brings television to life on the big screen!
A Conversation with Pete Distad, CEO, Venu Sports
This event has been postponed.
More Info.
A Conversation with Frank A. Bennack, Jr. and Secretary Condoleezza Rice
This event is exclusive to Media Council Members.
More Info.
A Conversation with Channing Dungey and Greg Berlanti
This event is exclusive to Media Council Members.
More Info.
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0
| 63
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http://www.dvdmg.com/rose.shtml
|
en
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The Rose: Criterion Collection [Blu
|
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[
"rose",
"the rose",
"janis joplin",
"sex",
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Reviewed by Colin Jacobson: How could a movie about sex, drugs and rock n roll be boring? I dont know, but <I>The Rose</I> fails to become anything interesting, even with some strong talent behind it. Starring Bette Midler, Frederic Forrest. Criterion, $39.95, 5/19/2015.
| null |
Reviewed by Colin Jacobson (May 11, 2015)
Technically, 1979s The Rose didnt offer Bette Midlers cinematic debut, but for all intents and purposes, it marked the singers first movie. Shed acted in a religious satire called The Thorn a few years earlier, but that effort got no real theatrical exhibition and wouldve probably never been seen without Midlers subsequent fame.
The Rose introduces us to a famous rock singer named Mary Rose Foster (Midler), known professionally just as The Rose. Exhausted and addled by the abuse of various substances, Rose begs her manager Rudge Campbell (Alan Bates) for a break, but he refuses to let her take off any time.
Thus we follow Rose across her final tour as it builds toward a much-hyped show in her Florida hometown. We also see Roses nascent romance with limo driver/AWOL soldier Huston Dyer (Frederic Forrest) as she tries to cope with her problematic lifestyle choices.
Since 1979, Midler has shown herself to be an adept, skilled comedic actor. As a dramatic talent, I think she works less well, and The Rose doesnt change my mind.
Midler never feels especially real as the lead part. She overacts pretty relentlessly, and even in serious moments, she shows a skewed comedic feel. I dont quite buy into Roses sadness and downward spiral because I dont accept Midler. Shes just too campy and broad for me to accept her as a believable character.
Most of Midlers co-stars follow suit. Forrest plays a pretty standard issue hick, and Bates brings us a hard-nosed rock manager with a distinctly Spinal Tap feel. None of them create characters who feel real or memorable.
It doesnt help that the movie feels like little more than a loose conglomeration of scenes. Granted, some of that makes sense, as Rose offers a bit of a tour diary, but nonetheless, the lack of concrete narrative doesnt serve the material well.
I think the basis of a good tale exists here, especially since Rose doesnt attempt to be a big, broad biography of the character. I like the emphasis on a short period of time and how this final tour affects Rose.
Unfortunately, we just get vague glimpses of Roses life without much substance to connect the dots. At times, the film feels like a collection of musical performances with occasional character moments to connect them.
That trend decreases as the movie goes, but I still think we get way more concert material than we need, as a little of that footage goes a long way. I dont really buy Midler as a rock star anyway; while obviously talented, she doesnt seem especially convincing as a Joplin-esque blues belter. Shes more realistic as a rock star than Barbra Streisand, but thats faint praise.
I have to chalk up The Rose as a disappointment. It lacks compelling characters or situations and its talented actors never fare especially well. Im glad it helped get Bette Midler into movies, but I much prefer her comedic work to her unconvincing attempts at drama.
The Rose appears in an aspect ratio of approximately 1.85:1 on this Blu-ray Disc. This was a good representation of the source.
Sharpness mostly looked fine. Some shots came across as a bit soft and ill defined, but those instances didnt occur with any great frequency, and they occasionally seemed to reflect the original photography, as the movie sometimes opted for a gauzy look. While not the worlds most precise image, it appeared positive.
I saw no issues related to jagged edges or moiré effects, and edge haloes remained absent. With a good layer of grain, I sensed no digital noise reduction, and the movie came free from print flaws. From start to finish, this remained a clean presentation.
Rose featured a fairly natural palette, and most of the tones came across as accurate. While I couldnt say the hues impressed, the colors seemed largely accurate.
Black levels were deep and dark, and low-light sequences followed along the same lines. Shadow detail seemed smooth and demonstrated good clarity within the restrictions of the source photography. Overall, the image showed some age-related drawbacks but still came across well.
The DTS-HD MA 5.1 soundtrack of The Rose seemed mostly limited in scope, as the majority of the movie essentially offered monaural audio. Dialogue remained rooted in the center, and a lot of effects stayed there as well.
However, the mix did open up occasionally. Concerts allowed crowd noise to pop up from all five channels, and a few other sequences like those with helicopters also boasted nice movement and localization.
Music also broadened well. The songs spread across the front speakers in a satisfying stereo manner that presented them in a positive manner.
Audio quality appeared acceptable for the era. Speech was a little thin but always sounded clear and easily intelligible, and I noticed no problems with brittleness or other issues. Effects played a small role in the movie, but they seemed reasonably accurate and clean. I heard no concerns connected to distortion from those elements.
Music seemed full and rich for the most part; I wouldve liked a bit more low-end, but thats a minor quibble. In the end, the movie offered a pretty positive soundtrack given its age and ambitions.
As we shift to the sets extras, we open with an audio commentary from director Mark Rydell. Recorded for a 2003 DVD, he offers a running, screen-specific look at the projects path to the screen, story/character areas, cast and performances, sets and locations, music, editing and cinematography, and related topics.
At times, Rydell includes some decent details, but he makes enough factually incorrect remarks that I find it hard to trust his other memories. For instance, he believes that Frederic Forrest got work with Francis Coppola because of The Rose even though Forrest had already shot The Conversation and Apocalypse Now with Coppola before he appeared in Rose.
Even more bizarre, Rydell claims that he got offered The Rose 15 years before he made it but he insisted on the use of Bette Midler and the studio refused. This makes no sense, as Midler was still a teenager in Hawaii circa 1964 and Janis Joplin the singer on whom the movie was based was completely unknown at that time. Never mind that Rydell was still a TV actor/director in 1964 as well and not someone in a position to dictate terms to a movie studio.
Even if I ignore these mistaken memories, the commentary flops because Rydell gives us too little good information. He tends to simply praise the movie and boost his own status as a filmmaker. We dont get nearly enough worthwhile material to overcome all the commentarys flaws.
Three modern interviews appear next, and the first comes with actor Bette Midler. In this 17-minute, 10-second chat, Midler discusses how she came onto the film, influences and doing the movies songs, aspects of her performance, working with Rydell, her co-stars, costumes and some production areas. Midler doesnt provide any revelations, but she offers an engaging enough little discussion.
From 2014, we hear more from director Mark Rydell. This reel lasts 16 minutes, eight seconds and includes Rydells remarks about his involvement in the project, cast and crew, the films look, shooting musical numbers, and other aspects of his life/career. This never becomes a great conversation, but its tighter and more interesting than Rydells commentary.
We also get an interview with director of photography Vilmos Szigmond. During this 30-minute, 28-second piece, Szigmond talks with fellow John Bailey about the script, locations and performances but he mostly focuses on photography-related areas. This tends to trot down the technical side of the street, but I enjoy the chance to hear two professionals discuss their trade.
Two vintage segments come next. A 1978 Today Show Excerpt fills four minutes, 52 seconds as it takes us to the movies set. Other than some quick comments from Rydell and Midler, the piece focuses on aspects of the shoot on New York. It becomes a decent like glimpse of the production.
We finish with a 1979 Gene Shalit Interview with Bette Midler. It goes for 14 minutes, eight seconds and looks at her performance and related aspects of the movie. Given its place as a TV chat, it doesnt boast a ton of depth, but I like it due to its period immediacy; its good to hear thoughts from the period in which the movie debuted.
The package concludes with a 12-page booklet. It boasts photos, credits and an essay from critic Paula Mejia. The booklet complements the set well.
How could a movie about sex, drugs and rock n roll be boring? I dont know, but The Rose fails to become anything interesting, even with some strong talent behind it. The Blu-ray provides good picture and audio as well as a decent set of supplements. Im glad I finally saw The Rose after 35 years, but the film does little for me.
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https://www.barbra-archives.info/a-star-is-born-1976-streisand-version
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en
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A Star Is Born 1976 Developing, Casting
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Development, script, casting, and filming the 1976 Barbra Streisand version of A Star Is Born with Kris Kristofferson.
|
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https://www.barbra-archives.info/a-star-is-born-1976-streisand-version
|
A Star Is Born was Streisand's most successful film at the box office, budgeted at $6 million and grossing an estimated $80 million dollars (in 2020 dollars that would be a $26.5 million budget and $353.2 million earnings).
A Star Is Born presented a sexy, modern, feminist version of the Streisand persona, allowed her to sing on screen, and gave her unprecedented control behind the camera. The film was also a very controversial one for Streisand because of industry gossip about behind-the-scenes disagreements and the bad press that followed.
Career-wise, A Star Is Born (her tenth film) fell right after Funny Lady, Barbra’s 1975 musical sequel to Funny Girl — and 1968 film debut. By completing Funny Lady, Streisand had also fulfilled a four-picture contract she signed with producer Ray Stark. It was the 1970s, she was recording rock and pop music, making yogurt, and newly in love with Jon Peters … shouldn’t her next movie reflect that?
A Star Is Born was filmed three times before Streisand’s 1976 version. The first two versions were non-musicalized: What Price Hollywood (1937) and A Star Is Born (1937) with Janet Gaynor in the main role. Judy Garland’s 1954 take on the classic story was a musical film with songs by Harold Arlen. A Star Is Born was resurrected one more time in 2018 when Bradley Cooper directed and starred in an Oscar-winning version with Lady Gaga.
Streisand’s Star is Born was presented by First Artists — a production company she established with other actors like Sidney Poitier, Steve McQueen, and Paul Newman. A Star Is Born was the first movie Streisand made in which she held an executive producer title. “It just means that I’m responsible for the film,” Streisand told Shirley Eder. “The concepts, the music and just about everything. It also means, in this case, that I don’t get paid to act in the film and — it comes out of my pocket if we go over budget. What’s more, there’s nobody I can blame if anything goes wrong but me.”
Streisand explained, too, that “the deal with First Artists was that the artist was responsible for anything over $6 million dollars. I spent the $6 million on the movie. But then, when I got into sound, I spent another million dollars. When Warner Brothers saw the film, they liked it so much that they didn’t make me pay the million dollars.”
What rankled Hollywood and the press that wrote about it was that Streisand’s boyfriend, Jon Peters, didn’t take the usual path to becoming a film producer. He jumped right to the head of the line — on Streisand’s coattails, they wrote. Peters was already running a successful string of Los Angeles hair salons, having started as a hairdresser himself. But his ambitious entrepreneurism propelled him to become a mogul in the beauty business, employing hundreds of persons. “The hair business was never really big enough for me,” he told the press in 1976. “My scope, my ideas were larger than that particular business was limited to.” When he met Barbra Streisand, she wanted him to create a wig for her to wear in her film For Pete’s Sake. They began dating; they moved in together; Peters produced her album Butterfly; and just as soon, they were developing and producing A Star Is Born.
“My boyfriend’s a hairdresser,” Barbra stated defiantly at the time. “People say, ‘How can he possibly produce?’ Just like they said, ‘She’s a singer, how can she act, or play the guitar or write songs?’ Well — we’ll see.”
In 2003, James Lipton asked Streisand (on Inside the Actors Studio) what lead her to film a story that had been filmed three times before. Streisand responded, “Jon Peters — who didn't know they were filmed three times before!”
The critics were not kind to A Star Is Born and seemed to take a strange pleasure in punishing Streisand in their reviews for her ambition. Despite this hurdle, and the personal attacks, the movie was elevated by her fans, who not only made it the #3 box office hit of 1976 but bought the soundtrack album (#1 on the Billboard charts), and made the single, “Evergreen,” #1 as well. Streisand fans of a certain age count A Star Is Born as the defining moment they began following her career.
Since the last version of the rising star/declining star story had not been filmed since 1954, credit must be given to the writers John Dunne and Joan Didion for reviving the idea. Dunne and Didion were married writers for 40 years. John Dunne is the brother of writer Dominick Dunne (true crime author of books like The Two Mrs. Grenvilles); Dominick’s son is the actor-director Griffin Dunne (After Hours); Dominick’s daughter, Dominique, an actress with a prominent role in Poltergeist, was tragically murdered by an abusive boyfriend. Joan Didion was a noted essayist and novelist whose best-known works include The Year of Magical Thinking and Slouching Towards Bethlehem.
In the early 1970s, before tackling A Star Is Born, they wrote screenplays together for the films The Panic in Needle Park and Play It as It Lays.
FALL 1973:
John Dunne recalled: “It was one o’clock in the afternoon on the first day of July 1973, when I turned to my wife, while passing the Aloha Tower in downtown Honolulu on our way to the airport and said sixteen words I would often later regret: ‘James Taylor and Carly Simon in the rock-and-roll version of A Star Is Born’.” For readers unfamiliar with Taylor and Simon, the short version of their story is that they were singer-songwriters who married, only to have their union split several years later for a variety of reasons that included infidelity and Taylor’s heroin addiction — not to mention the pressures of show business.
Dunne confessed “we had never seen A Star Is Born in any of its prior incarnations. Nor had we any intention of seeing A Star Is Born, or of reading the scripts, treatments, synopses or memorandums pertaining to any previous version. We were only interested in a movie about the rock-and-roll business, but the only way we could get a studio to underwrite the screenplay was to dress it up in what they perceived as an old but very well-cut suit of clothes.”
Dunne and Didion spent three weeks on the road, touring with the bands Led Zeppelin and Uriah Heep and soaking in the atmosphere and characters who populated the concert scene in order to learn more about the genre they were writing.
Since Warner Brothers owned the rights to A Star Is Born, and since the Dunne’s ex-agent was employed there, that studio became the home of the project. Their early screenplay draft was used to attract an interesting director to helm the movie: Peter Bogdanovich, Warren Beatty, and Mike Nichols all passed.
Mark Rydell became attached as director in a 90-day “development deal.” Rydell, known today for directing On Golden Pond, For the Boys and others (as well as having a long involvement in Streisand’s Nuts), was given the chore in late-1973 of developing the screenplay and landing a dynamic leading couple. John Foreman, producer of many 1970s Paul Newman pictures, came aboard as producer, too.
SPRING 1974:
The movie was tentatively titled Rainbow Road and Richard Perry (Stoney End) was hired to supervise the music. Carly Simon and James Taylor — the original inspiration for the film — turned it down. Rydell approached Diana Ross and Alan Price to star; also, Liza Minnelli and Cher were suggested; even Streisand’s agent, Sue Mengers, submitted the Rainbow Road script to her, but Streisand rejected the idea.
PICTURED: James Taylor and Carly Simon, photo by: Peter Simon.
SUMMER 1974:
Warners dismissed Rydell when the film still wasn’t cast. “The Dunnes and John Foreman thought I was dragging my heels on the casting,” said Rydell. “There were a number of people they thought would be good, and if I had said yes, they would have gone ahead with some of their in-house record stars.” Rydell went on to film The Rose with Bette Midler a few years later.
The Dunnes and Foreman then engaged director Jerry Schatzberg (The Panic in Needle Park), who worked on yet another draft of the script. Kris Kristofferson was cast but not signed as John Norman Howard. Jon Peters read the script and thought it was a perfect vehicle for Streisand, even though she already turned it down. “She’d done Funny Lady,” Peters said, “and I thought, why should a young girl be playing an old lady? She’s a young, hot, sexy woman — a little ball of fire. None of that had been conveyed on film. She should be playing things that are hot and young and contemporary.”
Streisand, Peters, the Dunnes, and Schatzberg spent a few months trying to agree on a direction for the project that appealed to all parties … they couldn’t agree. Warner Brothers and Jon Peters then fired the Dunnes. “The third draft was little more than a rehash of the second draft,” John Dunne stated. “It’s tough to tailor a part for a star. We were all played out at that point.” They were paid $125,000 and ten percent of the movie’s gross to depart.
Peters brought in twenty-five-year-old writer Jonathan Axelrod who suggested the screenplay might be more interesting if they switched the roles: Streisand should play a Janis Joplin-like rocker and the male lead would be the ascendent star.
“I found them fantastic,” Axelrod told biographer James Spada, “very gentle and sensitive to my feelings and to my age.”
Schatzberg left the show. “When I told Barbra my decision, she genuinely didn’t understand it … but in the end I just felt I couldn’t direct Barbra properly under the circumstances,” he said.
FALL 1974:
The new president of Warner Brothers was John Calley. He recalled, “[Peters] came in and said that in his and Barbra’s view, the screenplay was moving away from being suitable for Barbra. I agreed with them … He said, in effect, ‘It’s very simple – either we get to take over the screenplay and make it work for Barbra or we take a walk…’”
Warner Brothers, excited to be in business with Barbra Streisand, conceded to all of her requests: Her company, First Artists, would produce the film; she would act as executive producer; Peters produced (Foreman was elevated to executive producer, then he departed the project); Streisand received final cut; in lieu of an acting and producing salary, she also received 25 percent of the net profit; Columbia Records would release the soundtrack.
For a minute, Jon Peters considered directing the film. Joyce Haber also reported that, for a minute, Jon Peters thought he should costar opposite Barbra.
WINTER 1974:
Barbra finished filming Funny Lady and devoted her energy to A Star Is Born. Writer Axelrod was let go. Richard Perry left, too. Jack Nitzsche, who did some studio work on Barbra’s album Butterfly, and who would do more work on the 1978 Superman album, was brought in to consult on music for A Star Is Born. But then Rupert Holmes replaced him. Holmes produced Streisand’s 1974 album, Lazy Afternoon and later had the big hit “Escape (The Pina Colada Song)”.
The King of Rock and Roll, Elvis Presley, was approached to play the lead in A Star Is Born. Peters and Streisand flew to Las Vegas to check out Elvis’s March 28th show at the Hilton Hotel and meet with his manager, Colonel Parker. “He told us he’d always wanted to work with Barbra,” said Peters about the King. Streisand recalled: “I think Elvis Presley really wanted to do [the movie], but the Colonel kind-of talked him out of it. Elvis would have been monumental. It’s a great pairing.”
Elvis was actually approached back in April 1974 to appear in the movie when Mark Rydell was still involved. A “proposed Elvis / Streisand contract for Rainbow Road” in Presley’s archives revealed that his agent at William Morris sent over an initial offering to Tom Diskin — the Colonel’s right-hand man in managing Elvis. Warners proposed that Elvis would earn $500,000 for the role, plus ten percent of the movie’s gross receipts. Warners would own the music (the agent wrote: “I am quite certain that it will not be satisfactory to the Colonel…”); and Rydell wanted Elvis to appear live in at least two concerts for filming (his team could keep all of that revenue); finally, Presley would receive “first position credit, 100% of the title above the title.”
His girlfriend at the time, songwriter Linda Thompson, remembered in her memoir that Presley “thought it was a great project and really wanted the male part.” When he received the offer, she wrote that Presley “was thrilled at the prospect of finally having the opportunity to really immerse himself in a role and reveal new dimensions of his acting talent.”
“According to what Elvis told me,” Thompson wrote, “the Colonel thought it was a bad idea for Elvis to play a character that might be viewed by some as a loser, saying that Elvis had an image to uphold.”
Looking backward, at this point in his career Elvis was overweight and erratic from the barbiturates he was addicted to. He would die of a heart attack in August 1977.
Rolling Stones singer Mick Jagger was considered as Streisand’s costar during the summer of 1975 as well. “I never thought Jagger would be right,” Streisand told Lawrence Grobel. “Jagger is too fantastic. I don't think you would have ever believed that he could be on his way down. He's so powerful. Also, it didn't look right aesthetically, me and him together. Kristofferson was the perfect one. He's an actor. He's beautiful to look at. He can sing and play the guitar. And he's gentile, which seems to work with me: the Jew and the gentile.”
So Kris Kristofferson was back on the picture – but without his own music. “It's kind of a miracle we ever got to work together in A Star Is Born,” Kristofferson reflected in 2013. “They wouldn't let me sing any of my own songs that I'd written for another publisher and when I asked if they would make Bob Dylan sing some silly pop songs they published, they said ‘Oh, you're Bob Dylan?’ Barbra finally said ‘Are you crazy? Every actor in Hollywood wants this role. Elvis wants it.’ I said, ‘Well let him.’”
JANUARY 1976:
“Barbra kept calling and telling me about the script and singing the songs; she'd carry on for half an hour,” Kristofferson said.
Gary Le Mel was hired by First Artists to look after the film’s music and soundtrack album. He told Film Score Monthly: “We had a ritual where every Saturday I’d bring somebody to [Barbra’s] ranch just so we could see how they hit it off personally, and then she would start to collaborate with them, and it worked.”
Songwriter Stephen Bishop was one of those people who met with Streisand; he was early in his career and played over two dozen songs for Streisand that day. Although she didn’t use any of them, Streisand did record a handful of his songs on future albums of hers.
Meanwhile, Rupert Holmes left the show. “I think he was a bit overwhelmed,” Streisand confessed. “It left me in a kind of lurch. How was I going to get the rest of the score?” Holmes told writer Jay Padroff he was busy recording his own self-titled album for Epic Records at the time. “I was sitting in script conferences on A Star Is Born and trying to write lyrics at the same time or working with people on A Star Is Born till eight at night and then going into the studio at 9 p.m. and recording till five and then having to be somewhere at seven in the morning,” Rupert explained.
Holmes wrote a dozen or so songs for A Star Is Born. He told Barbra Archives, “‘Queen Bee’ was inspired by [Barbra] calling me all excited because she had heard about – from a beekeeper … she was trying to get beehives on her ranch in Malibu, and she thought that would be cool – and she heard about how the queen bee rules, and she said ‘That’s kinda cool! Why don’t we have that set-up?’ And I immediately jumped to the piano and started writing ‘Queen Bee.’”
Holmes said the song “Everything” went as smoothly. “When the person sings about ‘I want everything,’ they’re not greedy. They’re in love – it’s like a kid in a toy store. A kid in a toy store who says, ‘I want every toy here,’ he’s not really being greedy. He’s saying, ‘you can’t show me this much and then tell me I can’t have it.’”
Some of Rupert Holmes’ songs for A Star Is Born were duplicative, meaning that he may have written several versions of songs for the same spot in the movie. Holmes revealed some of those unreleased songs:
“Love Out of Time” — “Love is an only child / Born where the weeds grow wild / High in the wind you hear it sung. / If it should ever stray / Love just might come your way….”
“The Nick of Time”
“Lullaby For Myself” — this Holmes song was recorded and released on Barbra’s 1977 album, Superman.
Paul Williams and Kenny Ascher were brought in and began writing a substantial number of songs for the film. Leon Russell and Kenny Loggins contributed songs, too. Russell’s wife, Mary, wrote a song for the movie that Streisand loved, but ended up not using.
PICTURED: Rupert Holmes, Photo by Richard E. Aaron.
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https://www.nytimes.com/1984/09/09/movies/hollywood-tries-its-hand-at-farming-for-dollars.html
|
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|
HOLLYWOOD TRIES ITS HAND AT FARMING FOR DOLLARS
|
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1984-09-09T00:00:00
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https://www.nytimes.com/1984/09/09/movies/hollywood-tries-its-hand-at-farming-for-dollars.html
|
To paraphrase an old song, how're you going to lure them back to the box office after they've seen gremlins, ghostbusters and gyrating rock stars? By keeping them down on the farm.
If there is a single fresh pattern woven into the season of motion pictures about to begin, it is Hollywood's newfound affection for the drama and sturdy virtues of farmfolk, especially the women. In the weeks and months to come, no less than three major productions - each set on a farm, each with a major female star - will be released; and one of them, ''Country,'' starring Jessica Lange and Sam Shepard, has been accorded the honor of opening this year's New York Film Festival on Sept. 28.
As always, the advent of autumn brings with it a renewed sense of excitement and competition, peaking toward Christmas, when studios release cherished productions in hopes that fresh memories will yield a bountiful harvest when the Academy Awards are bestowed come spring. Coupled with the excitement is uncertainty. Which highly touted new films will fall flat? What unexpected hit will usher in a new cycle of imitations? What hot director will construct a self-indulgent dud? What stars will suddenly lose their grip on audiences? What success will breed a multimillion-dollar cornucopia of byproducts: best-selling records, popular books, a television series, toys and T-shirts?
No crystal ball reveals the answer to such questions, only the unfolding of the season itself. The motion picture industry is far from a fabulous invalid, but it is a high stakes game, and the expensive risks of failure and the awesome rewards of success lend an undercurrent of drama to a contemplation of the schedule.
While the forthcoming farm movies constitute a relative novelty, the season ahead is characterized by a generous admixture of the familiar with the new: new offerings by well-regarded directors, new vehicles for famous stars; screen versions of established properties from the theater, opera, and fiction from classics to comics; the continuation of trends, such as the affinity for extraterrestrials and the affection for sequels; and new examples of popular genres - spy stories, science-fiction, comedy and romance. And, to round out the scene, an assortment of festivals will celebrate various aspects of the medium.
Among the farm movies, there is not only ''Country,'' which finds Miss Lange and Mr. Shepard in a drama about the travails of modern life on a Middle Western farm, there are also ''Places in the Heart,'' starring Sally Field, Ed Harris and John Malkovich, and ''The River,'' with Sissy Spacek, Mel Gibson and Scott Glenn. In ''Places in the Heart,'' directed by Robert Benton (''Kramer vs. Kramer'') and drawn from his recollections of Texas boyhood during the Depression, a widowed mother battles to save her farm from foreclosure. As in ''Country,'' too, the struggle to preserve a way of life engages the family in ''The River,'' directed by Mark Rydell (''On Golden Pond'').
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https://themindreels.com/2020/02/21/on-golden-pond-1981-mark-rydell/
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en
|
On Golden Pond (1981) – Mark Rydell
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The next title up in the Ten Bad Dates with De Niro book, under the category of movies not to watch while you are medicated, is this classic Oscar-nominated film starring Henry Fonda, Katharine Hepburn, and Jane Fonda. The film, based on the play by Ernest Thompson, who also wrote the screenplay, follows Norman (Henry…
|
en
|
https://secure.gravatar.com/blavatar/ea52dc8a47d99611f4de7d37750649c602aaf9e83a4f441ba9ab64f03bb75a52?s=32
|
The Mind Reels
|
https://themindreels.com/2020/02/21/on-golden-pond-1981-mark-rydell/
|
The next title up in the Ten Bad Dates with De Niro book, under the category of movies not to watch while you are medicated, is this classic Oscar-nominated film starring Henry Fonda, Katharine Hepburn, and Jane Fonda.
The film, based on the play by Ernest Thompson, who also wrote the screenplay, follows Norman (Henry Fonda) and wife, Ethel (Hepburn) as they spend their forty-eighth summer on Golden Pond. Norman is getting on in years, is a bit of a crank, and not above playing mind games, and Ethel loves him dearly. The two actors really create a sense of history with each other, and it’s hard to believe that this was the one and only time that they worked together.
The same can be said of Fonda, and daughter Jane. She plays Chelsea, the couple’s daughter, and her own relationship with her father, Fonda, is not so dissimilar from the one that Norman and Chelsea share, aiding a stronger emotional layer to the film, as Chelsea, and Jane (?) wonder why there father couldn’t just love them, be there for them, be their friend.
Chelsea has plans to go off to Europe for the summer with Bill Ray (Dabney Coleman – an interesting casting choice,but one that works) and hope that her parents can look after Billy Ray (Doug McKeon) while they are away.
An unlikely friendship strikes up between Norman and Billy, and it shapes both of them, opening them up to the world, and as characters. Something that both hurts and delights Chelsea when she discovers it.
It’s a gentle, slow-moving film that wanders around the lake’s edge, not quite as shakily as Fonda’s ageing Norman, but this is definitely a film that won’t hold everyone’s attention – which is apparently why it ended up on this person’s list of movies not to watch while medicated.
Hepburn and both Fondas are top-notch, and the film garnered a number of Oscar nods and wins. Henry and Katharine both walked away with Best Actor awards and Thompson with Best Adapted Screenplay.
It’s a warm piece of filmmaking, reflecting the sun off the lake into the viewer’s heart as you see the love story between husband and wife, and father and daughter. It’s not always easy to get on with one’s parents, but recognising that they are part of your life, is for some, a very important thing to do, and finding space for them in one’s heart can be painful, but can also be worth it.
This was a great watch, and while I don’t agree with it making this person’s list, I was glad it showed up on one of the lists I have been working my way through, and it gave me a chance to settle in and enjoy it.
Let’s see what Ten Bad Dates with De Niro brings me next…
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https://www.back-row.com/home/2021/1/27/df-30-going-on-16-delinquents-crime-in-the-streets-amp-the-delicate-delinquent
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Something Delinquents Going on 16 (Crime in the Streets & The Delicate Delinquent) — Back Row
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2021-01-27T00:00:00
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Turning 30 can be rough. All that peer pressure, awkward insecurity, fights with mom, not to mention the raging hormones… Wait did I say 30? I meant 16. Sorry, I get those two confused somehow, just like our double feature: Crime in the Streets & The Delicate Delinquent .
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https://images.squarespace-cdn.com/content/v1/5898c482e58c62ed8ad05b2e/1487014244733-CXMHEF2ML5XYAS3E7N4S/favicon.ico?format=100w
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Back Row Cinema
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https://www.back-row.com/home/2021/1/27/df-30-going-on-16-delinquents-crime-in-the-streets-amp-the-delicate-delinquent
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Look, I know better than anyone that turning 30 can be rough. All that peer pressure, awkward insecurity, the fights with mom, not to mention the raging post-puberty hormones… Wait did I say 30? I meant 16. Sorry, I get those two confused for some reason. Maybe because according to most movies those two ages are practically interchangeable as far as casting goes. I mean, I get it as far as labor laws and all, but you’d think there’d be more of an effort to keep the ages younger than, er, an age where you could conceivably have your own double-digit-aged child.
Well, for today’s double feature we are embracing a pair of not-actually-teenage daydreams in two late 1950s films. Not only did both of these movies, released a year apart from each other, feature street-brawling juvenile delinquents who struggle against an empathetic social worker, but they also star famous American auteurs as our main rebels without a cause. That’s right, it’s directorial legend babe John Cassavetes and legendary director doofus Jerry Lewis! I get how a 31-year-old Jerry Lewis got cast, he commissioned the picture and co-wrote the script, but I’m at a bit of a loss for anybody felt 27-year-old Cassavetes fit in with 17-year-old Sal Mineo and comparatively baby-faced Mark Rydell, but who am I to judge. Some people mature faster than others I guess.
Crime in the Streets (1956)
Don Siegel’s Crime in the Streets is about what you’d expect for a ‘50s juvenile delinquent story. It’s the Hornets versus the Dukes, two teen street gangs that have nothing better to do but harangue girls and torture each other. The leader of the Hornets is Frankie (John Cassavetes), our main teen psycho. Armed with menacing glares and a massive chip on his shoulder, he’s completely resistant to the pleadings of his well-meaning social worker Ben (James Whitmore), his shrill single mother (Virginia Gregg) and his younger, innocent brother Richie (Peter J. Votrian). Instead he prefers the company of his doting peers, the emotionally unhinged Lou (Mark Rydell) and wannabe tough guy Angelo, aka “Baby” (Sal Mineo), both of whom he gleefully bullies into doing his bidding.
This New York street gang ecosystem hums along fine until one skirmish gets a little too real too quick and a neighbor, Mr. McAllister (Malcolm Atterbury), calls the cops, resulting in one of the Hornets getting arrested. Frankie (John Cassavetes) is furious and confronts McAllister with all of the pride and rage of teenage psycho egomania. Undaunted by Frankie’s teacup tempest, the middle-aged McAllister pulls rank and slaps Frankie clean across the face–in such a way that you can guarantee the reverberations were heard clear ‘cross town. Frankie, rocked to his adolescent core by this blatant disrespect, decides swift action must be taken while emotions are still running high, and enrolls Lou and Baby to help him up their game to murder.
Look, the plot is insipid and cliched, the set is so clearly built on a Hollywood sound stage, Cassavetes is obviously ten years older than he’s meant to be and the whole film is really just an excuse to both exploit and simplify the real pain felt by broken, poverty stricken homes. But what saves this otherwise bland tale from melodramatic obscurity is the surprising amount of nuance each of our main actors bring to their characters. Cassavetes gives the most gloriously histrionic performance I’ve ever seen him give as a teen who flies into a rage if anybody dares to touch him, where Mark Rydell has the time of his life interpreting “street punk” as ‘open homosexual flirtation with a touch of murderous lust,’ and Sal Mineo does what he does best, rallying or instantly melting as the occasion calls for.
Where the clunky dialogue and fake set keeps trying to pull us back into 1950s cliches, it’s clear from Cassavetes acting that he’s been busy reading between the lines. When social worker Ben tries his best to connect to Frankie through some misguided sense of empathy and duty, spouting armchair psychology about how the reason the teen acts out is just because he requires the love of a nuclear family, Frankie sits there smirking at him sardonically. What easily could have become a stagy teaching moment for the audience suddenly turns dark when Ben reaches out to touch Frankie on the knee and you watch Cassavetes automatically jerk away from his touch. It’s a disarmingly chilling moment that makes you realize Ben doesn’t even know the half of Frankie’s problems, leaving your mind to race with a myriad of horrendous possibilities that could result this type of instantaneous reaction.
Meanwhile, Sal Mineo’s being forced to smoke a used cigarette stub while holding back tears, or avoiding eye contact with his father who’s so at the end of his rope with his troubled son he resorts to beating him. Mark Rydell is over here licking his lips and giggling his ass off at the thought of knifing a guy for kicks, humming his own West Side Story-esque theme song while making eyes at the untouchable Frankie. The three of them together elevate Crime in the Streets to an outstandingly fun watch–especially if you’re into indulging in a bit of the ol’ ultra-violence now and then. For a film that spends a whole lot of time trying to tell you how to feel it sure leaves a ton of leeway to have a ball with its most vicious indulgences. I could have watched an entire TV series on these three.
The Delicate Delinquent (1957)
Now here we are at a very interesting time in Jerry Lewis’ life–and indulge me just a bit if you will because you guys know how much I like to talk about Dean Martin and Jerry Lewis. The Delicate Delinquent was originally commissioned by Lewis after somebody turned him on to the legend of Damian and Pythias. No, really. He was so enamored with this legendary tale of male friendship that he handpicked Don McGuire to write a movie that would portray him and Dean in the same way, with perhaps a hope to "fix" their crumbling working and personal relationship. Well, Dean read the script and promptly threw it back in Jerry's face, using an excuse about how he “ran from cops all my life, I'm not about to play one.” But, having seen the film, it's more likely that his anger was directed towards the fact that this was yet another one-sided vehicle for Jerry to hog the lime light for two hours while his character gets little to nothing to work with. While the script itself was hardly the final straw in the matter, the two broke up shortly after and bitterly went their separate ways. Jerry, out of some mix of contracts and spite, went on and made the film anyhow, his first without his former pardner.
Sidney L. Pythias (Jerry Lewis) is a dim but innocent janitor who, through a turn of bad luck, gets mistakenly arrested as a juvenile delinquent. Officer Mike Damon (Darren McGavin) decides to take it upon himself to help this wayward youth, as was once done for him at a decisive crossroads in his youth. He takes the case and is forced to team up with civil servant Martha (Martha Hyer), and mouthy broad, to get the job done. Sidney takes it all in stride and decides now’s a good a time as any to follow his dream to become a cop. Fast forward through several comedic police academy training montages, including one Japanese wrestling montage where Lewis indulges in some of his patented cringe-inducing casual racism, as well as one genuinely fun Theremin-based physical comedy scene, things are largely looking up for little Sidney. That is, until his police-issued gun is used to shoot one of the neighborhood hoodlums and his future as a cop is thrown back into jeopardy. Hey, turns out 1950s cops hold their own accountable for unnecessarily shooting criminals (well, in the movies at least).
I won’t lie to you, I found this to be a largely sappy and joyless story, made worse by the fact that it clearly thinks it has something very important to say. So built up with sentimental fanfare and the weight of this being Jerry Lewis’ woe-is-me new solo gig, it’s frustrating to watch all of this on-screen angst amount to a disappointingly simple one-note toot of "try hard and you'll get places!" Not that any of the previous Martin and Lewis movies had particularly mind-blowing plots, just the opposite, but its attempts at sincerity ring extra hollow when your main character undercuts his own pathos by cutting it with various slapstick jokes.
On the other hand, it’s fascinating to watch these scenes that were clearly written for Dean Martin play out with some stand-in interloper. It’s not that Darren McGavin is bad so much as he’s just pointedly not as charming or funny as Dean Martin. Damon's role is to basically beg Pythias to be his friend, support his every whim, and defend him to the end–aka, quite literally a supporting "stooge" with zero character development. Meanwhile Jerry gives himself the entire emotional heart of the film, including a sappy song he sings to himself alone in an alley, all of the humorous beats and a happy ending on top. Where Crime in the Streets has something sinister bubbling under the surface, this movie is your true 1950s moralistic tripe. The likes of which glosses over reality in favor of wrapping everything up in a neat bow and a stern lesson.
As to be expected in any 1950s’ male bonding film, this movie also sports a weirdly hostile undercurrent towards Martha, its main female character. After this nagging shrew dares to enter this hollowed male space and to tell the men how to do their jobs, she is punished by Damon who, besides verbally berating her, sets her up for failure in a bad part of town in order to teach her a lesson. A brush with powerlessness at the hands of a bad man magically transforms her into Damon’s demure and doting girlfriend. This truce lasts until he tells her she'll never be as important as Pythias or his job. Martha’s whole character is bizarre, and feels more like a stand in for Jerry or Dean’s actual wives than a believable social worker–the "competition" if you will. All in all, where it lacks in sincerity or compelling drama, it’s a out and out Freudian field day of repressed male angst and longing.
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https://www.andsoitbeginsfilms.com/2020/04/oscars-breakdown-best-director.html
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Oscars Breakdown: Best Director
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My Oscar binge continues, this time with thoughts on every Best Director Oscar. Best Director and Best Picture have gone to different film...
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https://www.andsoitbeginsfilms.com/2020/04/oscars-breakdown-best-director.html
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"The Exorcist" — How Our Scariest Movie Got Made
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"The Exorcist" — How Our Scariest Movie Got Made
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/static-assets/images/favicon.ico
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Best Movies by Farr
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https://www.bestmoviesbyfarr.com/articles/the-exorcist-trivia/2018/03
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Released the day after Christmas, 1973, “The Exorcist” was an immediate sensation.
In its first few weeks in theaters, stories abounded of viewers fainting, becoming nauseous or leaving the theater in tears. One man who passed out from fright and hit his head actually sued Warner Brothers, the studio that released the film.
Warner’s could afford a lawsuit, since “The Exorcist” was already a runaway box-office hit. Adjusted for inflation, it is still the highest-grossing “R” rated film. It would also become the first horror movie nominated for a Best Picture Oscar.
It is difficult if not futile to try to name the scariest movie ever made, but when I consider my own personal pick, I always think of “The Exorcist.” I’ve always found it more frightening than, for example, the first horror movie to actually win Best Picture at the Academy Awards: “The Silence of the Lambs” (1991).
The story of how this groundbreaking film got made is almost as fascinating as the movie itself.
It all started with William Peter Blatty, who’d written the best-selling novel on which the film was based and also penned the screenplay. Astonishingly, up to that time Blatty had primarily been known as a comedy writer, earning screenplay credit on several Blake Edwards movies, most memorably the classic Inspector Clouseau outing, “A Shot in the Dark” (1964).
Blatty, a devout Catholic, was the son of Lebanese immigrants who’d won a full scholarship to Georgetown University in the late forties. While there, he’d heard about a priest performing an exorcism on a young boy in the suburb of Mount Rainier. The story had even made the papers.
Now, two decades later, it inspired him to try something new: a serious book about the fundamental struggle between good and evil, and the challenge of maintaining faith in the midst of it. These themes would be explored through the story of a young girl in Washington, D.C. who undergoes an exorcism.
Halfway into writing the book, Blatty sensed he was on to something special. As he jokingly put it, “I could hardly wait to finish the book so I could become famous!”
His instincts were right. The book sold thirteen million copies, so in negotiating the film rights with Warner Brothers, Blatty had considerable leverage. He specified that he wanted to be closely involved in selecting the director.
The first candidates advanced by the studio were impressive: Mike Nichols, Arthur Penn, and Peter Bogdanovich. Yet each passed on the project, with Bogdanovich particularly regretful after the fact. Finally, journeyman director Mark Rydell agreed to come on-board.
Then Blatty remembered an incident from several years before. He’d done a screenplay with Edwards based on the director’s successful “Peter Gunn” series, and Edwards had invited an up-and-coming director named William Friedkin to comment on it.
In Blatty’s presence (not knowing he’d written it) and in the nicest way possible, Friedkin had told Edwards it was “a piece of shit.” Far from being offended, the writer was struck by Friedkin’s fearless honesty.
Now this young man was suddenly a hot commodity, having just snagged an Oscar for directing “The French Connection” (1971), a film that also won Best Picture. Blatty decided to send him his screenplay for “The Exorcist.”
Friedkin received it and started reading. He’d be a no-show for a dinner engagement because he couldn’t stop. He called Blatty the next day and said he wanted to do it. Blatty pushed hard with the studio and soon enough Friedkin was in, Rydell was out.
The ensuing production would encounter multiple delays and hurdles, starting with casting. It took forever to cast the pivotal role of Regan MacNeil, the little girl who gets possessed by a demon. Friedkin auditioned scores of juvenile performers (including a young Laura Dern), before settling on twelve year-old Linda Blair.
Though Blair’s agency had sent in multiple other candidates, they’d somehow overlooked her. It was Linda’s mother who pushed for and won the audition.
Blatty had written the part of Regan’s mother, Chris, with his good friend Shirley MacLaine in mind, but inexplicably, she passed on this to make another vastly inferior but similarly themed film, “The Possession of Joel Delaney” (1972).
Audrey Hepburn was the next choice, but she would only do it if the film could be shot in Europe. Meanwhile, Ellen Burstyn, who’d been Oscar-nominated for her performance in “The Last Picture Show,” was lobbying hard for the part. Her persistence paid off.
A host of actors tried out for the part of the younger priest, Father Karras, including Stacy Keach, Al Pacino, even Jack Nicholson, whom Friedkin judged insufficiently holy. He eventually selected Jason Miller, whom he’d recently seen in a play and who, for him, exemplified Catholic guilt.
1973 would be an amazing year for this playwright, actor and poet: beyond making his screen debut in this film which would earn him his only Oscar nomination, he would also win the Pulitzer Prize for his hit play, “That Championship Season.”
For the title character, Father Merrin, there was some initial interest in Marlon Brando, but Friedkin decided he would overwhelm the film. He had always wanted Swedish actor Max von Sydow for the part, even though at 44, he was considerably younger than the character he would play.
Von Sydow accepted and quickly realized he’d be spending almost as much time in the make-up chair as Linda Blair. The process of turning him into an older man took nearly three hours each day.
Perhaps the most inspired casting choice was someone we never actually see: veteran actress Mercedes McCambridge, whose gravelly voice was ideal for the demon inside Regan. At first, she was willing to go unbilled, but later sued for screen credit and got it.
The wonder of this production is that it happened in the days before digital special effects, so that all the incredible moments we remember on-screen had to be done mechanically. It was an arduous, painstaking process but also incredibly exciting, as Friedkin and his crew were continually innovating to get the best results. Nevertheless, not everything went right.
The famous scene where Regan’s bed is shaking was done using hand cranks, and Linda Blair had to be put in special rigging as she is being pounded up and down on the bed. When the rigging broke, she injured her back.
When Chris MacNeil is thrown violently back by her daughter, Burstyn was in a special harness which yanked her too hard and also broke, landing her on her coccyx and causing a permanent spinal injury.
A key aspect of the story is the frigid temperature created by the demon in Regan’s room, so it was vital that you could see everyone’s breath in these scenes. Thus the set had to be kept at subarctic temperatures, which was particularly tough on young Linda, in heavy makeup and clad only in long underwear and a nightgown.
Shooting time was always limited because eventually the hot lights would raise the temperature in the room and the effect was ruined. Then cast and crew would have to break until the temperatures again reached sub-zero, then set up and shoot again. Also, the huge A/C units kept malfunctioning, causing more delays.
Finally, there was the challenge of depicting the truly shocking moment when Regan projectile vomits on Father Karras. It required placing special tubes in Blair’s mouth that would gush forth pea soup with the push of a button. It was cumbersome and uncomfortable, with extra Eileen Dietz stepping in for the extensive “puke testing” process.
When we see Regan vomit on Father Karras’s face in the film, Jason Miller’s astonishment is genuine. It was a malfunction as the tests had the soup landing on his midsection.
By the end of the shoot, Friedkin and Blatty had fallen out over a scene during the exorcism, when the two priests take a break and discuss what they’re experiencing just outside Regan’s room. To Blatty, this exchange was vital to the audience understanding what the movie was about, while Friedkin felt it was extraneous and too expository. The director prevailed, and the scene was cut for initial release. This conflict cast a pall over their friendship.
All differences were set aside, at least temporarily, as the film became an instant sensation. “The Exorcist” was nominated for ten Oscars, including nods for Miller, Burstyn, Blair and Friedkin — and won two, for Blatty’s screenplay and for sound effects. Roger Ebert described it as “one of the best movies of its type ever made.”
Twenty-five years later, it was time for a re-release. Older and wiser, Friedkin thought back to his conflict with Blatty over that one scene all those years before and regretted his arrogance in overruling him.
He decided to re-edit the film to include it and a few other sequences, including one where a possessed Regan comes swiftly down the stairs on all fours, her tongue darting out and the front of her body facing up like a spider. It is a petrifying moment, achieved via a body double who happened to be an contortionist.
This new, longer cut, clocking in at 135 minutes and dubbed “The Version You’ve Never Seen,” was released theatrically in 2000 and on home video in 2004.
William Peter Blatty, who died early last year at age 89, was touched by this generous act, and the two men reconciled for keeps. It just goes to show that sometimes, even horror movies have happy endings.
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The Cowboys (John Williams)
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Mark Rydell's western The Cowboys (1972) was a John Wayne vehicle late in the actor's career. Uneven in message and execution, legendary film critic Roger
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Celluloid Tunes
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https://celluloidtunes.no/the-cowboys-john-williams/
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Mark Rydell‘s western The Cowboys (1972) was a John Wayne vehicle late in the actor’s career. Uneven in message and execution, legendary film critic Roger Ebert mused the following on the film’s ending: “It takes a lot of heroic music to paper over [it]”. Of course, that’s just what John Williams delivered.
In 1972, 40-year-old John Williams had four movies in the theatre. While Robert Altman’s Images might have been the most artistically ambitious and Irwin Allen’s The Poseidon Adventure the biggest commercial hit, The Cowboys showcased a composer who had already spent years exploring the musical stylings of the western genre.
Although thematically oriented and epic in sound, it only received a promotional LP release at the time. This was rectified in 1994 by Varese Sarabande’s premiere CD release. In 2018, Varese revisited the score for a complete release, remastered by Williams’ confidant Mike Matessino from better music elements.
In this first “conversation review” on Celluloid Tunes, Thor Joachim Haga, Nils Jacob Holt Hanssen and Sigbjørn Vindenes Egge discuss the recent expanded release of the score to The Cowboys.
*
Thor Joachim: OK, first things first — have any of you seen the film? I had owned the soundtrack for about 10 years when I saw the movie for the first time in 2009. While it’s a pretty decent western, I do have some ethical issues with a few scenes. It’s expected that a John Wayne vehicle is right wing-oriented, perhaps, but some of the character portrayals and story elements didn’t sit right with me. Surprising for a Mark Rydell film; he’s usually more adept at capturing nuances of the American spirit in films like Cinderella Liberty (1973) and The River (1984) (also scored by John Williams, incidentally). So I think it’s crucial to separate between an evaluation of the film as a western piece on one hand — with its impressive production details and music, for example — and then the messages it tries to convey on the other.
Nils Jacob: I haven’t seen the film, though I do know its basic storyline, including the often debated, morally ambiguous and controversial elements – which, as I understand it, have to do with the depiction of the coming-of-age of the young boys in the film, and how that doesn’t always look pretty. Producer Mike Matessino’s liner notes for the new release supply some great background information for both the film and the score, by the way.
Sigbjørn: I’ve also yet to see the film, so I’m approaching the album from a purely musical perspective. What’s interesting to me is that the assignment gave us Williams’ first original score to a theatrical feature with strong elements of his trademark grand sound. It also contributed to a young director asking Williams to score his first theatrical feature, and the same director later recommended the composer for a film by one of his pals. I’m of course referring to Steven Spielberg’s The Sugarland Express (1974) and George Lucas’ Star Wars (1977).
TJ: Yeah, The Cowboys and even more specifically The Reivers (1969) were both on Spielberg’s radar when he decided to meet with Williams. I think the first score that consistently showed us the ‘classical’ Williams that we know today, is Heidi (1968), but The Cowboys is unquestionably his best, most lavish and outrovert western score, in my opinion, compared to The Rare Breed (1966), The Plainsman (1966), The Man Who Loved Cat Dancing (1973) and The Missouri Breaks (1976), for example. Or even TV stuff like Wagon Train (1958-1964).
NJ: Williams delivered three very different scores in 1972 – the avant-garde Images is almost in a category of its own, and while The Poseidon Adventure stands beside The Cowboys as one of his biggest movies up to that point, that score had as much in common with his 60s TV scores (Lost in Space, Time Tunnel etc.) as it had with his later, bigger blockbuster scores. So yeah, The Cowboys was definitely his biggest and most expansive work at that point.
TJ: When seeing the film, it’s remarkable how loudly mixed it is – whether the rambunctious, in-your-face Americana for the open vistas and herd sequences or the grit for the suspense and shoot-out scenes.
S: Scores were indeed more often allowed to shine in older films. Alas, the current trend seems to be that the score should not take away attention from the film, which often leads to overly simplistic and bland results. According to Varese, the old release was incorrectly mixed from the three track master tapes. The new mix does bring out instruments that I don’t hear on the old album – just listen to the low brass hit in the overture when the theme really ignites, after 15 seconds of suspenseful build-up.
TJ: Yes, it’s true that certain issues of the old Varese pressing had a wrong mix (reverse channels, with brass and strings switching places). I actually have that album myself, and if memory serves I got it in a trade with Nils almost 20 years ago…correct me if I misremember, Nils! I’ve never had any issues with it, though. Despite being an error, I thought it was a neat ‘oddity’ that didn’t really detract from the listening experience at all. But after listening to the new, expanded release, there’s no doubt that the sound quality has been drastically improved. For such a dry and close-miked recording, it seems amazingly “spacey” — packing the same punches it did while watching the film.
NJ: You’re right, Thor – lots of years ago, we did a CD exchange that included the original Varese Cowboys CD! I actually also have the original LP release of The Cowboys – although “original LP” is a bit of a misnomer, as it wasn’t an official release. To quote Matessino’s liner notes – “we’ll diplomatically call it a ‘promo’”! And on a personal note: that LP was one of the first albums I ordered via mail – this was 1986, so that’s snail mail we’re talking about here – just after I had become aware that there were actually record shops that sold – gasp! – only soundtracks!
I agree that comparing the old and new releases reveals a definite improvement in sound quality. It’s marvellously open and rich, while the old one sounds a bit compressed. The only thing I could wish for would be a bit more punch in the bass. I guess you can’t get everything from a recording that is more than 45 years old – and I’m not complaining!
S: Especially the strings in the lower registry would have benefited from a stronger presence, but it’s just about good enough not to be an annoyance. Otherwise I’m quite happy with the sound, but it falls short of being state of the art for its time (unlike La-La Land’s new release of Close Encounters of the Third Kind). Although the score was recorded in the early 70s, it doesn’t sound as good as the best orchestral recordings from a decade earlier. However, that’s probably not a fair comparison considering the film studios’ notoriously sloppy score archiving.
NJ: I have to admit it’s been a long time since I last listened to this score, and one of the first things that struck me now is that I had forgotten how thematically rich it is. There are four main themes (and several subordinate ones): Two quick and upbeat ones – the “training” and “cowboys” themes (again using Matessino’s appellations) – and the more quiet “paternal” and “trail” themes. While they are all quite different, the themes are cut from the same tonal and harmonic cloth, so to speak, which enables Williams to switch very quickly from one to the other, while making it sound completely effortless and natural.
TJ: Yes, it’s quite rich as a singular piece, although ironically also comes off as a bit repetitive at times. Perhaps because of the ubiquity of the main theme, and its many appearances and variations. This is obviously where the new expanded release falters, in my opinion — as many in the film music community know, I generally dislike C&C (complete & chronological) soundtrack presentations, and this is no exception. The structure is whimsical and repetitive, and there’s quite a lot of “filler” material that I could easily be without.
I mean, you obviously need other things beyond the overt themes to have a representative selection, but tracks like «Longhair Trails» just seem to meander to me. I think the selection of such cues on the original 1994 soundtrack, like «Into the Trap», weren’t only better ‘suspense setpieces’, but also better placed in the overall listening experience. On the other hand, there are a few highlight tracks among the softer material on the expanded release, like «The Hands Quit», «Will and Ann» or «Learning the Ropes (The Vivaldi Concerto in D)» that perhaps could be inserted into the original soundtrack programme without losing too much of the listening flow.
NJ: Expansions… sometimes they work, sometimes they don’t. I always receive Williams expansions with open arms, because he rarely writes downright bad cues. And I have to say The Cowboys falls mostly in the “works” category for me. To my ears, the more somber material is a nice contrast to both the extrovert themes and the more lyrical ones. Granted, the latter part of the album does drag on somewhat and gets a bit unfocused, with the frequent use of the Long Hair theme (more like a motif, really), which isn’t that interesting, along with other dark and dissonant sequences. So yeah, trimming the main programme (excluding the bonus cues) from 60 down to around 50 minutes, would make the album work better overall.
That being said, there are exciting sequences with attention-grabbing orchestrations in the last half also – you mentioned «Into the Trap», Thor, and I love the frenetic, harmonized woodwind runs and the (Leonard) Bernstein-like off-kilter rhythms in that cue, as well as «The Battle», especially with the string ostinato churning away under the main theme. And given that this is arguably his first large-scale, “adventurous” symphonic score, it’s not surprising that we get some hints of what is to come later – I can hear foreshadowings of Close Encounters in both «Charlie’s Demise» and «Drums of Manhood and the Execution», for instance, as well as hints of Jaws elsewhere.
S: You have both touched upon my biggest problem with the score – the Long Hair motif, which dominates the mentioned «Long Hair Trails» and really permeates the whole score. With its distant and reverberant harmonica, the motif gives a claustrophobic expression. Williams clearly took inspiration from the harmonica theme from Morricone’s score to Once Upon a Time in the West (1968), but without achieving the same memorability. The result is a motif that easily outstays its welcome and it frankly becomes quite grating during the album’s 73 minute duration.
On the positive side, the expanded edition does include Williams’ arrangement of Vivaldi’s lute concerto in D (RV catalogue No. 93, written in the 1730s). What we get is an excerpt of the slow movement, Largo. It starts in its original version with string accompaniment and about halfway through, Williams jumps in, adding wind instruments. Too bad he didn’t do the whole movement. The concerto is in fact used partially as source music in a scene where a boy plays it on the guitar. This is a funny nigh-impossibility, as Vivaldi’s music fell into obscurity after the Baroque era and was virtually unknown until his scores were rediscovered in dusty libraries in the early 20th century.
NJ: The Vivaldi piece actually doesn’t seem too out of place in the middle of the album – it fits in quite nicely with Williams’ score, strangely enough. And the first time I listened to it, before knowing of its use in the movie, I thought, “Hey, this sounds like something cowboys could have played by the campfire!” Turns out that wasn’t too far from the mark!
TJ: Speaking of non-Williams material, the original soundtrack also had the «Alternate Main Title» which everyone assumed was an original Williams piece until it was revealed to be Harry Sukman’s adapted theme for the shortlived The Cowboys TV series spinoff. Another reason to keep the original soundtrack, because this track is not included on the expanded release.
On a more general note — the interesting thing to me is how the score is a hybrid between Williams’ two “Americana modes” — the more open, coplandesque variant that is evident in the main theme, but then also the grittier, dirtier, folksier variant that we’ve heard in scores like The Reivers, Conrack (1974), Rosewood (1997) and others.
S: One of the highlights of the old album was its three “main titles” with their wealth of catchy themes: the overture, the main title, and the alternate main title. On the new release we’ve understandably lost the alternate, but are compensated with «Entr’Acte», «End Cast» and «Exit Music». Following the serene «End Title», which ended the old album in an alternate form erroneously named «Summer’s Over», we have the upbeat march-like «End Cast», which quickly disappoints with its long, repetitive fade-out. To me, the decision to end the old album with «End Title» was a strange one. It sounds like a play-up to a grand finale… which never comes. The new release remedies this by ending on a high note with the infectious but short «Exit Music». It’s also interesting to finally hear the correct «Summer’s Over» cue, with its calm guitar and horn.
The Overture, Entr’Acte, and Exit Music were featured only in the roadshow version of the film. The latter two tracks consists mainly of existing music; the first one-and-a-half minute of «Entr’Acte» is lifted directly from the overture recording, while «Exit Music» is edited together from sections of «The Kids and Crazy Alice» and the overture.
TJ: That’s a good rundown of the differences and variations, Sigbjørn. I’m personally more interested in how it all comes together as a singular piece. For me, the only value of the expanded release is the drastically improved sound quality. If there was a way to use the tracks on the expanded release to duplicate the original soundtrack programme, I surely would, but I’m not sure it’s doable. Perhaps even add an extra calm track or two to break up the many main theme variations here and there. In a concept setting, it’s a piece that on the one hand celebrates the American pioneer spirit and youthful vigor, and on the other plays to the dark undercurrents of the moral dilemmas. So it’s about approximating that on album, and making it representative without overstaying its welcome.
NJ: Yes, we certainly get plenty of presentations and variations of Williams’ themes throughout the score. And as mentioned, although they are abundant, they gel very well with each other, creating great unity in the score – overexposure or not. Except perhaps the Long Hair Theme – which doesn’t seem to get any love around here! My favorite is definitely the “paternal” theme, and I think I know why: It’s basically an early, tentative version of what came into full bloom six years later as the “Smallville” theme from Superman: The Movie (1978) – which is one of my absolute favorite Williams themes of all time.
In general, I prefer the score’s more quiet, pastoral themes – the “paternal” and “trail” themes, as well as the theme for Wil and Ann, which is lovely but unfortunately doesn’t get a lot of exposure. But I’m also fond of the “training” theme, with its toe-tapping, infectious energy. All in all, this means that the first half of the album, with its alternating lyrical and lively Americana, is the main attraction for me. Still, there are some wonderfully orchestrated moments in the darker and more action-oriented tracks in the last half as well.
S: The similarity with the beautiful Smallville theme is indeed striking, Nils. The score sure has its moments spread out throughout its duration, but to me, it’s not the most coherent listening experience, while it also gets a tad too repetitive. But there’s plenty of good material to create one’s own playlist of personal highlights, which is one of the benefits of such expansions. Williams did that himself when he distilled the score into a rousing nine minute long concert overture in 1978, possibly to compensate for the lack of an album release at the time. To me, that sums up the score nicely and makes a soundtrack album less essential. The concert overture is basically an extension of the Main Title, with elements from the Overture. The ten seconds of light pop arrangement found in the Main Title was wisely rearranged into a classical idiom, while the Long Hair motif was thankfully omitted! The end result is what I consider one of Williams’ finest concert arrangements, but when it comes to the complete score I’m not that impressed.
NJ: It’s not among my top 10 Williams scores, or albums. But, as usual with Williams, there’s still lots to enjoy! 3.5 stars from me. Thanks for the discussion – it’s been fun!
S: It indeed has! And just for fun, Nils, I want to point out to the readers that this is the same rating that you gave The Last Jedi. To me, the score to The Cowboys doesn’t warrant more than 3 stars.
TJ: Seems like we’re more or less in alignment, rating-wise. I’m on 3.5 stars. This is one of those ‘middle’ scores in Williams’ career — not among the most obscure, and also not among the most famous. But I maintain that it’s his best western score; so rich in orchestrations and themes that it’s a solid recommendation for anyone wanting to explore his filmography beyond the obvious classics — and still within the style he’s so known for. The expanded release does it no favours in terms of musical presentation, but makes up for some of it by improved sound. Anyways, thanks for the discussion, guys. Let’s do this again!
*
The deluxe edition of The Cowboys is currently not available in streaming format, but can be purchased at the Varese Sarabande site.
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Mark Rydell – THE LAST PICTURE BLOG
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Posts about Mark Rydell written by Stu
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THE LAST PICTURE BLOG
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https://thelastpictureblog.wordpress.com/tag/mark-rydell/
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Here’s a classic case of a film being poorly received upon its initial release and undergoing a radical critical re-appraisal in the years that followed. Nowadays The Long Goodbye, Robert Altman’s adaptation of Raymond Chandler’s 1953 novel, is generally regarded as a cult classic and a fine anti-genre piece typical of the director’s early career. However when it came out – in 1973 – critics were baffled by the modern day setting and laconic style of the film, perhaps best exemplified by the mumbling central performance of Elliott Gould as PI Philip Marlowe, while test audiences were openly hostile.
The director was understandably upset by the reaction; a year or two earlier McCabe & Mrs Miller had also received poor notices, and even though that’s another Altman film now widely lauded today, in the early 1970s his movies were under-performing. M*A*S*H had been a huge hit, but that was in 1970, and there was pressure mounting to repeat that earlier success. This movie, marketed in all kinds of different ways (satirical comedy, action, film noir, etc.), failed to turn things around and disappointed many moviegoers who expected to see a straight-up action or comedy.
Some critics were affronted by screenwriter Leigh Brackett’s decision to take Marlowe out of the usual 1930s setting and transport the investigator to greedy, health-conscious, early-1970s California, while others disapproved of further changes: new characters were introduced by Brackett, who was actually one of the writers that worked on the film adaptation of The Big Sleep, while at least one major character from the novel doesn’t appear and the endings are drastically different. However those decisions to change the setting and include additional characters help to create a novel, if flighty, detective story that stands as one of the best examples of genre revisionism in cinematic history. Certain expected elements – Marlowe’s cynicism, for example, and his chain-smoking – are present and correct, while the labyrinthine plot of the film, involving the usual bouts of double crossing, murder, intimidation and violence, is also recognisably Chandlerian, but there is so much more that seems out-of-step with the source material, not least the absence of a physically strong, mentally agile hero who stays one step ahead of everyone else, rather than one step behind.
Initial suggestions by critics that Altman was mocking decades of cherished noirs or even Chandler’s written work were wide of the mark, even though this is an unusual detective story. Few other directors would choose to begin proceedings with a 10-minute scene revolving around cat food and a late night trip to a convenience store, for example, but this superbly-executed sequence establishes Gould’s Marlowe perfectly: all snarky comments, half-muttered complaints and cigarette lodged in the corner of the mouth, dangling at the correct angle, but ultimately malleable despite his constant protests. He lives alone in a Malibu apartment while next door, contrasting with Marlowe’s slovenliness and hangdog demeanour, four women practice yoga (when they’re not half-naked and partying on the balcony all night, that is). He doesn’t seem to care about much at all, apart from his cat. Rudeness amuses him. He has no time for the police. He looks like he hasn’t slept in days, but always wears a suit anyway.
Disturbing Marlowe’s world initially is friend Terry Lennox (Jim Bouton), who needs an urgent lift to the Mexican border; Marlowe obliges but runs into the police on his return, who are investigating the murder of Terry’s (unseen) wife Sylvia. This sets into motion a slightly convoluted plot involving deranged, alcoholic novelist Roger Wade (Sterling Hayden) and his wife Eileen (Nina van Pallandt), their creepy doctor Verringer (Henry Gibson), a vicious hood named Marty Augustine (Mark Rydell, delivering a proto-Pesci performance of a vicious nutcase), and many other west coast oddballs; there’s even a security guard played by Ken Sansom whose stock in trade is impressions of famous actors, and certainly not security.
Marlowe stumbles from location to location, from character to character, unable to link together the various mysteries he is presented with. If that sounds familiar then it will come as no surprise to hear that The Long Goodbye was a huge influence on Paul Thomas Anderson’s recent adaptation of Thomas Pynchon’s Inherent Vice, with its similar location, story, style, mood and central performance. Even the cinematography of Anderson’s film recalls Vilmos Zsiglund’s work here, though the colours of the earlier movie are more washed-out, suggesting that the psychedelic radiance of the 1960s has faded somewhat.
Like Anderson and Pynchon’s central character Doc Sportello, Marlowe repeatedly clashes with the police, saving his best wisecracks for unhelpful, unfriendly detectives. The Long Goodbye has a strong anti-establishment streak, per many of Altman’s early works, and one rant in particular here is acted superbly by Gould as his character staggers away from a suicide scene while railing at ‘the pigs’ and their oppressive antics. It’s obvious that Sportello and Marlowe are both all at sea in their respective versions of Los Angeles, a place where life is changing due to all manner of influences: there is more of a sense of a state of flux in Anderson’s film, but Marlowe is a throwback to an earlier age here, driving a vintage car and refusing to engage with a healthy lifestyle, in contrast to nearly everyone else.
There are other personality traits that mark Marlowe out as a fish-out-of-water. Most notably he befriends the wrong people, and throughout the film they take advantage of his willingness to help, another indication that times have changed greatly since the usual 1930s-set stories. This is the clear message during the movie’s final scene, where Altman essentially debunks Chandler’s romantic myth-making, but to say any more could possibly spoil the ending. Marlowe isn’t greedy but everyone else involved in his case is seemingly motivated by the pursuit of money; this also sets him apart and perhaps explains why the character is so confused by the actions of others. The PI’s values and expectations are defiantly from an earlier time and go against the grain, at least until that final scene.
Altman, influenced by the French New Wave, refuses to let his camera stay static; it moves throughout, left, right, up, down, while he also chooses to end a number of scenes with zooms that fixate on unusual sights that had been in the background (my favourite being two dogs having sex in a Mexican village, an image which can either be read as a symbol or taken as, simply, two dogs having sex in a Mexican village). Sometimes Altman films his characters from the other side of a window, the actors’ voices barely audible, while two standout scenes at a beach house make fine use of the hypnotic sound of crashing waves and reflections in panes of glass to link three central figures.
All of which is to say that, visually and aurally at least, The Long Goodbye is as interesting as any of the director’s early 1970s movies. The soundtrack is equally inventive: primarily it consists of one song that shares the same title as the film and novel, written by John Williams and Johnny Mercer, but it is interpreted in many different ways; it appears as supermarket muzak, is sung by various characters at certain points and is even chanted by a group of hippies. Altman then ends his film with the only other song on the soundtrack, Hooray For Hollywood, which serves as a sarcastic ‘fuck you’ to Tinseltown and the Academy, who famously feature it in their awards ceremony each year.
The critical re-appraisal was richly deserved, as this is a fine neo-noir that somehow manages to cling to the roots of the genre it toys with, while also making relevant comments about modern, sun-kissed Californian society. The script is razor sharp, with a number of vitriolic lines and snarky putdowns delivered with relish by the cast, while even Arnold Schwarzenegger pops up in an early bit part (playing a goon who is forced to reveal that Mr Universe muscle on the big screen for the first time). Best of all is the film’s attitude: part laid back, part caustic, it is encapsulated in Gould’s performance – arguably a career high. His barely-competent Marlowe is perhaps even more memorable than the more lucidly effective versions portrayed by Robert Mitchum or James Garner, while also giving Humphrey Bogart a run for his money. This is a fine film that ranks among Altman’s best, and compares favourably with any of the great detective stories.
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Exploring the Timeless Appeal of “The Cowboys” (1972)
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“The Cowboys” (1972), a classic Western film directed by Mark Rydell and starring the legendary John Wayne, continues to captivate audiences with its timeless appeal. This coming-of-age tale set in…
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An Iconic Western Adventure that Transcends Generations
Introduction
“The Cowboys” (1972), a classic Western film directed by Mark Rydell and starring the legendary John Wayne, continues to captivate audiences with its timeless appeal. This coming-of-age tale set in the Old West explores themes of mentorship, loss, and redemption while delivering thrilling adventure and iconic performances. In this article, we delve into the enduring allure of “The Cowboys” and how it remains a beloved gem of the Western genre.
Movie Info
Genre: Western, Adventure, Drama
Director: Mark Rydell
Starring: John Wayne, Roscoe Lee Browne, Bruce Dern, Robert Carradine
Trakt Link: The Cowboys (1972)
IMDb Score: 7.4/10
Rewind Zone Score: 8.1/10
The Plot: A Journey into the Wild West
In the vast expanse of the Old West, against a rugged and untamed backdrop, “The Cowboys” unfolds its compelling tale. At its core is the indomitable Wil Andersen, portrayed with sheer brilliance by the iconic John Wayne, who finds himself in a challenging predicament. With his ranch hands succumbing to the allure of gold fever, Wil is left with a seemingly insurmountable obstacle as he prepares for a crucial cattle drive.
But fate has a remarkable twist in store. Enter a spirited group of young boys, their eyes brimming with eagerness and ambition, seeking an opportunity to prove themselves. It is this unlikely union that sets the stage for a transformative journey that transcends age and showcases the resilience of the human spirit.
Together, Wil and this diverse band of boys embark on an arduous odyssey, facing physical hardships and confronting unforeseen dangers at every turn. Amidst the relentless trials of the frontier, they not only learn vital life lessons but also gain firsthand experience of the unforgiving realities that define life in the wild.
Yet, the perils they encounter are not limited to the unforgiving terrain alone. The looming presence of a notorious outlaw gang led by the cunning and treacherous Asa Watts (Bruce Dern) casts a shadow of uncertainty over their every step. It is in these moments of adversity that the true mettle of the boys is tested, propelling them towards the inevitable path of maturity and self-discovery.
As the journey unfolds, viewers are drawn into a captivating narrative that paints a vivid portrait of resilience, camaraderie, and the unbreakable bond forged amidst the challenges of the West. Through stunning visuals and masterful performances, “The Cowboys” immerses audiences in a world where dreams are pursued, courage is forged, and the human spirit triumphs against all odds.
RELATED ARTICLE│The Cowboys Cast Updated in 2023
The Casting:
Wayne’s Lasting Impact
In the role of Wil Andersen, John Wayne, an iconic figure of the Western genre, delivers an unforgettable performance in “The Cowboys.” This particular portrayal showcases Wayne’s versatility and depth as an actor, as he moves beyond the archetype of invincibility that defined his previous roles. With a perfect blend of strength and compassion, Wayne embodies the essence of a father figure, determined to shield the boys from the harsh realities of the adult world.
Stern Dern
Playing the antagonist Asa Watts, Bruce Dern brings a menacing presence to the screen, challenging the boys’ growth and testing their moral mettle. Dern’s portrayal of this ruthless outlaw adds an extra layer of tension and unease to the film, creating a palpable sense of anticipation. Together, Wayne and Dern form a captivating duo, their on-screen chemistry fueling the narrative and keeping audiences on the edge of their seats, eagerly anticipating each twist and turn.
The Message: Coming-of-Age and Justice
When “The Cowboys” hit theaters in 1972, it stirred up quite a bit of controversy. Some critics just couldn’t seem to grasp the true essence of the film, getting caught up in their own misinterpretations. You had those liberal critics pointing fingers at the perceived violence and John Wayne’s conservative politics, completely overlooking the profound message that lies at the core of the story. You see, the film isn’t about turning innocent boys into cold-blooded killers. It’s about their transformative journey into adulthood, and the awakening of their sense of justice.
Wil Andersen and Jebediah Nightlinger, brought to life by the talented Roscoe Lee Browne, take on the roles of father figures for these boys, shielding them from the harshest realities of life on the frontier. But when faced with the ultimate test of justice, Wil urges the boys to stay out of the fight, emphasizing the value of life over the pursuit of revenge. It is through their own evolving understanding of the world that these boys make the conscious decision to seek justice for Wil, embodying the valuable lessons they have absorbed throughout their extraordinary journey.
Controversy surrounded the release of “The Cowboys” in 1972, with some critics misinterpreting the film’s moral compass. While liberal critics criticized the perceived violence and John Wayne’s conservative politics, they overlooked the deeper message at the heart of the story. The film’s central intent is not to turn innocent boys into murderers but to showcase their journey of coming-of-age and their discovery of justice.
Filmmaking and Cinematic Storytelling
Mark Rydell’s direction in “The Cowboys” is a testament to his profound understanding of the American West and the captivating allure of cowboy culture. His skillful craftsmanship shines through as he expertly captures the very essence of this rugged and untamed frontier. With an impeccable eye for detail, Rydell transports the audience to picturesque filming locations that vividly showcase the raw beauty of the land. It’s as if you can feel the dust on your skin and smell the scent of adventure in the air. What sets Rydell apart is his ability to draw out authentic performances from the young actors, allowing them to be genuine boys rather than mere showy performers. This organic approach not only enhances the film’s engagement but also adds a layer of authenticity that resonates deeply with viewers.
RELATED ARTICLE│Jeremiah Johnson: A Classic Western Film and Unforgettable Journey
But the brilliance of “The Cowboys” doesn’t stop there. Robert Surtees, the cinematographer, deserves accolades for his masterful work in capturing the vast landscapes and sweeping vistas of the American West. Every frame is a work of art, skillfully composed to transport the audience into the heart of this wild frontier. Surtees’s cinematography not only amplifies the sense of adventure but also serves as a visual testament to the beauty and harshness that coexist in this untamed world.
And let’s not forget the impactful contribution of John Williams, the composer behind the film’s score. Williams weaves a symphony of emotions, seamlessly blending his compositions with storytelling to evoke a profound response from the audience. His music becomes the beating heart of the narrative, enriching the journey of the characters and immersing the viewers in a world brimming with passion, courage, and triumph.
Together, Rydell’s direction, Surtees’s cinematography, and Williams’s score create a cinematic masterpiece that transcends time, inviting audiences to embark on an unforgettable journey into the heart and soul of the American West.
Enduring Appeal and Cultural Impact
“The Cowboys” continues to captivate audiences as a cherished Western masterpiece, thanks to its enduring themes and powerful performances. It transcends time, touching the hearts of viewers from different generations and appealing to both Western enthusiasts and those who appreciate profound coming-of-age narratives.
At its core, the film delves into the profound bonds of mentorship, the unwavering resilience of the human spirit, and the poignant journey from childhood innocence to the complexities of adulthood. These universal themes strike a resounding chord with viewers, as they mirror our own personal experiences and evoke a range of emotions. Through its compelling storytelling, “The Cowboys” reminds us of the challenges and triumphs that shape us into who we are and the invaluable guidance we discover in the unlikeliest of places.
Moreover, this cinematic gem has left an enduring mark on popular culture. The iconic line uttered by John Wayne’s character, “We’re burning daylight,” has etched itself into the annals of Western film history, resonating as a timeless quote that encapsulates the urgency of seizing the moment. Furthermore, the film’s portrayal of young boys stepping up in the face of adversity has served as a wellspring of inspiration for subsequent films and stories that explore similar themes of bravery and self-discovery.
In essence, “The Cowboys” stands as a testament to the power of storytelling and its ability to transcend generations, imparting valuable lessons and igniting our imagination. Its impact reverberates through time, reminding us of the enduring allure of Western cinema and the timeless truths that resonate within us all.
Gallery
Image Stills “The Cowboys” Courtesy of Warner Brothers
Conclusion
“The Cowboys” remains a timeless Western film that continues to captivate audiences with its adventure, memorable performances, and universal themes. John Wayne’s portrayal of Wil Andersen, alongside a talented ensemble cast, delivers a compelling narrative that explores the journey from innocence to maturity.
Through its exploration of mentorship, resilience, and justice, the film transcends the Western genre, resonating with viewers of all ages. Its enduring appeal lies in its ability to capture the essence of the American West, while also providing a heartfelt coming-of-age story that speaks to the human experience.
As fans revisit “The Cowboys” or discover it for the first time, they are sure to be swept away by its powerful storytelling, breathtaking cinematography, and the lasting impact it has had on the Western genre and popular culture as a whole.
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40 Facts About The Movie The Long Goodbye
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Discover 40 fascinating facts about the timeless classic film, The Long Goodbye, from its stellar cast to its behind-the-scenes secrets and enduring legacy.
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Released in 1973
The Long Goodbye was released in 1973, making it over four decades old today. Despite its age, the film continues to captivate audiences with its unique storytelling.
Directed by Robert Altman
Robert Altman, known for his innovative and genre-defying filmmaking style, directed The Long Goodbye. He brought his distinctive storytelling approach to this neo-noir crime film.
Based on the novel by Raymond Chandler
The Long Goodbye is based on the novel of the same name written by Raymond Chandler. Chandler’s work is widely regarded as some of the best in the crime fiction genre.
Stars Elliott Gould as Philip Marlowe
Elliott Gould portrays the iconic detective character Philip Marlowe in The Long Goodbye. His performance earned critical acclaim and is considered one of his best roles.
Features a memorable theme song
The movie is known for its catchy and memorable theme song, composed by John Williams. The song has become synonymous with the film and adds to its overall atmosphere.
Set in 1970s Los Angeles
The Long Goodbye is set in the gritty backdrop of 1970s Los Angeles. The film effectively captures the essence of the city during that era.
Known for its unique narrative structure
The film stands out for its innovative narrative structure, which deviates from traditional linear storytelling. This approach adds depth and intrigue to the plot.
Nominated for several awards
The Long Goodbye received multiple award nominations, including Best Supporting Actress for Nina Van Pallandt at the Academy Awards. The film’s screenplay and cinematography were also recognized.
Not a typical film noir
The Long Goodbye subverts the traditional film noir genre, adding a touch of comedy and existentialism to its storytelling. This distinction sets it apart from other films in the genre.
Known for its sharp dialogue
The film’s screenplay, written by Leigh Brackett, is renowned for its sharp and witty dialogue. The dialogues between the characters contribute to the film’s overall appeal.
Features a memorable performance by Sterling Hayden
Sterling Hayden delivers a standout performance as the eccentric writer Roger Wade. His character adds depth and intrigue to the film.
Considered a cult classic
Over the years, The Long Goodbye has gained a dedicated following and is considered a cult classic. Its unique style and unconventional approach have contributed to its enduring popularity.
Explores themes of identity and morality
The film delves into complex themes of identity, morality, and the blurred lines between right and wrong. This exploration adds depth to the story and engages the audience.
Showcases Robert Altman’s signature improvisational style
Robert Altman’s improvisational filming style is evident throughout The Long Goodbye. The actors were encouraged to bring their own ideas and interpretations to the characters.
Features an impressive ensemble cast
In addition to Elliott Gould and Sterling Hayden, the film boasts an impressive ensemble cast, including Nina Van Pallandt and Mark Rydell, who deliver compelling performances.
One of the earlier adaptations of Raymond Chandler’s work
The Long Goodbye is one of the earlier film adaptations of Raymond Chandler’s novels, contributing to its significance in the cinematic landscape.
Explores the dark underbelly of Los Angeles
The film portrays a dark and gritty version of Los Angeles, exploring the seedy underworld and corrupt society that exists beneath its glamorous exterior.
Known for its intricate and engaging plot
The Long Goodbye’s plot is filled with twists, turns, and unexpected revelations that keep viewers engaged from start to finish.
Employs a unique visual style
The film’s cinematography and visual style play a significant role in creating its distinctive atmosphere. The use of lighting and framing enhances the overall viewing experience.
Inspired other neo-noir films
The Long Goodbye’s innovative approach to the noir genre has inspired other filmmakers to explore similar storytelling techniques in their works.
Notable for its dark humor
The film balances its darker themes with moments of dark humor, adding another layer of complexity to the storytelling.
Explores the complexities of friendship
The Long Goodbye delves into the complexities of friendship and loyalty, highlighting the blurred lines between alliances and betrayals.
Features a memorable climax
The film’s climax is gripping and intense, leaving a lasting impression on viewers. It showcases the culmination of the story’s various plot threads.
Considered one of the best adaptations of Chandler’s novels
Many viewers and critics consider The Long Goodbye to be one of the best film adaptations of Raymond Chandler’s novels, capturing the essence of his writing.
Known for its atmospheric soundtrack
The film’s soundtrack, composed by John Williams, adds to the overall atmospheric quality of the movie and enhances key scenes.
Explores the notion of trust
The Long Goodbye delves into the concept of trust and the repercussions of misplaced trust in a world filled with deception and corruption.
Showcases the struggle between integrity and survival
The movie explores the moral dilemma faced by its characters, highlighting the struggle between maintaining one’s integrity and doing what it takes to survive.
Features stunning cinematography
The Long Goodbye boasts stunning cinematography that captures the mood and atmosphere of the story, immersing viewers in its world.
Known for its memorable quotes
The film is filled with memorable quotes that have become iconic, showcasing the film’s sharp writing and compelling dialogue.
Explores the concept of identity crisis
The Long Goodbye delves into the concept of an identity crisis, examining how external forces can shape and blur an individual’s sense of self.
Known for its meticulous attention to detail
The Long Goodbye’s meticulous attention to detail is evident in its production design, costumes, and overall visual aesthetic.
Challenges traditional noir stereotypes
The film defies traditional noir stereotypes by presenting characters who don’t always fit the typical mold, adding depth and complexity to the narrative.
Explores the concept of justice
The Long Goodbye raises questions about justice and the blurred lines between right and wrong in a morally ambiguous world.
Known for its stunning performances
The cast’s performances, including Elliott Gould’s portrayal of Philip Marlowe, are praised for their nuanced and captivating delivery.
Explores the decay of society
The film highlights the decay of society and the loss of moral values, presenting a bleak and dark portrayal of the world.
Known for its open-ended conclusion
The Long Goodbye concludes with an open-ended resolution, leaving room for interpretation and discussion among viewers.
Explores the theme of betrayal
The movie delves into the theme of betrayal, showcasing how trust can be easily broken and the consequences that follow.
Known for its stylish visuals
The Long Goodbye is renowned for its stylish visuals, showcasing the fashion, decor, and overall aesthetic of the 1970s.
Explores the dark side of human nature
The film delves into the dark aspects of human nature, exposing the ugliness that can lurk beneath the surface of seemingly ordinary people.
Considered a gem of 1970s cinema
Overall, The Long Goodbye holds a special place in 1970s cinema and continues to be celebrated for its innovative storytelling and memorable performances.
Conclusion
After exploring these 40 fascinating facts about the movie “The Long Goodbye,” it’s clear that this film is a true masterpiece in the world of cinema. From its innovative approach to the film noir genre to its memorable characters and iconic scenes, “The Long Goodbye” has solidified its place as a classic.With its gripping storyline, stunning cinematography, and impeccable performances, this film has continued to captivate audiences since its release. Whether you’re a fan of film noir or simply appreciate great storytelling, “The Long Goodbye” is a must-watch for any movie enthusiast.So, grab some popcorn, sit back, and immerse yourself in the intriguing world of “The Long Goodbye.” You won’t be disappointed!
FAQs
Q: Who directed the movie “The Long Goodbye”?
A: “The Long Goodbye” was directed by Robert Altman.
Q: When was “The Long Goodbye” released?
A: The movie was released in 1973.
Q: Who starred in “The Long Goodbye”?
A: The film featured Elliot Gould in the lead role, along with Nina Van Pallandt, Sterling Hayden, and Mark Rydell.
Q: Is “The Long Goodbye” based on a book?
A: Yes, the movie was based on the novel of the same name written by Raymond Chandler.
Q: What is the genre of “The Long Goodbye”?
A: The film is a neo-noir mystery thriller.
Q: Did “The Long Goodbye” receive any awards?
A: While the movie did not win any major awards, it received critical acclaim for its innovative approach to the noir genre.
Q: What is the running time of “The Long Goodbye”?
A: The film has a running time of approximately 112 minutes.
Q: Is “The Long Goodbye” suitable for all audiences?
A: The movie is rated R for adult content and language, so parental guidance is advised.
Q: Are there any notable quotes from “The Long Goodbye”?
A: Yes, one famous quote from the film is “It’s okay with me,” which became a memorable catchphrase associated with the movie.
Q: Is “The Long Goodbye” considered a classic?
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Arthur Hiller, (November 22, 1923 – August 17, 2016) was a Canadian-American television and film director with over 33 films to his credit during a 50-year career. He began his career directing television in Canada and later in the U.S. By the late 1950s he began directing films, most often comedies. He also directed dramas and romantic subjects, such as Love Story (1970), which was nominated for seven Oscars. Hiller collaborated on films with screenwriters Paddy Chayefsky and Neil Simon. Among his other films were The Americanization of Emily (1964), Tobruk (1967), The Hospital (1971), The Out-of-Towners (1970), Plaza Suite (1971), The Man in the Glass Booth (1975), Silver Streak (1976), The In-Laws (1979) and Outrageous Fortune (1987). Hiller served as president of the Directors Guild of America from 1989 to 1993 and president of the Academy of Motion Picture Arts and Sciences from 1993 to 1997. He was the recipient of the Jean Hersholt Humanitarian Award in 2002. An annual film festival in Hiller's honor was held from 2006 until 2009 at his alma mater, Victoria School of Performing and Visual Arts.
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Browse Lonny Chapman movies and TV shows available on Prime Video and begin streaming right away to your favorite device.
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https://www.amazon.com/prime-video/actor/Lonny-Chapman/amzn1.dv.gti.95f55ddf-d10b-46a4-ade8-a87e69f57b15/
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Utilitarian actor Lonny Chapman remains one of those highly familiar character faces to which you can't quite place the name. While he appeared in over 30 films and well over 300 TV programs over a five-decade career, the theater remained his first and foremost passion and for which he is best remembered. From 1973 until his death 34 years later, he was artistic director of the Group Repertory Theatre (GRT), a North Hollywood non-profit acting organization for which he also served as producer, writer, director and actor. It was a place to which scores and scores of L.A.-based actors would, and did, call "home". The facility, which is still running today, was renamed the Lonny Chapman Group Repertory Theatre (LCGRT) in 1999 in loving tribute.
He was born Lon Leonard Chapman on October 1, 1920, in Tulsa, Oklahoma, but grew up in the city of Joplin, Missouri. His interest in acting started while fairly young. Following his graduations from Joplin High School (1938) and Joplin Junior College (1940), the athletically-inclined Lonny attended the University of Oklahoma on a track scholarship. The bombing of Pearl Harbor, however, interrupted his college studies, joining the Marines the very next day. He saw major action in the South Pacific, including Guadalcanal. During his 5-year tour of duty, he contracted malaria; frequent recurrences would plague him the rest of his life. The track star returned to his Oklahoma college following war duty and graduated with a BFA in Drama in 1947.
While at college Lonny became best friends with actor Dennis Weaver, who was also a talented track-and-field athlete and fellow drama student. The two young hopefuls hitchhiked together to New York City where they began their respective careers. Within a year (1948) Lonny was appearing as "Wiley" in the Chicago company of "Mister Roberts", directed by Joshua Logan. The year after that, he made his Broadway debut in "The Closing Door", directed by Lee Strasberg. During this time, he also established strong ties with the prestigious Group Theatre and Actors Studio. It was at the Actors Studio that he forged lifelong friendships with director Mark Rydell, and character actors Martin Landau, R.G. Armstrong, Pat Hingle and Logan Ramsey, among others.
Arguably, the peak of Lonny's early stage career occurred in 1950, when he co-starred in the award-winning drama "Come Back, Little Sheba", William Inge's first play to be produced on Broadway. Art imitated life in this case as Lonny portrayed the second lead role of "Turk", a college student and star athlete. Coincidentally, friend Dennis Weaver became his understudy and eventually took over the role. Starring Tony winners Shirley Booth and Sidney Blackmer, only Ms. Booth went on to recreate her role in the film version for which she won the Oscar. Lonny, who had yet to make a movie, was replaced by the already-established Richard Jaeckel as "Turk" in the film version.
Lonny continued to solidify his reputation on Broadway with "The Chase" (1952), produced and directed by José Ferrer and starring Actors Studio exponents Kim Stanley and Kim Hunter; "Whistler's Grandmother" (1952), co-starring Josephine Hull; "The Ladies of the Corridor" (1953), directed by renowned "Group Theatre" member Harold Clurman; and the Horton Foote-penned "The Traveling Lady" (1954), again starring Ms. Stanley. Elsewhere, he earned excellent notices as "Tom" opposite Franchot Tone's "Joe" in a revival of William Saroyan's "The Time of Your Life" and as the "Gentleman Caller" in the first national tour of "The Glass Menagerie" starring Helen Hayes. By this time, Lonny had begun appearing on early TV, making his debut in an episode of Captain Video and His Cartoon Rangers (1956). His first film was a featured role in the tuneful Doris Day/Frank Sinatra drama Young at Heart (1954) in which he shared secondary scenes with Elisabeth Fraser. Actor Studio preeminent Elia Kazan took a strong liking to Lonny as an actor and looked for no one else to play the role of "Roy", the auto mechanic, in the classic John Steinbeck film East of Eden (1955), which catapulted James Dean to cult status. Kazan then gave Lonny a plum role in his film Baby Doll (1956).
In the late 1950s, Chapman began to show promise as a mover and shaker in the theater. In 1959, and for eight seasons following, he and co-founder Curt Conway devoted their summer seasons to the Cecilwood Theatre in Fishkill, New York, where he directed over 80 productions and performed in nearly thirty. Those up-and-comers who received their Equity union card under his guidance included Barbra Streisand, Dustin Hoffman and Robert Duvall. As a playwright, Lonny saw two of his own works produced off-Broadway -- "The Buffalo Skinner" and "Cry of the Raindrop".
Lonny migrated to Los Angeles in the 1960s in order to pursue film and TV roles and, along with Martin Landau, helped form the West branch of the Actors Studio out there. His gritty look, trademark dusky voice, earnest demeanor and solid Midwest upbringing was his meal ticket for getting Hollywood work. Tailor-made for earthy, blue-collar roles, he was most at home playing unpretentious folk. One would be hard-pressed to see him donning tie and tails in highly elegant settings when he obviously appeared more at home in a plaid shirt with rolled up sleeves or, at the most, a tweed sport coat with loose tie. He provided stark authenticity to a number of westerns, crimers and small-town dramas. In Alfred Hitchcock's The Birds (1963), he portrayed the concerned diner operator who tends to Tippi Hedren's head wound after her first gull attack. He subsequently played a secondary but pivotal role in director/friend Mark Rydell's picture The Reivers (1969) set in Mississippi with Steve McQueen, and also one of Sally Field's chauvinistic bosses in the down-home drama Norma Rae (1979). He showed remarkable versatility with a top, change-of-pace supporting part in the early Woody Allen comedy classic Take the Money and Run (1969).
In 1973, he formed the Group Repertory Theatre and served as its first and only artistic director (until his death). Under his strong leadership, the non-profit organization staged over 350 productions, 45 of which were world premieres of original works. Sean Penn and Jennifer Tilly are former members of the company.
Quite visible on TV, he appeared to good advantage in prime-time programming. Headlining one TV series that never got firmly off the ground, The Investigator (1958), in which he played a private detective, he also co-starred with William Shatner and Jessica Walter in the "Law and Order" precursor For the People (1965). During the 60s, 70s and 80s, the gruff, bushy-browed actor could always be spotted somewhere on a topnotch crime show (Perry Mason (1957), The Defenders (1961) (recurring role), Judd for the Defense (1967), Mission: Impossible (1966), Mannix (1967), Ironside (1967), Quincy, M.E. (1976), Matlock (1986)). He was given just as much footage sitting tall in the saddle in various western series (Laredo (1965), The Rifleman (1958), The Virginian (1962), Bonanza (1959)). He also appeared more than a few times on Gunsmoke (1955) and McCloud (1970), which starred his good friend Dennis Weaver. One particular highlight was his patriarchal role in an above-par TV-movie adaptation of The Rainmaker (1982) co-starring Tommy Lee Jones and Tuesday Weld.
A modest, down-to-earth kind of guy with a generous heart and spirit who preferred not to call attention to himself, Chapman was a sturdy film and TV presence over the years playing a hefty number of heroes, villains, boss types and confidantes. Although he worked consistently throughout the years, he never found the one role that might have moved him up the pecking order and propel him to the very top of the character echelon. In the twilight of his film career, he showed eerie countenance in his elderly watchman role in Nightwatch (1997), and last graced the screen as an octogenarian in Reindeer Games (2000), directed by John Frankenheimer and The Hunted (2003), directed by William Friedkin.
The last few years of his life were marred by failing health and the increasingly frail actor had to eventually be placed in a Sherman Oaks (California) care facility. He died there of complications from pneumonia and heart disease a little more than a week after his 87th birthday, on October 12, 2007. He was survived by his steadfast wife (of nearly 65 years), the former Erma Dean Gibbons, and their son Wyley Dean.
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[
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[] |
2023-10-25T15:29:04+00:00
|
Mortimer “Mark” Rydell (born March 23, 1928 in New York City) directed The Fox (1967) from the 1923 novella by D.H. Lawrence, The Reivers (1969) with ...
|
en
|
Golden Globes
|
https://goldenglobes.com/person/mark-rydell/
|
Golden Globes, LLC (“Golden Globes”) uses first and third-party technologies to enable PMC and third-parties to collect information about you and your interactions with our sites and services (including clicks, cursor movements and screen recordings). Learn more HERE. By continuing to use our sites or services, you agree to our Terms of Use (including the class action waiver and arbitration provisions) and Privacy Policy, which have recently changed.
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6000
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dbpedia
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2
| 82
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https://people.com/sharon-stone-explains-black-eye-hotel-room-8687492
|
en
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Sharon Stone Tells 'Worried' Fans How She Got Black Eye in Hotel Room: 'No, Nobody Did Anything to Me'
|
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[] |
[] |
[
""
] | null |
[
"Tommy McArdle",
"www.facebook.com"
] |
2024-08-01T14:04:16.623000-04:00
|
Sharon Stone explained in a video how she got a black eye inside her hotel room while traveling. 'It's getting better, but it really is a good-looking shiner,' the actress said.
|
en
|
/favicon.ico
|
Peoplemag
|
https://people.com/sharon-stone-explains-black-eye-hotel-room-8687492
|
Sharon Stone is explaining how she got a black eye while on vacation.
After the actress, 66, shared a photo of herself with a bruise on her left eye on Instagram July 31, she returned to the social media platform on Aug. 1 to explain in a video that she hit her head after waking up in the middle of the night at her hotel.
"I know you're all worried about how I got a black eye so I thought I'd let you know. I've been in so many hotels in so many countries that I got up in the middle of the night to pee and didn't know where I was and smacked my face on the marble," Stone said in the video.
"No, nobody did anything to me, and yes, I'm just fine and I'm having a great time and I'm being welcomed very beautifully on my trip everywhere that I've gone, and I'm having just the greatest time," she continued.
Stone then moved her sunglasses to reveal the bruise. "It's getting better, but it really is a good-looking shiner," she said. "You should see what I did to that marble floor. Thanks so much for caring about me. I care about you too."
"Black Eye update 😀," Stone wrote in the caption. "Thank you all for your kind messages."
Never miss a story — sign up for PEOPLE's free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories.
On Wednesday she noted in a post that she is currently vacationing in Turkey. Originally, the Basic Instinct star shared her eye injury with her Instagram followers by posting a photo of herself posing in an elevator. "This trip has been tough; but I’m tougher," she wrote in that caption.
Stone's visit to Turkey, as she mentioned in her Thursday video, comes amid a weeks-long European trip during which she has visited Italy's Taormina Film Festival, where she received a lifetime achievement award in July, plus Cannes, France and Rome.
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https://www.southcoasttoday.com/story/entertainment/local/2001/08/02/director-used-first-hand-knowledge/50337245007/
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en
|
Director used first-hand knowledge of subject in making 'James Dean'
|
[] |
[] |
[] |
[
""
] | null |
[
"Bridget rne, For The Associated Press, New Bedford Standard-Times"
] |
2001-08-02T00:00:00
|
Mark Rydell, who directs the new biodrama \
|
en
|
Standard-Times
|
https://www.southcoasttoday.com/story/entertainment/local/2001/08/02/director-used-first-hand-knowledge/50337245007/
|
Mark Rydell, who directs the new biodrama "James Dean," knew its subject as a friend.
"He was as motivated and as ambitious a guy as I've ever met. Driven, driven," Rydell says.
Although Dean starred in only three major films -- "East of Eden," "Rebel Without a Cause" and "Giant" -- he became a Hollywood legend before he was killed at age 24 in a car crash on Sept. 30, 1955.
Rydell, now 67, says he was attracted to the movie "James Dean" -- which premiers on Turner Network Television on Sunday at 8 p.m. -- because it enabled him to revisit an era of "idealism and passion" when "we were trying to become young artists."
Back in the 1950s, before either of their names were up in lights, aspiring actors Rydell and Dean hung out in New York bars, studied at the Actor's Studio, competed for roles. In 1953, they were cast as underage youths in a bar in an Omnibus teleplay, William Inge's "Glory and the Flower," starring Hume Cronyn and Jessica Tandy.
"I knew how tortured he was," says Rydell, who went on to direct for television and the movies, including "On Golden Pond," for which he was nominated for an Oscar.
Rydell says his own psychoanalysis gave him insight into Dean. He believes that Dean's estranged relationship with his father made him seek out father figures like director Elia Kazan.
"He was desperately in search of that kind of connection," says Rydell.
That theory gives the movie, scripted by Obie-winning playwright Israel Horovitz, "a spine and a climax" when added to the known facts of Dean's brief life, the director says.
"But the truth of it is, this is a not a documentary. It's a drama. As it says at the end of the show, it's an educated guess," says Rydell, who thinks biographies without a point of view are tedious.
He considers it moot to discuss what Dean might have done had he lived; Rydell doubts Dean could have lived.
"He was such a reckless person -- with his motorcycles, his bullfighting, his racing cars -- testing the limits of every possible situation in an attempt to identify himself."
Horovitz's script was in development at Warner Bros. for years, and several stars, including Leonardo DiCaprio, toyed with the idea of playing Dean. In the end, the relatively unknown 23-year-old James Franco was selected. Michael Moriarty plays Dean's father, Winton.
Executive producer Bill Gerber, who took the project to TNT, says Rydell was chosen as director not because he knew Dean but because of his body of work.
"We vaguely knew there was some connection, but we didn't know they were pals."
Gerber describes Rydell as "an actors' director" and a "professional who doesn't waste a penny" -- able to cram a first-class feature into a cable budget.
Rydell didn't mind the limitations of a $10.3 million project "You have to invent. You have to be clever, you have to be creative. ... Theaters are rife with crap that costs a fortune."
Rydell, the son of a Wall Street stockbroker, studied music at Juilliard before segueing into acting. He's a firm believer in the Method, practiced by actors like Dean, who was "able to take the pain of his life and pour it into his work."
An actor must "stay in touch with the child within," Rydell says, since "as you grow older you lean toward more paternal characteristics." As a director, he likes creating an environment in which people can "realize their dreams with impunity."
Exuberant and overflowing with conversation, Rydell talks in the living room of his multi-story Venice beach house, which functions as home and office. His wife, Esther; oldest son, Christopher; youngest son, Alexander; and grandson, Austen, all wander in to join the conversation.
Esther declined to appear in "James Dean," but the rest of the family have roles. Christopher, a professional actor, plays Kazan's assistant. The boys make cameo appearances. Rydell's ex-wife, actress Joanne Linville, plays gossip columnist Hedda Hopper. Daughter Amy plays Christine White, who auditioned with Dean at the Actor's Studio and became his roommate.
Rydell himself, slicked up with snake-oil charm and a thin mustache, portrays Jack Warner, the type of Hollywood studio boss who would "rather tell a bad joke than make a good movie," but who signed the talented Dean to a $1 million contract.
Yes, Rydell knew Warner, too. Rydell came to Hollywood in 1956 to appear in the teen gang film "Crime in the Streets," and Warner, he says, "was interested in me. He talked to me about a three-picture deal and I said with the arrogance of youth and being from New York, 'I need script approval.'"
With no expletives deleted, Warner told him to get out of his office.
As an actor, Rydell seems to favor brutish characters with killer grins. He did a 1956-62 stint as ne'er-do-well Jeff Baker on the soap opera "As The World Turns." He was the villain in Robert Altman's "The Last Goodbye."
Most recently, Rydell co-stars in Woody Allen's upcoming "Hollywood Ending."
"He plays a movie director and I play his best friend, his agent, somebody who's been with him 34 years," Rydell says. "It's hysterical, so funny I could barely keep a straight face. He said to me, 'You've got to stop laughing.'"
As much as he admires Allen, the effusive Rydell couldn't tiptoe around the shy auteur. He practiced some of that Actor's Studio Method identification
"I grabbed Woody and hugged and kissed him in front of everybody. The crew were all shocked by the intimate way I treated him, but it was the only way I could make the relationship work since we were supposed to be friends for 30 years ... I figured what do I have to lose?" Rydell laughs.
Find this link at Today.com
http//www.tnt.tv/index.html"
http//www.tnt.tv/index.html
|
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6000
|
dbpedia
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1
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https://tv.apple.com/us/person/mark-rydell/umc.cpc.51kcdxntavnuzfe1ch6aizwpz
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en
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Mark Rydell Movies and Shows
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Learn about Mark Rydell on Apple TV. Browse shows and movies that feature Mark Rydell including On Golden Pond, The Cowboys, and more.
|
en
|
/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png
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Apple TV
|
https://tv.apple.com/us/person/mark-rydell/umc.cpc.51kcdxntavnuzfe1ch6aizwpz
|
A former jazz pianist who appeared on Broadway and TV before beginning his directing career with series such as "Ben Casey," "I Spy" and "Gunsmoke," Rydell earned critical acclaim for his debut feature, "The Fox" (1968). He also won plaudits for his helming of "Cinderella Liberty" (1973) and "The Rose" (1979). "On Golden Pond" (1981), a typical film, in that it displayed its director's fondness for sentiment and nostalgia, earned him an Oscar nomination as Best Director. Rydell has subsequently made films only occasionally, some ("The River" 1984) doing fairly well with critics, while others ("Intersection" 1994 and the somewhat overly maligned "For the Boys" 1991) did less well with critics and public alike.
|
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6000
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dbpedia
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https://en.wikipedia.org/wiki/The_River_(1984_film)
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The River (1984 film)
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2004-05-08T22:50:01+00:00
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https://en.wikipedia.org/wiki/The_River_(1984_film)
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1984 film by Mark Rydell
The RiverDirected byMark RydellWritten by
Robert Dillon
Julian Barry
Produced by
Robert Cortes
Edward Lewis
StarringCinematographyVilmos ZsigmondEdited bySidney LevinMusic byJohn WilliamsDistributed byUniversal Pictures
Release date
Running time
123 minutesCountryUnited StatesLanguageEnglishBudget$18 million[1]Box office$11.5 million (North America)[2]
The River is a 1984 American drama film directed by Mark Rydell, written by Robert Dillon and Julian Barry, and starring Sissy Spacek, Mel Gibson, and Scott Glenn. The film tells the story of a struggling farm family in a Tennessee river valley trying to keep its farm from going under in the face of bank foreclosures and floods. The father faces the dilemma of having to work as a strikebreaker in a steel mill to keep his family farm from foreclosure. It was based on the true story of farmers who unknowingly took jobs as strikebreakers at a steel mill after their crops had been destroyed by rain.
The River was theatrically released on December 19, 1984, by Universal Pictures. It received mixed reviews, with critics praising Spacek's performance and the cinematography, but criticizing the screenplay, execution, and Gibson's performance, whom many considered to have been miscast[citation needed]. It was a box office failure, grossing only $11.5 million against an $18 million budget. Despite that, it received four nominations at the 57th Academy Awards; Best Actress (for Spacek), Best Original Score, Best Sound, Best Cinematography, and won the Special Achievement Award.
Plot
[edit]
Tom and Mae Garvey are a hard-working couple living with their two children on the east Tennessee farm owned by Tom's family for generations. They and many of their neighbors have hit hard times as of late. A downturn in the economy has led to dwindling land prices.
Their biggest problem has been that their crop land has been prone to flooding as the property is adjacent to a river. Manipulating the powers that be include local senator Neiswinder and the local bank. Joe Wade, who also grew up in the area and now runs the local milling company that sets the local grain prices, is secretly working to buy up the properties along the river so he can build a dam. The dam would generate electricity but more importantly for Wade, it would provide irrigation opportunities for farm properties away from the river, such as his own.
Wade's maneuverings coupled with many other farming problems makes it increasingly difficult for Tom and Mae to hold on to their farm. Tom is determined at any cost stay on the land of his ancestors. Through his cousin, Tom begins work at a steel factory in order to prevent foreclosure on his farm, only finding out he's a strikebreaker as they're crossing the picket lines. Work in the mill is incredibly hard, the conditions are tough and pay is meager.
The rest of the Garvey family is left alone while Tom is away working. Mae is involved in an accident on the farm where she loses a lot of blood and almost her arm. Some time later, Tom invites his family to come visit him in the city where he and Mae compare how things are going in their daily lives now spent apart. The strike ends, but as part of the returning workers' deal, the strike breakers must walk out of the factory without the protection they had when entering. Instead of an all-out fight, the workers and scabs observe one another, recognizing each others' desperation before the workers begin shaming the scabs.
Tom returns to the farm and is pleased with the crops but Wade has Tom's corn inspected. Wade offers less than what the crop cost Tom to plant which leads to a confrontation where Wade reveals his plans for a hydroelectric dam and the redevelopment of Tom's land. Tom returns to the farm where his machinery is failing and another flood threatens the farm.
An exhausted Mae finally confronts Tom over his stubbornness, as he is continuing to fight a losing battle with Wade and the river. The farming community bands together to build a levee providing some relief. Wade arrives with a truck full of bankrupt farmers intent on dismantling the levee for cash. Wade offers the farmer's on Tom's side a bonus if they sabotage the levee. Tom pleads with both sides, many of whom were in Tom's shoes but lost their farms, however the levee is breached and the floodwaters flow in. Despite all of this, Tom begins picking up sandbags to repair the levee alone. Inspired by his dedication, his family and eventually, the onlookers help Tom repair the levee. Wade realizes he's lost the battle and admires Tom's determination, but points out that sooner or later nature will upend Tom's farm and Wade will be waiting.
The Garvey family has a successful harvest.
Cast
[edit]
Sissy Spacek as Mae Garvey
Mel Gibson as Tom Garvey
Shane Bailey as Lewis Garvey
Becky Jo Lynch as Beth Garvey
Scott Glenn as Joe Wade
Don Hood as Senator Neiswinder
Billy "Green" Bush as Harve Stanley
James Tolkan as Howard Simpson
Jack Starrett as foreman Swick
Production
[edit]
Director Mark Rydell viewed the characters in this drama as iconicly American, and he was eager to cast Sissy Spacek as the farm wife because of her performance in Coal Miner's Daughter and her home on a farm near Charlottesville, Virginia. Rydell said, "She is the consummate American rural young woman, with strength and fiber and a luminous quality." Mel Gibson begged Rydell to let him play the Tennessee farmer who reminded him of his father, but the director was reluctant because of Gibson's Australian accent. Before Gibson left for England to film The Bounty, he begged Rydell not to cast the part yet. Rydell recalled, "He came back to my house in Los Angeles and started reading the script, talking, reading the newspaper, in this perfect Tennessee accent. I was really impressed, even when he stood next to Sissy, who's like a tuning fork when it comes to accents, he had damn well done it."
The River was filmed in the Holston Valley area of Church Hill, Tennessee. The filmmakers purchased 440 acres (1.8 km2) along the Holston River for the farm set and planted corn. Most of the filming was done along Goshen Valley Road and around the Goshen Valley Park area. Goshen Valley Road heads south from highway 11W in Church Hill, Tennessee. The cast and their families moved to the area a month before the start of production to connect with the local people and learn farming skills. The floods in the film were supplied by the Tennessee Valley Authority and the Army Corps of Engineers with water from the Fort Patrick Henry Dam. The bank and downtown scenes were filmed in the town of Gate City, Virginia. The tent city and a few other scenes were filmed in Kingsport, Tennessee, while some factory scenes were filmed in Birmingham, Alabama. Scenes that were filmed at Double Springs Baptist Church in Jonesborough, Tennessee did not make the final cut of the movie. The film was completed for under $18 million.[3][4]
Music
[edit]
The musical score was composed and conducted by John Williams and also featured songs by country artists including George Strait.
It was announced that Intrada Records will release an expanded and remastered version of Williams' score on May 5, 2020.[5] The new release will feature the complete score (including previous and unheard content) and the original soundtrack album.
Reception
[edit]
The River was the last of three 1984 films, including Country and Places in the Heart, that shared the themes of a family's devotion to their farm, the destructive force of nature, an unsympathetic bureaucracy and a determined woman who binds her family together.[6]
The film received negative reviews, with praise for Sissy Spacek's performance being a notable exception.[7][8] On Rotten Tomatoes, it holds an approval rating of 24% on Rotten Tomatoes from 21 critics.[9] Mel Gibson later regretted that his portrayal of Tom Garvey was so stubborn that the audience lost sympathy, and said that he had been miscast for the role because he was too young and "pretty" at the time.[citation needed]
The film opened Wednesday, December 19, 1984, in 3 theaters and grossed $40,540 in its first seven days to Christmas Day[10] and went on to gross $11.5 million in the United States and Canada.[2]
Awards
[edit]
The film was nominated for Academy Awards in Best Actress in a Leading Role (Sissy Spacek), Best Cinematography, Best Music, Original Score and Best Sound (Nick Alphin, Robert Thirlwell, Richard Portman and David M. Ronne).[7] It also received a special Oscar for sound effects editing (Kay Rose).
See also
[edit]
List of river films and television series
References
[edit]
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https://kansascitytheater.wordpress.com/2016/03/13/bruce-dern-on-tarantino-westerns-and-john-wayne/
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Bruce Dern on Tarantino, Westerns and John Wayne
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At last I was on the phone with man who murdered John Wayne. Bruce Dern, a 79-year-old two-time Oscar nominee, has done movies and TV. He has performed in Westerns, thrillers, biker movies and science fiction films. He has worked with great directors — Alfred Hitchcock, John Frankenheimer, Elia Kazan — and he has shared…
|
en
|
Stage & Scream in Kansas City
|
https://kansascitytheater.wordpress.com/2016/03/13/bruce-dern-on-tarantino-westerns-and-john-wayne/
|
At last I was on the phone with man who murdered John Wayne.
Bruce Dern, a 79-year-old two-time Oscar nominee, has done movies and TV. He has performed in Westerns, thrillers, biker movies and science fiction films. He has worked with great directors — Alfred Hitchcock, John Frankenheimer, Elia Kazan — and he has shared the screen with genuine movie legends, including Robert Mitchum, Bette Davis, Burt Lancaster and his old friend Jack Nicholson.
Now Dern is part of the ensemble cast of Quentin Tarantino’s “The Hateful Eight,” a big-budget Western to which Dern lends what I call genre credibility. Dern’s penchant for playing frontier psychopaths got him plenty of work on TV Westerns in the 1960s, and he made a singular contribution to the genre in “The Cowboys,” a 1972 film. In it, Dern, playing a low-life rustler called Long Hair, became the first actor in a Western to kill Wayne, the most iconic screen cowboy of them all.
In “The Cowboys,” Dern was doing what he’d been doing for years on TV, playing a flea-bitten S.O.B. with a gun. (Director Mark Rydell had once directed Dern in an episode of “Gunsmoke,” the long-running CBS Western.)
But “The Cowboys” was something different. Wayne usually surrounded himself with cronies, but Rydell decided to put him with “New York” actors — Dern and Roscoe Lee Browne, who played the trail cook, had come out of the Actors Studio in New York, and Colleen Dewhurst, a veteran of the New York stage, had a prominent cameo as the madam of a traveling whorehouse.
The result? Wayne delivered one of his best performances in one of his best movies. And Dern entered the Villains Hall of Fame. Wayne had been killed off in a handful of other films, but never in a Western. And all of this took place not long after Wayne restated his right-wing political views in a Playboy magazine interview.
“He said to me, ‘Oh, how they’re gonna hate you for this,’ ” Dern recalled. “And I said, ‘Maybe, but in Berkeley I’ll be a (bleeping) hero.’ He put his arm around my neck and showed me to the entire crew of about a hundred people standing there, and he said, ‘This is why this prick is in my movie — ’cause he understands that bad guys are funny.’ ”
Dern said he came to appreciate Wayne’s acting chops.
“To tell you the truth, he was a better actor than people gave him credit for,” Dern said. “There’s one thing John Wayne had, and that’s a presence. When John Wayne comes through a door, he’s a formidable being. He’s not someone you want to (mess) with. And I think he became a better actor as he went along. He was always relaxed, and he would have a nip or two during the day, but who (cares)? As an actor, he looked at you and listened to you and responded to what you said.”
In “The Hateful Eight,” Dern is part of an ensemble that includes Samuel L. Jackson, Kurt Russell and Jennifer Jason Leigh. Dern plays Gen. Sandy Smithers, a former Confederate officer who has come to Wyoming to find his missing son. Dern and Jackson have a particularly unpleasant encounter in a major sequence midway through the film.
Dern places Tarantino on the short list of directors he considers authentic geniuses. But the two had never met until Tarantino asked him to perform a cameo in “Django Unchained,” his previous movie.
“We have a lunch or two a year that last about five hours where we play … movie trivia and things like that,” Dern said. “He’s always had a reverence for me because he grew up watching me be (a bad guy) on television. He can even quote dialogue from shows I did on TV.
“He sent me the script of ‘The Hateful Eight,’ and that was the first I’d heard of it. I was excited that he wanted me to do it and that he had apparently tailored it for me.”
Little in Dern’s background suggested a career in Westerns. He grew up in an influential family in Chicago — he said he was a black sheep for choosing to be an actor — and as a young actor studied under Kazan and Lee Strasberg at the famed Actors Studio. He even drove a cab in New York to pay the rent. But after moving to Hollywood he found plenty of work on television, especially shows about the Old West, so much so that he became associated with the genre.
Dern recalled a bit of advice Kazan gave him when he was about to leave New York for California.
“Kazan said to me: ‘You’re gonna go to Hollywood now, and for a long time you’re gonna be the fifth cowboy from the right. Just make sure you’re the most memorable, unique fifth cowboy from the right anybody … saw.”
In the 1960s Dern appeared in every genre of TV show, but he found the most opportunities on Westerns. He appeared repeatedly on “Gunsmoke,” “The Big Valley,” “Wagon Train” and “The Virginian.” His first big-screen Western was “The War Wagon,” another Wayne movie.
“When I came to Hollywood in 1961, Universal Pictures alone made 14 hours a week of Westerns,” he said.
But his versatility has allowed him to work with some of the best directors in movies — Frankenheimer (“Black Sunday”), Hitchcock (“Family Plot”), Kazan (“Wild River”) and Walter Hill (“The Driver”). Along the way he earned a couple of Oscar nominations, one for “Coming Home” in 1979 and the other for “Nebraska” in 2014.
Tarantino, he said, is an actor’s director motivated by a reverence for the history of film.
“He encourages you,” Dern said. “The win is to be cast by Tarantino. And then you’re on the team. He’s had this group of actors he’s worked with through the years. And he kind of hired me to help lend a hand to what he was doing.”
In addition to Tarantino, Dern’s list of geniuses include Kazan, Hitchcock, Douglas Trumbull (who cast Dern in the science fiction film “Silent Running”) and Alexander Payne (who directed “Nebraska.”)
“My definition of genius has always been that at any point any member of the crew or cast can walk up to the director and say, ‘What is my contribution to this particular shot?’ and they can tell you succinctly,” he said. “In a way they’re teachers, they’re professors.”
Another “professor” was Roger Corman, the king of low-budget genre films, including biker movies and horror flicks. Dern and Nicholson appeared in several of Corman’s movies early in their careers. Dern and Robert De Niro played members of Ma Barker’s gang in Corman’s “Bloody Mama.”
“Jack and I always felt like we got to go the University of Corman because neither one of us finished college,” Dern said.
Dern said he doesn’t like to rehearse except for the camera movements. And he’s not bashful about inserting his own line of dialogue if he thinks it will help the film.
“Alexander Payne said to me the very first day of shooting on ‘Nebraska,’ ‘You see anything this morning you’ve never seen before?’ And I said: ‘Yes I do. I see that everyone is pulling his oar, and it’s 29 degrees.’ ”
The message from Payne was: Dare to fail.
“Let us do our jobs,” Payne told him. “Never show us anything. Let us find it.”
Dern said when he heard that he knew that “for the first time in my career I had a partner I could trust.”
And that’s how he felt about Tarantino on “The Hateful Eight.”
“I think the greatest thing Quentin has is his reverence for what went before,” Dern said. “He’s not a revolutionary, but he’s leading the troops at Valley Forge as far as I’m concerned right now.”
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Did you know? Over 5 million people from more than 3500 institutions have enjoyed content from Alexander Street?
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6000
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https://lb.wikipedia.org/wiki/Mark_Rydell
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Mark Rydell – Wikipedia
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https://lb.wikipedia.org/wiki/Mark_Rydell
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De Mark Rydell, gebuer den 23. Mäerz 1929 in New York City, ass en US-amerikanesche Filmregisseur, Filmproduzent a Schauspiller.
De Mark Rydell huet als Regisseur e puer bekannte Filmer wéi The Cowboys (1971) mam John Wayne, The Rose (1979) mat der Bette Midler an On Golden Pond (1981) mat der Katharine Hepburn gedréit. Als Schauspiller krut hie Rollen a Filmer vu bedeitende Regisseure wéi Robert Altman, Don Siegel, Sydney Pollack a Woody Allen.
1967: The Fox - Haaptacteuren: Sandy Dennis, Anne Heywood, Keir Dullea
1969: The Reivers - Haaptacteuren: Steve McQueen, Sharon Farrell, Michael Constantine
1971: The Cowboys - Haaptacteuren: John Wayne, Roscoe Lee Browne, Bruce Dern
1973: Cinderella Liberty - Haaptacteuren: James Caan, Marsha Mason, Eli Wallach
1975: Harry and Walter go to New York - Haaptacteuren: James Caan, Elliott Gould, Diane Keaton
1979: The Rose - Haaptacteuren: Bette Midler, Alan Bates, Frederic Forrest, Harry Dean Stanton
1981: On Golden Pond - Haaptacteuren: Katharine Hepburn, Henry Fonda, Jane Fonda
1983: The River - Haaptacteuren: Mel Gibson, Sissy Spacek, Scott Glenn
1991: For the Boys - Haaptacteuren: Bette Midler, James Caan, George Segal
1994: Intersection - Haaptacteuren: Richard Gere, Sharon Stone, Martin Landau
2006: Even Money - Haaptacteuren: Kim Basinger, Kelsey Grammer, Forest Whitaker
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https://veripages.com/name/Mark/Rydell/
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Mark Rydell: Address, Phone Numbers, Age, Public Records
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We found 18 records with the name Mark Rydell in 66 cities. View Mark Rydell phone numbers, addresses, ages, public records and more.
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/img/favicons/apple-touch-icon.png
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https://veripages.com/name/Mark/Rydell/
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DISCLAIMER:
You may not use Veripages or the information it provides to make decisions about employment, credit, housing or any other purpose that would require Fair Credit Reporting Act (FCRA) compliance. Veripages is not a Consumer Reporting Agency (CRA) as defined by the FCRA and does not provide consumer reports.
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6000
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https://www.imdb.com/name/nm0041932/bio/
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Mark Rydell
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Mark Rydell. Actor: Der Tod kennt keine Wiederkehr. Mark Rydell was born on 23 March 1929 in New York City, New York, USA. He is a director and actor, known for Der Tod kennt keine Wiederkehr (1973), Am goldenen See (1981) and Hollywood Ending (2002). He was previously married to Esther Jacobs and Joanne Linville.
|
en
|
IMDb
|
https://www.imdb.com/name/nm0041932/bio/
|
I'm a hopeful person; I'm not a cynic. I believe that cynicism is a cancer for an artist. It's a way of insulating yourself from experience. If you're cynical about something, it becomes removed and can't invade you. If you believe that life has to do with an engagement of issues and personalities that make you young and vital, it's hard to be anything but hopeful.
[After making "On Golden Pond"] There's no question in my mind that Henry Fonda is the greatest living actor. I have great admiration for a number of great actors, but there's something very special about Henry Fonda. He is an actor's actor, and I worship his skills.
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‘The Cowboys’ (1972): Exciting, emotional coming-of-age tale, one of Wayne’s best
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2019-10-08T00:00:00
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A perfectly tempoed coming-of-age Western, with clear meditations on the difference between boys and men, between crime and moral fortitude...and between murder and justice. By Paul Mavis Available on various Warner Bros. Blu-ray discs (I’m a particular fan of the triple feature including it with The Green Berets and The Searchers), The Cowboys, written by…
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en
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Movies & Drinks
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https://moviesanddrinks.com/2019/10/08/the-cowboys-1972-movie-review/
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A perfectly tempoed coming-of-age Western, with clear meditations on the difference between boys and men, between crime and moral fortitude…and between murder and justice.
By Paul Mavis
Available on various Warner Bros. Blu-ray discs (I’m a particular fan of the triple feature including it with The Green Berets and The Searchers), The Cowboys, written by Irving Ravetch and Harriet Frank, Jr., and directed by Mark Rydell, was a huge late career hit for the Duke, John Wayne, and one of his personal favorites. Filled with exciting adventure, gentle humor, and most importantly, a moral worthy of the best Western fables, The Cowboys allowed Wayne to give yet another deceptively simple but technically complex performance, lending The Cowboys an emotional gravity it would never have had, had Rydell not eventually relented on casting him in the part (liberal Rydell hated his politics…and wound up loving Wayne). It’s required viewing for Wayne and Western fans.
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Aging rancher Wil Andersen (John Wayne) is in a bind: gold fever has struck the county, and all his ranch hands have left right before they’re to take 1,500 head of cattle on a 400 mile drive. Unable to find replacements, and unwilling to put his bills off onto credit, Andersen reluctantly tries the local one-room school house in hopes of finding some young cowpokes. But after observing the childish pranks of the children there, he gives up that idea, and returns home.
A few days later, he and his wife Annie (Sarah Cunningham) awake to the sounds of the school boys waiting outside, hoping to find employment. Encouraged by Annie, Wil gives the boys a test—riding a wild bronc for 10 seconds—figuring that none of them will stay on. But one by one, the plucky youngsters, none older than fifteen and more than a few quite younger than that, manage to hang on, impressing Wil.
Out of options, he later agrees to let the boys ride along, as long as they know how difficult the journey is going to be. Further unsettling Wil (he prefers to ride with men he knows) is the substitute chuck wagon cook, Jedediah Nightlinger (Roscoe Lee Browne), a black man who Wil respects…when he knows the recipe for apple pie, and when he demands more money than Wil’s offering to pay. The unlikely group sets out on their cattle drive, full of unrealistic high spirits.
RELATED | More reviews of Westerns
After the initial shock of the back-breaking work sinks in, the cattle drive turns into a rite of passage for the boys, who bond over their first surreptitious drunk together, and who learn from Wil’s example that it is indeed a hard world where nothing comes easy or free. However, none of these physical hardships come close to the life-and-death danger posed by Asa Watts (Bruce Dern) and his gang.
Initially trying to get jobs with Wil, Asa is found out in a lie and his services are rejected by the scornful Wil. Criminals newly out of jail, Asa and his gang secretly shadow the drive until they’re found out by Dan (Nicolas Beauvy), a bespectacled young boy who Asa threatens with death if he spills the beans to Wil. When Jedediah falls behind with a broken wheel on the chuck wagon, Asa makes his move for the cattle, engaging Wil in vicious fight…which will set in the motion the boys’ maturation into men.
There was a lot of controversy when The Cowboys came out in 1972, particularly from liberal critics who were fed up with the violence in John Wayne’s films (they didn’t seem to have a problem with Peckinpah, though…). Or at least, that was the party line in print. For The Cowboys, the point of contention apparently was the film’s moral, which many critics interpreted as “John Wayne, that fat old conservative dinosaur, turning young boys into murderous thugs.” Quite a few thought the movie repugnant because of its Old Testament “eye for an eye” attitude being forced on innocent, sweet-faced kids, turning them into hollow-eyed, remorseless killers.
RELATED | More reviews of Westerns
Of course, this view was highly hypocritical, because those same critics lauded sickeningly violent sequences in other Westerns—Westerns that fit, curiously enough, their politics more closely, such as Little Big Man and Soldier Blue. Violence in politically left-of-center films: good; violence in conservative Wayne flick: bad (the same thing goes on today, with liberal critics and Hollywood phonies who tweet about gun violence…before wetting themselves with glee over the latest Tarantino orgy-of-violence).
What’s humorous about that critical viewpoint today is that it’s largely based on a fundamental misreading of The Cowboys. The main message of the movie is that these young boys have learned valuable life lessons on the trail from the strong, righteous, and (largely missed by the critics) tolerant Wil Andersen. SPOILERS When he’s gunned down by a vicious, unremorseful, psychopathic killer, they understand precisely what needs to be done to him. There’s no question this message is the central intent of The Cowboys.
RELATED | More 1970s film reviews
As director Mark Rydell, an avowed liberal filmmaker asserted in an interview, The Cowboys was an exciting adventure where young boys “get to play cowboys and shoot the bad guys” (tellingly: he never really addressed the seeming contradiction of the movie’s message with his own political beliefs). What critics at the time missed is that this lesson of retributional justice wasn’t imparted to the boys or forced on them by Wayne. They learned it by themselves, despite Wayne’s best efforts to the contrary.
Throughout The Cowboys, Wil Andersen and Jedediah Nightlinger go out of their way to protect the boys from the harsher realities of adult life in the Old West. Noting the fact that he lost his own two boys (“They went bad on me”), Wil tries his best to be a caring, loving father figure to the boys. Naturally, he’s not always successful (what parent is?), and he has to be reminded when his judgement fails (Jedediah telling him he was too hard on Dan when the boy admitted to being afraid to stand night watch).
For the most part, however, Wayne worries about the boys, thinking that they may be rushing too fast towards adulthood (when he spies them enjoying their first drink). Jedediah shields the boys, as well, from the dangers of growing up too quickly (he asks the wagon load of prostitutes, led by Colleen Dewhurst, to move along because he knows he won’t be able to keep the older boys away).
Critically, when The Cowboys could have gone all wrong—when Wil discovers Asa tracking him and realizes that a fight is eminent—it’s Wil who demands the boys act like boys again. He knows they’ve already matured into men; he tells them so. But he also knows that if he breaks out their weapons (all the boys were packing iron when they first arrived; Will locked the guns up), some of the boys would invariably get killed in the firefight. It’s Will who wants the boys to stay out of the fight, SPOILER a decision that ultimately saves the boys and gets Wil killed. As well, once Wil’s dead, Jedediah fights the boys who tie him up, demanding that they not go after Asa. He wants no part of their action, until he realizes they’re going to go after Asa anyway, regardless of whether or not he helps them (sly, amused Roscoe Lee Browne has a delightfully natural rapport with gruff Wayne).
Quite correctly, screenwriters Irving Ravetch and Harriet Frank, Jr. allow the boys to develop their own sense of justice. The two male authority figures wanted them to stay boys, to stay safe. The boys, now men (regardless of their numerical age), finally understand how random and cruel life really is, and how sympathy and compassion should be reserved for those who deserve it, like Wil. And dispassionate justice, in the truest sense, should be meted out to the truly deserving, as well.
Some critics also complained that the violence was unrealistic (they forgot that the boys brought their own guns, and that in those days, young boys learned how to shoot and hunt early), but what was Rydell to do, have some of the boys die at the end? The point of the fable in The Cowboys is the death of Wil—the death of the father figure—and the passage of the boys into manhood. Boys dropping like flies in the final confrontation would have been a cynical, faux-realistic Peckinpah ending that would have made a mockery of what preceded it.
Wayne is particularly good here in The Cowboys. Looking alarmingly older and more ill than he did just three years prior in True Grit, and audibly short of breath, there’s a subsequent vulnerability to his imposing physical presence that transfers well to his characterization. There isn’t that mythic invulnerability to his performance; we don’t believe he can survive every dangerous encounter he comes upon. In fact, there’s almost a feeling of dread when he goes to fight Dern; we’re not sure he’s going to come through it alive. That’s a most unusual audience emotion in a John Wayne film.
Bruce Dern, who cornered the market on movie crazies in the 1960s and 1970s, does a neat trick of being totally over-the-top in his villainy here, but with no corresponding audience delight. He’s a vicious, amoral killer in The Cowboys, but the audience doesn’t applaud his outlandish energy. Dern, a most talented actor, truly pulls out the stops here (his physical assault of the young Dan, nearly drowning him in the river, is memorable—just watch the kid actor’s face; he’s really freaked out). Dern is certainly Wayne’s most believable bad guy (Dern often jokes that the role “ruined” his career, when in reality it probably cemented it…for better or worse).
The boys, some of them familiar from other films (I would imagine Robert Carradine and A. Martinez went on to be the most recognizable to audiences), are uniformly fine. Director Rydell, a former actor, admirably keeps the boys acting like real boys; there isn’t a showy, actorly performance in the bunch. It’s really a testament to his directorial sensitivity that Rydell, a former street kid from Brooklyn, was able to helm such accomplished Americana period pieces like The Cowboys and 1969’s gentle, lovely The Reivers, with Steve McQueen (both share a story of a young boy(s) discovering the harsh realities of the adult world…but they couldn’t be further apart in tone).
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Mark Rydell Pictures
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Check out production photos, hot pictures, movie images of Mark Rydell and more from Rotten Tomatoes' celebrity gallery!
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https://www.rottentomatoes.com/tv/mark_rydell/pictures
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https://cinemontage.org/mark-rydells-cowboys/
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en
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Mark Rydell’s ‘The Cowboys’
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2014-11-01T12:17:17-07:00
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In our family, movies were special events because most of our entertainment came from television. So I don’t remember seeing a lot of films, but there is one that holds a very special place in my heart.
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-
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https://cinemontage.org/mark-rydells-cowboys/
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by David Maguire
In our family, movies were special events because most of our entertainment came from television. So I don’t remember seeing a lot of films, but there is one that holds a very special place in my heart. It was 1972 and John Wayne was coming out with a new Western. This one, however, wasn’t like all the others. This Western had a very special twist. The gun-slinging, trail-riding, “don’t mess with me” man who had survived countless brushes with death was, for the first time, going to die.
I was 12 at the time and I remember the hype, and how its importance was lost on me, but not on my dad. My father loved John Wayne. On the other hand, he didn’t like to go to movies with me because I asked too many questions about what was going on. Not exactly something that adds to the enjoyment of a movie.
Dad was also a busy man and, even if he spent a lot of his time with me, it never seemed enough. There were the “guy” things we did together, like fix things around the house, rake leaves (hated that) or even build a model truck (he did all the work and I just wanted to play with it), but this time we were going to see a movie — just father and son. And that movie was The Cowboys.
Looking back, I think this movie helped me define or understand the dynamic of a father-son relationship.
My mom did have some concerns over the possible violence of the movie but Dad nixed her doubts. Shoot-‘em-up violence? And I still get to go? This was just getting better and better. So, with popcorn and soda in hand, my dad and I settled back in the darkened theatre as the sound of a horse stampede got louder and louder.
With gold fever taking his ranch hands away, Wil Andersen (Wayne) is unable to move his cattle to market. The only solution, which was the worst option, was to hire on a bunch of kids. I can still remember how cool I thought it was when I saw all the boys from the one-room schoolhouse standing outside Wil’s ranch house. They were my age and stepping up to do a man’s job.
On the trail, they each learned the finer things in life — like working from dawn to dusk, getting drunk for the first time, and sharing stories about the mysteries of women. I wonder now, if that made my dad squirm a bit.
Then came the moment. The showdown. Wil, Mr. Nightlinger (the trail cook played by the fantastic Roscoe Lee Brown) and the boys are surrounded by a gang of rustlers led by a nasty man named Long Hair (effectively played by Bruce Dern). Wil, at 60, is more than capable of handling these thugs and, after giving Long Hair a nice beating, he turns his back and walks away. To everyone’s disbelief, Long Hair shoots Wil — once, twice, three times! I guess if John Wayne was going to go down it wouldn’t be easy, but it would be heroic. And it was!
With Wil dead and the cattle gone, the boys have no choice but to return home. That lasts about 10 seconds. These boys have unfinished business. Nightlinger quickly joins them and they execute a brilliant attack of attrition. One by one, they knock off the rustlers, culminating in a gun fight that had me shocked and excited. These boys were far more capable than anyone could have ever imagined, and their revenge was sweetly enjoyed.
Wil was like a father to those boys and, if it was my dad, I felt that I’d do the same if I were in their boots. Few movies have a more satisfying demise of a bad guy than seeing Long Hair dragged by his broken leg into a rocky stream by his horse. At the end, the cowboys drive the cattle down the main street of Belle Fourche — men, who started out boys, finishing the job they were hired to do.
Looking back, I think this movie helped me define or understand the dynamic of a father-son relationship. The father is the strong guiding force and the son gains knowledge and experience from him. And if, God forbid, the father should fall, then the son should pursue justice and carry on. It’s what a son hopes to have in a father and what a father hopes his son will become.
My dad wasn’t John Wayne and I wasn’t a gun-slinging 12-year-old, but we did all right. My dad passed away back in 1982 and, though I didn’t exact any revenge, I have done my best to make him proud of the boy he raised. Thank you, Mr. Wayne.
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THE AFRICAN QUEEN: Katharine Hepburn Filmography
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|
The Cinessential
|
http://www.thecinessential.com/the-african-queen-katharine-hepburn-filmography
|
Very few actresses have the longevity and sustained success of Katharine Hepburn. After becoming a theater star on Broadway, she immediately transitioned to a leading lady in Hollywood. Her upper-class Connecticut upbringing allowed her education and a sense of class that translated into a particular confidence on film. While her earliest roles came in modest dramas, she hit her stride as one of the leading figures of the screwball comedy period in the late 1930s. After starring in all-time classics Bringing Up Baby and The Philadelphia Story, she continued being America’s sweetheart with two decades beside Spencer Tracy, perhaps the most famous on-screen couple in the history of Hollywood. Hepburn is most remembered for the fiercely independent spirit that permeated her characters and made her as important and popular as the male stars she worked alongside.
The African Queen isn’t a clean start for her late career period, but it is relatively near the end of her most prosperous period of co-starring roles with Spencer Tracy [only three came after The African Queen, their last pairing is highlighted below], so it works out pretty well. In The African Queen, she plays Rose Sayer, the sister of a missionary in German-occupied Africa who is forced to flee at the onset of World War I. Her way out comes in the form of the title vessel and its owner, the gruff drunk Charlie Allnut, played by Humphrey Bogart, who won his sole Oscar in the role.
The film absolutely leans on its two stars, as they spend nearly the entire runtime alone together on the small boat. It is a classic odd couple, with Hepburn’s buttoned-up and proper woman a perfect foil for the blue collar manly man. Rose is thankfully much more than the uptight old maid she may appear to be, ready to get her hands dirty and necessary to rein in her unreliable captain. She quickly becomes a full partner in their relationship, despite being completely out of her realm. Her first hairbrained idea of creating ramming torpedoes using the scarce cargo is hilarious but also ingenious, an idea that totally stuns Charlie. Hepburn plays Rose with a wonderful verve; she seems to have as much fun as Rose on the river in what must have been a terribly difficult shoot.
She also works incredibly well with Bogart, just as she has done with strong movie stars throughout the eras. Having to quickly turn her odd couple partnership into a legitimate romance isn’t an easy task, but she really brings out a sweetness from the character without sacrificing her resilience. Rose and Charlie are a completely improbably romantic pairing and yet it completely works—certainly, it helps that these are two movie stars audience have grown to know and love for decades. Given that Hollywood now rarely puts middle age actors in adventure romances like The African Queen, their pairing is doubly impressive. If The African Queen were remade today [maybe I shouldn’t even suggest it…], there is no doubt the Rose character would be transformed into a much younger actress, trading in Hepburn’s experience for overt sex appeal. That would be a damned shame and a poor tribute to this film and performance.
As Hepburn moved past The African Queen, she went on a roll with some of the most towering and well received performances of her career. Though many of her most loved films may have come during the screwball era, she became an absolute Oscar dynamo in the coming years. She received 7 of her 12 Oscar nominations following The African Queen, winning in three of those roles. Famously, though, Hepburn never attended an Oscar ceremony, noting that her prize was her work—this dedication shows through in every performance. The six films highlighted below include those three iconic roles, as well as a few that are much less remembered. The 16 years between The African Queen and the first on the list unfortunately overlooks excellent performances in Summertime, The Rainmaker, and Suddenly, Last Summer, focusing on her final decade of consistent work.
Guess Who's Coming to Dinner [Stanley Kramer, 1967]
Hepburn received her second Oscar for Best Actress in Stanley Kramer’s interracial marriage drama as Christina Drayton, the mother who is surprised with news of her daughter’s engagement. Without seeing or knowing the particulars of the film, you might expect a certain kind of character and performance, but Hepburn really defies the easiest expectations. When she first hears of the news Kramer is smart enough to let Hepburn’s face carry the heavy lifting here, and her reaction is complex but completely understandable. Unlike the speechifying that happens elsewhere in the film, this brief moment says everything about the fear and sadness the mother has knowing her young daughter is ignorant to the full scale of her decision. Hepburn’s performance throughout Guess Who’s Coming to Dinner holds one of the most extraordinary set of eyes I’ve ever seen on film. Her eyes look like they could explode into tears of sadness, anger, or joy at any given moment. When she finally does have a moment to fully show this emotion, it isn’t surprisingly that it is mostly from joy [with maybe a touch of melancholy mixed in]. The last of her performances with Spencer Tracy [who sadly died shortly after the film’s release], it is a wonderful capstone to their partnership. They may no longer be spry young lovers, but as the film’s conclusion reminds us, they haven’t forgotten that they once were. In a film that hasn’t aged quite so well for what at times comes off as hemming and hawing over interracial marriage, this is a beautiful sentiment to leave on.
The Lion in Winter [Anthony Harvey, 1968]
As Eleanor of Aquitaine, Hepburn turns in a staggering performance amidst family quibbles and dirty politics. She is appropriately strong willed among the macho men around her, but she brings an extraordinary amount of life and humor to the role. Hepburn turns the haughty dialogue to an endless line of zingers—my favorite [I don’t think I’m alone in this] is definitely “Of course he has a knife, he always has a knife, we all have knives! It's 1183 and we're barbarians!,” but there are many others. OK, here’s another: “I could peel you like a pear and God himself would call it justice!” Yet as the film goes on, the softer side comes out, evolving into a well-pitched dramatic performance. Here, she shares the scene with not one but two powerhouse performers, Peter O’Toole and a young [and quite strapping] Anthony Hopkins as her husband and most ambitious son, respectively. Eleanor takes on a bigger role in the film’s second half, but the character is arguably a supporting one especially considering O’Toole’s King Henry II being the clear focus. Still, Hepburn was nominated for and shared the win [a rare tie for the Oscar, with Barbra Streisand of Funny Girl] for Best Actress. It was her second consecutive win and third overall, making her the first woman to win three Best Actress awards and forever cementing her as the cinema’s greatest actress. But this wouldn’t be her last hurrah...
The Trojan Women [Mihalis Kakogiannis, 1971]
Hepburn continued playing royalty as Hecuba in The Trojan Women, a European art film based on the ancient Greek tragedy by Euripides. The film is staged very much as it must have been in 415 BC, in an open space with a large cast performing as “the chorus,” literally surrounding the main actors as they deliver long monologues. At times this gives The Trojan Women a striking look, especially when director Kakogiannis [credited as Michael Cacoyannis] uses the camera’s movement to full effect, adding modernity to the classical. This style of play is an actor’s dream, and with actors like Hepburn and Vanessa Redgrave let loose on long and emotional monologues, it is definitely a showcase. The film takes place during the mythological Peloponnesian War, after the city of Troy has been destroyed, leaving the women widowed and to be enslaved. Hecuba, the wife of King Priam, suffers particular hardship as her daughter Cassandra has gone mad and she learns of the death of another daughter, Polxena. Hepburn cycles through anger and sadness seamlessly, all while delivering the dense dialogue. Her costuming covers her entire body, save only her face, which has a nice highlighting effect on the actress’s most important feature. Overall, The Trojan Women is an odd clash of styles, not entirely satisfying as a film, but it is definitely a platform for performance.
The Glass Menagerie [Anthony Harvey, 1973]
From an ancient tragedy, to a modern one, Hepburn next starred in an ABC television adaptation of the Tennessee Williams play The Glass Menagerie. This was the first of several television movies Hepburn would star in, though she still would have a few theatrical releases left. I can’t speak to The Corn Is Green or Mrs. Delafield Wants to Marry, but this turn was an absolute success, nominated for six Primetime Emmy awards, including a nomination for Best Lead Actress [she would lose to Cicely Tyson, however]. This was also a re-team with The Lion in Winter director Anthony Harvey, though on a much smaller scale. His direction of The Glass Menagerie focuses primarily on the play’s dialogue and performances, without doing much to visually differentiate it from a stage production. Naturally, Hepburn plays Amanda Wingfield, mother to rebellious Tom [a dashing Sam Waterston] and lonesome Laura [Joanna Miles, who took home an Emmy for her fabulous performance]. Amanda is the perfect kind of role for Hepburn at this stage of her career—she may be past her prime, but the actress is able to bring a tangible sense of history that comes through the character. Undoubtedly, this is an underseen film and it’s certainly not an essential turn in Hepburn’s career. If you’re looking for a version of The Glass Menagerie, you’re better off with the more cinematic Paul Newman directed one, but seeing Hepburn in the main role is well worthwhile.
Rooster Cogburn [Stuart Millar, 1975]
In what you could consider her penultimate film of interest, Hepburn co-starred in a classic Western, alongside the icon of American Westerns in the sequel to one of his most beloved films. Considering the span of Hepburn’s career, it is quite notable that she never did a lot of work in the genre—from what I can tell, she only tackled the West twice before, The Rainmaker [1956] with Burt Lancaster and and Elia Kazan’s The Sea of Grass [1947]. So sharing the screen with John Wayne in a follow up to True Grit is a strange and fun little Hollywood footnote. The basic premise is similar to the original: Rooster Cogburn is on a long journey to find a group of ruthless killers and he has some unwanted company with a personal stake. But where True Grit’s companion was a young girl, Rooster Cogburn matches him up with Hepburn’s Eual Goodnight, old spinster daughter of a preacher. Like The African Queen, it is another odd couple scenario with almost the same dynamic—the proper woman of God plus the old drunk rascal. Her position vacillates between potential future wife and den mother as she cooks and cares for Rooster and harps on his lesser qualities. All in all, it’s actually pretty cute. And, really, her presence does classy up the joint, especially with John Wayne clearly on his last legs [he seems like he literally can barely stand at this point]. The film’s light adventure tone doesn’t allow for too many big dramatic moments, and yet Ms. Goodnight’s farewell to her new one-eyed friend lands with tears in her’s.
On Golden Pond [Mark Rydell, 1981]
Though it wasn’t her last role, On Golden Pond presented a nice swansong for Hepburn. She won her fourth and final Oscar for Best Lead performance, over past and/or future winners, Meryl Streep, Susan Sarandon, and Diane Keaton, all arguably in the peak of their careers. In the film, she plays Ethel Thayer, the ageing wife of Norman [Henry Fonda, who also won the Oscar for his performance], who spend every summer in their vacation cottage in the idyllic countryside. The film’s emotional core is grounded in their relationship, but Norman gets more of the narrative thrust—his birthday [perhaps his last] is a major plot sequence and his relationship with estranged daughter [Jane Fonda] gives most of the narrative stakes. In terms of character arc, the film charts Norman’s move from curmudgeon to the burgeoning relationship with his grandson, which opens him up. Ethel is always present and always there to throw a loving jab at her obstinate husband, and she is as delightfully sweet as expected. Honestly, this isn't one of my favorite Hepburn performances, but I can't deny the beautiful context in her casting. Simply put, On Golden Pond wouldn’t be remembered so fondly if it weren’t for Katharine Hepburn and Henry Fonda. Likely any two other actors cast in the film and it probably doesn’t click so well—depending on the replacements it could have been a fine movie, sure, but not as golden.
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Social ecological correlates of workplace sedentary behavior
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"Sarah L Mullane",
"Meynard J L Toledo",
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"Adult",
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2017-08-29T00:00:00
|
Clinical trial No. NCT02566317 ; Registered Sept 22nd 2015.
|
en
|
https://cdn.ncbi.nlm.nih.gov/coreutils/nwds/img/favicons/favicon.ico
|
PubMed
|
https://pubmed.ncbi.nlm.nih.gov/28859679/
|
Skip to main page content
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6000
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dbpedia
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https://pubmed.ncbi.nlm.nih.gov/28436115/
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Genetic and environmental contributions to the association between ADHD and affective problems in early childhood
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Few twin studies have explored the relative contribution of genetic and environmental factors to the association between attention deficit hyperactivity disorder (ADHD) and affective problems, and no study has focused on preschool children. We used the classical twin design to explore the genetic an …
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en
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https://cdn.ncbi.nlm.nih.gov/coreutils/nwds/img/favicons/favicon.ico
|
PubMed
|
https://pubmed.ncbi.nlm.nih.gov/28436115/
|
Skip to main page content
An official website of the United States government
The .gov means it’s official.
Federal government websites often end in .gov or .mil. Before sharing sensitive information, make sure you’re on a federal government site.
The site is secure.
The https:// ensures that you are connecting to the official website and that any information you provide is encrypted and transmitted securely.
Save citation to file
Format:
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Subject: 1 selected item: 28436115 - PubMed
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|
||||
6000
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dbpedia
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0
| 4
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https://kids.kiddle.co/Mark_Rydell
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Mark Rydell facts for kids
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Learn Mark Rydell facts for kids
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/images/wk/favicon-16x16.png
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https://kids.kiddle.co/Mark_Rydell
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Mark Rydell (born Mortimer H. Rydell; March 23, 1929) is an American film director, producer, and actor. He has directed several Academy Award-nominated films including The Fox (1967), The Reivers (1969), Cinderella Liberty (1973), The Rose (1979), and The River (1984). He was nominated for an Academy Award for Best Director for On Golden Pond (1981).
Actor
Rydell initially trained in music. As a youth, he wanted to be a conductor. ..... "Knowing that I have an addict's personality in that a little is good but a lot is better, I knew I was in danger. So I went back to college and went to the Neighborhood Playhouse." He studied acting at The Neighborhood Playhouse School of the Theatre in New York City. His first significant roles were as Walt Johnson on The Edge of Night, and as Jeff Baker on As the World Turns, which he played from December 12, 1956, to 1962. The role of Jeff was a particularly popular role with the audience. During the series run he directed Roots off-Broadway in 1961.
In 1962, Rydell declined to sign another long-term contract at ATWT, and producers had his character die in a car crash. He later won plaudits for his role of violent Jewish mob kingpin Marty Augustine in Robert Altman's The Long Goodbye (1973). His most recent significant film role was in Woody Allen's Hollywood Ending (2002).
TV director
Rydell moved into directing television and soon became very successful. He did episodes of Mr. Novak; Ben Casey; The Reporter; Slattery's People; I Spy; The Wild Wild West; The Long, Hot Summer; and Gunsmoke. He said later: "I come from the school of sitting around the table for two weeks examining every detail of the material, working out relationships with the actors, so they know what they are doing, bringing them to locations, so they can get comfortable."
Feature films
Rydell's first feature as director was The Fox (1967) which was a box-office hit, in part due to its then-rare lesbian content. He signed a multi picture contract with the film's producer Raymond Stross, but disliked working with him. Rydell said he ended up paying out four times his fee for the picture to get out of the contract. Nonetheless, he credits Stross for starting his film career. He directed Steve McQueen in The Reivers (1969). Rydell and friend Sydney Pollack, who had known each other since they were both actors, formed a company, Sanford Productions, and signed a six picture contract with the Mirisch Brothers. They planned to make Good Luck, Miss Wyckoff, which was eventually made in 1979 by other filmmakers.
Rydell directed John Wayne in The Cowboys (1972). He made a romantic comedy, Cinderella Liberty (1973), with James Caan and Marsha Mason. Around this time he said he did not want to make genre movies: "I want to create my own genre." He was reunited with Caan on Harry and Walter Go to New York (1976) which was a box-office flop, and directed the pilot episode of Family (1976).
Rydell directed The Rose (1979), starring Bette Midler, which was a huge hit. So too was On Golden Pond (1981), starring Henry Fonda and Katharine Hepburn, for which Rydell received an Oscar nomination as Best Director. "I'm this week's heat," he joked at the time. He was going to make a film based on the play Nuts but instead did The River (1984), with Mel Gibson and Sissy Spacek. It was not a commercial success. Neither was Rydell's next film, For the Boys (1991), with Caan and Midler.
Rydell made the television movie McBride and Groom (1993) and the feature Intersection (1994). He directed the television movies Crime of the Century (1996), which starred Isabella Rossellini and Stephen Rea, and James Dean (2001), which earned actor James Franco a Golden Globe award. Rydell also acted in the movie, playing Jack L. Warner (head of Warner Bros). He was credited as executive producer on An Unfinished Life (2005).
In 2006, Rydell directed the movie Even Money. His last credit to date was an episode of Masters of Science Fiction, "A Clean Escape".
Three years later – working with actor Martin Landau and screenwriter/playwright Lyle Kessler – he produced an education seminar, The Total Picture Seminar. The two-day event covers the disciplines of acting, directing, and writing for film. The three have worked together as a team for many decades at The Actors Studio teaching and coaching professional actors, writers, and directors. In 2010, Rydell joined the Advisory Board of Openfilm, an online video sharing site created to help aspiring independent filmmakers.
He executive produced the documentary A Coup in Camelot (2015).
Personal life
Mortimer H. Rydell was born on March 23, 1929, to a Jewish family in New York City.
Rydell married actress Joanne Linville in 1962. The couple had two children, Amy and Christopher, both actors. Rydell and Linville divorced in 1973. Rydell had another son, Alexander, from his second marriage to documentary producer Esther Rydell. That union ended in divorce in 2007.
Filmography
As director
Film
The Fox (1967)
The Reivers (1969)
The Cowboys (1972)
Cinderella Liberty (1973)
Harry and Walter Go to New York (1976)
The Rose (1979)
On Golden Pond (1981)
The River (1984)
For the Boys (1991)
Intersection (1994)
Even Money (2006)
Television
The Phil Silvers Show (episode on TV series) (1955)
Mr. Novak (episode on TV series) (1964)
Ben Casey (episodes on TV series) (1963–64)
The Reporter (episode on TV series) (1964)
Slattery's People (episode on TV series) (1965)
I Spy (episodes on TV series) (1965)
The Wild Wild West (episode on TV series) (1966)
The Long, Hot Summer (episodes on TV series) (1965–66)
The Fugitive (episode on TV series) (1966)
Gunsmoke (episodes on TV series) (1964–66)
Family (episode on TV series) (1976)
McBride and Groom (TV movie) (1993)
Crime of the Century (TV movie) (1996)
James Dean (TV movie) (2001)
Masters of Science Fiction (episode on TV mini-series) (2007)
As actor
Crime in the Streets (1956) as Lou Macklin
The Long Goodbye (1973) as Marty Augustine
Punchline (1988) as Romeo
Havana (1990) as Meyer Lansky
A Man Is Mostly Water (2000) as Distributor
Hollywood Ending (2002) as Al
Senior Entourage (2020) as Mark
See also
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https://trainwreckdsociety.com/2014/06/11/mark-rosenthal-interview/
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Mark Rosenthal [Interview]
|
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2014-06-11T00:00:00
|
We have spoken with many folks from the world of film here at Trainwreck'd Society. From Oscar winning screenwriters, to beloved indie writers and filmmakers, we have had many extremely talented folks who have been the masterminds behind some of your favorite films both in the big studio Hollywood world, and the independent film world. And…
|
en
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https://secure.gravatar.com/blavatar/a5099c6f7c84ec762a452527b8eba922017773a52901537955cade7e7cbbaf64?s=32
|
TRAINWRECK'D SOCIETY
|
https://trainwreckdsociety.com/2014/06/11/mark-rosenthal-interview/
|
We have spoken with many folks from the world of film here at Trainwreck’d Society. From Oscar winning screenwriters, to beloved indie writers and filmmakers, we have had many extremely talented folks who have been the masterminds behind some of your favorite films both in the big studio Hollywood world, and the independent film world. And one job title in particular that has us the most intrigued is that of the screenwriter. The screenwriter is the man who puts the wheels in place. Whether he or she is simply a hired hand being paid to bring a millionaire’s dream idea onto the written page, or he/she has developed a story in the screenplay format that he/she has put their heart and soul into to see it make it on the big screen, the writers are some of the most fascinating creatures in the world of film. Where many writer’s in the world of literature have existed for the simple fact that they fear the public, and simply want to put words to paper to set their mind at ease, this is not a duty of a screenwriter. While they might very well be reclusive characters at times, the ultimate goal of any screenwriter is to create a story that is going to be manhandled, dismantled, and thrown up on a screen in a visual medium for the world to know. I could only imagine the first time a screenwriter sees the blood, sweat, and coffee stains thrown up on the screen, either being horrified or delighted, or feeling as though they are simply watching something totally different from what they intended. And all they can do is dry their eyes on moderately sized paychecks, and continue to create and create again.
I do not mean to sound somber in these descriptions, but simply express my love and adoration for the great work that these people do. And I am extremely honored to announce that we have yet another wonderful screenwriter in the house who has agreed to share a few words with us. And this time we went all out! The wonderful and talented Mark Rosenthal has agreed to do our longest interview to date, as I asked our dear friend, Trainwreck’d Society contributor and filmmaker/screenwriter Chris Eaves to throw some questions at this legend of the film world in his own right. And Mark was a damn trooper and answered them all! His tale is one of personal triumph that should act as a great source of inspiration to anybody out there looking to accomplish, well, just about anything, let alone becoming a part of the world of film. This guy has worked on a plethora of wonderful projects that have been beautiful and diverse. So please enjoy our interview with the illustrious and brilliant screenwriter, Mark Rosenthal!
For over 30 years you have worked alongside fellow writer Lawrence Konner. How did this partnership come to life? And what do you think it is that makes you guys such a great team?
We actually met at the University of Vermont. I was a TA in the English department and Larry was grazing through a pre-med curriculum. We’d scurry across the campus in thin, very Flatlander leather jackets and meet in the UVM Student Union and talk about movies. Mostly to avoid course work. A good strategy for anyone in college who wants to go into the movie business: avoid coursework at all costs!
Simply, we tend to fill different ecological niches. I can spend an hour at the keyboard on the right adjective; he’s more a pace and move-it-along type. I’ve found that writing teams often separate this way: ground and canopy, fox and hedgehog. Plus he have the essential personality type of avoiding confrontation so we tend not to sulk over disappointments.
Do you and Lawrence have any type of system when working on a new project? Have there been any large disagreements and if so how were you able to over come them?
This has changed enormously as the kind of films being made have shrunk and TV beckons more. I’ve done a few scripts on my own recently, small stories with lower budgets, trying to find a way to write drama. The truth is jobs are harder to find and that takes precedent over everything.
You have expressed in the past, some of the difficulties you had during the making of Superman IV: The Quest For Peace. But, as you look back today with even more Superman projects coming out and coming to life, how do you feel about your contribution to the legacy? Why do you think it is important, and how does it feel to be a part of it?
The comforting memory of what turned out to be a sinkhole of a film was getting to hang out with Chris Reeve — a warm, ebullient and passionate guy. We’d stroll through the West Side near his apartment and talk story, gossip, trade stories, watch how kind and unpretentious he was with the public. Really good guy. While there’s an undeniable ‘black comedy cool’ to the fact that we were part of an historic movie madhouse, with an epic cast of Dickensian characters, no writer loves to watch a script that gets a greenlight transmogrified. As Major Clipton says at the end of Bridge on the River Kwai, ‘Madness!’
You have previously described your childhood as growing up watching movies every Saturday afternoon with your fellow neighborhood kids. Can you tell us more of what that experience was like for you and some of the most memorable films you saw?
If you lived in a ‘rowhouse’ neighborhood in Philly when I grew up there was always a kids’ matinee on Saturdays around 1:15. Movies in those days were pretty much for grown ups — meaning no Sci Fi, Horror, or Mayhem at night. So they dumped the expanding slate of Baby Boomer films on weekend afternoons. We hardly paid attention to the name of the film — just lined up dutifully and filed in. I was so ‘into’ movies as a little kid that when it was some new state-of-the-art effects film (quite crude by today’s standards) like The Mysterians or The Tingler I’d man-up and watch it with the kids, then have massive, paralyzing nightmares through the night. I still have them. The first house I ever bought was deep in the Vermont woods. Friends would ask me if I feared a criminal breaking in when I was alone out there. I could never tell them, ‘No, I’m not afraid of some psychopath with a gun. But I’m frozen with dread at night that Dracula is hiding in the bathroom when I get up to piss.’
How did your life guide you into screenwriting? Why movies over books or theater?
When I drove myself to L.A. I’d never seen a screenplay. Films course were pretty much ‘appreciation’ courses taught in English departments. Papers never talked about the process and hardly mentioned box office. The movies were as secret as the Masons. I was finishing a doctorate with a concentration in Chaucer. Then in 1976 my brother, who was working for the Senate Foreign Relations Committee, was killed by terrorists in Istanbul. Waiting with my parents for his body to come back so we could bury him, unable to sleep, I made a vow to at least try to do what I dreamed of doing — I guess to acknowledge what Ian McEwen later called ‘this brief privilege of consciousness’. So I just drove myself to L.A. right after my doctoral defense in a private way to honor my brother. Lived in a garage for a while. Read scripts for Mark Rydell and the new studio Orion Pictures. After a 1000 scripts (he exaggerates, as always!) I thought I understood the form. Then I saw a tiny article in the back of the NY Times about a 15 year old girl named Phoolan Devi who was raped by a group of men and though a poor girl from a low caste instead of keeping quiet went back to avenge herself. And when the police came to arrest her she fled and was hidden by other poor villages. So I sat in a brand new shopping center called The Beverly Center and wrote a script in two weeks that became The Legend of Billie Jean.
Can you elaborate on your first venture into screenwriting with The Legend of Billie Jean. How do you feel about your involvement in the film today? How much, or any, has your opinion on those events changed?
Larry Konner gave our very first script to his agent, Bill Block, and it sold within days. I found out back in Philly in a hospital ICU where my father was having an emergency triple bypass. I was stunned. I think I flew back to L.A. without a plane. The phone was ringing as I entered my apartment — and it was the director saying he’d been put on the project and “I can’t direct things I haven’t written.” He fired us before we even had a chance to get studio notes. It was my baptism-by-fire of a writer’s life. We watched the script simplified and dumbed down, much of the character drama removed. A year later on a rainy night in Westwood we saw some women giving out passes to a test screening — it was for our movie. So we went to the MGM Lot and stood in line with lots of 12 year old girls to watch a rough cut. Took me a year to get over that. But film is a director’s world. Has to be that way. When the film opened poorly I actually sent (as opposed to literally?) a sarcastic note to the producers and one threatened to ‘rip my throat out’ but that’s another story.
Since The Legend of Billie Jean, do you believe that screenwriting has changed?
Immensely. ‘Indies’ have replaced much of the dramatic studio projects and the competition for high-paying job is furious. Biggest change is that many projects are generated in-house so if there’s not relationship to them already, it’s hard to get in. All the cliches are true: more people trying to get a piece of a smaller pie. TV is more friendly to writers. Etc.
As I cannot number my own favorite films in order, generally, what have been some of your favorite films and could those movies still be made in Hollywood today?
I can only say that I can’t rise above seeing only the things that didn’t go right, the changes I never could palate, or the lost opportunities. So mostly I like other people’s films.
How do you pitch your ideas and what are your thoughts on this process?
The pitch is like stand up comedy with one person in the lounge. Not hard to bomb.
At what point do you decide your script is done?
When there’s a paycheck! … The truth is, I think most writers can always re-write endlessly. We’re our own Scheherazades!
Would you please talk of your days at Orion and how you became initially a script reader?
Long story that must be short. I had literally (correctly used here by the way) just finished my doctoral exams. I didn’t know how to get a Reader’s job but someone told me to look in Variety. I saw an announcement about Orion and called the Story Department. Now here’s the first act main beat: I was so stupid and callow I called at lunch time. Everyone was out. But on this particular day Sarah Altschul, the Story Editor, was working through lunch at her desk and grabbed the phone and said, ‘What?’ I fumbled out something about grad school and she just asked if I could be there in 30 minutes. Orion was on the Warner’s Lot and I didn’t know where that was. I didn’t know where to park. Or which gate. I parked somewhere in Burbank and ran sweating profusely into her office very, very late. Again, she should’ve kicked me out but instead gave me a test script to read. I went home and did what I’d been trained to do in Grad School. I wrote a literary essay about it. With Latin literary phrases. And again, when I brought it back, she should’ve kicked me out. Instead she ripped me and teased me but gave me another chance. In a couple months Orion asked me to be an in-house Reader. Then I started reading for Mark Rydell. It kept me alive in my tiny studio apartment till I sold me first screenplay. By the way, today that position would probably be filled by an intern working for free — and maybe I wouldn’t have stayed around long enough to write. Every free internship is a scandal, an exploitation, and should be illegal. The nonsense about ‘but you’re learning’ can be said about anything including the US Congress, studio executives and business affairs. Let’s not pay lawyers congressman or exec’s for their first few years and see how they like it.
With works such as the comedy The Beverly Hillbillies, science fiction such as Star Trek IV and Planet of the Apes, as well as the romantic adventure The Jewel of the Nile in your career, how have you managed not to be forced into a specific genre?
It goes back to that kid standing in line at a Philly theater for a matinee. I never asked ‘what genre was playing’ — I just loved them all. Most genres have the same structural challenges. The characters demand the same attention to detail. My feeling is a writer doesn’t look at project in terms of theme or tropes. A writer thinks in terms of ‘hard and easy’ (not that any writing is ever easy!) Plot and dialogue are hard. Comedy the hardest. But whether a character falls in love with an alien or a jet plane rockets forward but never leaves the ground, good writing is the common denominator — and not genre.
Outside of screenwriting and the entertainment industry, how do you spend your time?
Time? You mean, like, ‘free time’, ‘carefree time’ — hmm, I used to know what that was? Like everyone, the world seems to spin faster on its axis. I have college-aged kids which takes management (there is no ’empty nest’ — the nest merely widens and deepens). But my passions are bicycling (everyday!), reading literature (love iBooks), defeating Republicans, plus I’m involved in conservation — particularly with the Center for Great Apes in Wachula, Florida. It’s an amazing sanctuary where many ‘movie, TV, and commercials’ orangutans and chimpanzee’s are rescued from tragic circumstances by a real modern saint named Patti Ragan. Patti re-constitutes their family groups and lets them live in a forest preserve with grand walk-ways through the canopy. She even has some of the apes from my films. Michael Jackson’s Bubbles is there, too. The re-boot of Planets of the Apes has been wonderful because they use CG apes. Because if you see a chimp or orang in any film, TV show or commercial remember it means: first, the ape is pre-adolescent, some parent has been destroyed or hurt to take it, and it will be killed or dumped when it reaches puberty — often into a brutally horrid cage in the dark to live out it’s days immobile and in pain. (Your readers can go to their website to see video of the sanctuary and its apes!).
In your opinion which have your scripts have been your best and/or favorite?
Oh, far too many. Again, I don’t rate scripts from high art to low brow. That to me is a false calibration. Hard and easy. Most recently, Looper was a great script within its genre, as was The Conjuring. A Serious Man, and, of course, Social Network were masterful. But these kind of questions, to me, only make sense year by year, country by country, and even based on budget. Topic by topic. That’s why, to me, JC Chandor’s script for Margin Call was infinitely better than Wolf of Wall Street and comparing them a great lesson to a new writer.
What has been your proudest moment?
Best moment — that’s easy. It occurred at Leavesden Studios when the very wonderful and gracious Alan Rickman and the director Mike Newell arranged for my kids to be extras in Harry Potter & The Goblet of Fire. They actually made it into the final cut (for 3 whole seconds) in a Great Hall scene. That made up for years and years of grumpy producers and directors!
What has been your lowest moment?
Besides waking up and realizing I have to write — I can’t just chatter around a desk and ‘talk’ ideas like executives and actors and directors — I have to sit by myself, alone again, eating M&M’s, locked in solitary confinement with my mind, for life! You mean besides that? Oh, I could say the times I’ve been replaced on various projects but that comes with the job description. That’s when you just tough it out and run home and write ‘FADE IN’ on something new,something that surely this time won’t be botched in the birthing — the writer’s greatest and unique consolation. In some ways it’s when tiny and assorted bon mots you’re dying to see come to life from your script on the screen get cut out instead. In Mona Lisa Smile we had a bit where the Italian teacher (Dominic West) sings the old Italian pop hit Volare (‘Nel blu dipinto di blu’) to the girls at Wellesley — but the producer never heard of it (along with lots of other things like ‘Catcher In The Rye’!) and cut it out. Writers shoot the whole film instead their heads when they’re writing so it’s hard to drop the ‘scene’ just because it never got made!
In a long line of dream accomplishments for most people, do you still have a dream project you have yet completed?
Hundreds. A few scripts I’d still like to see get made. Many, many more I have on the ‘back burner’ hoping to get to. Writers are all creatively promiscuous.
What was the last thing that made you smile?
Literally? (Sorry, the novelist Zoe Heller wrote an hysterical piece for The New York Review of Books about the misuse of ‘literally’ — so now I try to live dangerously and use it a lot.) Last night I saw Fault In Our Stars and was charmed by it and the performances (despite of it’s softening of how ugly cancer really is), and the kids in the theater were sobbing so hard, so long, so loud, so deeply, that I smiled because in our increasingly callous world it was wonderful to see a story affect an audience this way. These were not easy, Lifetime channel tears or dopey Disney Family tears –no, wracking, existentially transformative crying. Catharsis! In comes art — out comes, we must believe, better people! You have to smile. There’s still hope!
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The parents of Rose, a popular blues singer, walk into their garage with a press photographer, who takes pictures of walls that are covered with images of Rose’s life. Years earlier, an intoxicated Rose descends the stairs of her touring airplane as her promoter, Rudge Campbell, steadies her. They drive to a stadium filled with adoring fans. After the show, Rose complains to Rudge that she’s tired and wants to take a year off, but Rudge is worried about canceling $3 million worth of concerts and tells her to be tough. Backstage before her next concert, Rose removes songs from the playlist because she lacks the energy to perform a full set. Onstage, Rose drinks from several liquor bottles and her managers become angry that her alcoholism is out of control. After the show, Rose complains again to Rudge about her health and he produces a syringe filled with Vitamin B-12, which she injects. Later, Rudge introduces Rose to country singer Billy Ray, a musician she’s admired for many years
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A 13 Nov 1976 LAT article announced that singer Bette Midler would act in her first feature film titled The Tour, a musical comedy written by George Furth and comedienne Joan Rivers for Columbia Pictures. The singer reportedly signed a "multimillion dollar" deal with Columbia to develop four pictures over seven years and a 17 Nov 1977 HR announced Midler's $600,000 contract to appear in The Rose, a film about a 1960s rock singer inspired by the late Janis Joplin. Larry Peerce was named director on the film, which was budgeted at $8 million. A 12 May 1978 LAT article reported that when Peerce left the project, Ken Russell was considered as a replacement before Mark Rydell was signed to direct. Although screenwriter Bill Kerby is given “Story by” credit onscreen, studio production notes from AMPAS library files noted that the film’s story was conceived by producer Marvin Worth and Michael Cimino. HR film assignments on 18 May 1978 stated that the screenplay was written by Bo Goldman “in association” with Cimino, “based on an earlier draft” by Bill Kerby. However, neither Worth nor Cimino are credited onscreen as writers and Kerby and Goldman are both listed as screenwriters.
According to the production notes, the film had a shooting schedule that ran between ten and fourteen weeks. Principal photography began 24 Apr 1978 in New York City. Locations in and around New York City included a lower East Side police station, a luxury penthouse in a midtown Manhattan hotel, an office building near Grand Central Station and various city streets, as well the Brooklyn Bridge and the promenade in Brooklyn Heights. When two weeks of shooting in NY were completed, the production moved to the sound stages at Twentieth Century-Fox Studios in Los Angeles, CA, while some scenes located in rural Florida and downtown Memphis, TN, were replicated in the cities of Saugus, Wilmington and Long Beach, CA.
Three nearby Southern California locations, including the Embassy Auditorium in Los Angeles, were chosen to film various rock concerts. At the Wiltern Theatre in Los Angeles, Midler performed two concerts back-to-back for paying fans; a 12 Jun 1978 LAT news item announced that $2 and $4 tickets were available at the Roxy Theatre box office on the Sunset Strip for the two Wiltern concerts held at 1 p.m. and 7 p.m. on 23 Jun 1978. Proceeds from the ticket sales were donated to SHARE Inc., a non-profit organization dedicated to assisting developmentally disabled, abused and neglected children. A 16 Oct 1978 HR article reported that Rydell recruited seven “top-ranking” cameramen to film the Wiltern concerts and all took a cut in salary fro the twelve-hour shoot. The list of cinematographers included Haskell Wexler, Conrad Hall, Owen Roizman, Lazslo Kovacs, Bobby Byrne, David Meyer and Mike Margulies.
On 10 Jul 1978, a LAT news item stated that due to confusion regarding access, the venue of Midler’s last filmed concert was switched from East Los Angeles College Stadium to the Long Beach Veterans Memorial Stadium. Producer Aaron Russo said the change in venue would cost upwards of “$250,000 in additional expenses” for the film. A Twentieth Century-Fox press release invited fans to be paid extras for the filming of the Long Beach concert on 14 Jul 1978 at 7 p.m. Participants were asked to wear blue jean pants and jackets, army surplus jackets, work shirts, pea coats, Pendleton jackets and T-shirts reminiscent of the 1960s.
The Oct 1978 HR article stated that Midler’s concerts were backed by an eight-member band of experienced touring and session rock musicians.
The film opened to mixed reviews. While the 9 Nov 1979 WSJ praised Midler for avoiding a sentimental portrayal of “Rose,” it noted that the film offered little commentary about the turbulent 1960s. Other reviews, including the 7 Nov 1979 NYT found Midler’s character generally unsympathetic.
The film was nominated for four Academy Awards in the following categories: Actress in a Leading Role (Bette Midler), Frederic Forrest (Actor in a Supporting Role), Film Editing (Robert L. Wolfe and C. Timothy O’Meara) and Sound (Theodore Soderberg, Douglas Williams, Paul Wells and Jim Webb). Midler won a Golden Globe Award in the category Best Performance by an Actress in a Motion Picture – Comedy or Musical, as well as for Best New Star of the Year – Actress. Frederic Forrest won a Golden Globe for Best Performance by an Actor in a Supporting Role in a Motion Picture and the title song, “The Rose,” won a Golden Globe for Best Original Song – Motion Picture.
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The parents of Rose, a popular blues singer, walk into their garage with a press photographer, who takes pictures of walls that are covered with images of Rose’s life. Years earlier, an intoxicated Rose descends the stairs of her touring airplane as her promoter, Rudge Campbell, steadies her. They drive to a stadium filled with adoring fans. After the show, Rose complains to Rudge that she’s tired and wants to take a year off, but Rudge is worried about canceling $3 million worth of concerts and tells her to be tough. Backstage before her next concert, Rose removes songs from the playlist because she lacks the energy to perform a full set. Onstage, Rose drinks from several liquor bottles and her managers become angry that her alcoholism is out of control. After the show, Rose complains again to Rudge about her health and he produces a syringe filled with Vitamin B-12, which she injects. Later, Rudge introduces Rose to country singer Billy Ray, a musician she’s admired for many years, and Rose is humiliated when Billy Ray criticizes her talent. Livid that Rudge doesn’t defend her, Rose realizes that her promoter wants to work for Billy Ray. Storming out, Rose has a limousine chauffeur, Houston Dyer, drive her to a familiar club of female impersonators. There, Rose performs a duet with a drag queen of her own likeness as impersonators of Barbra Streisand, Diana Ross and Dolly Parton join her on stage. Back at a hotel, Houston and Rose make love. Later, when Rudge berates Rose for missing a recording session, Rose blames at Houston and jumps into the limousine as Houston drives ...
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The parents of Rose, a popular blues singer, walk into their garage with a press photographer, who takes pictures of walls that are covered with images of Rose’s life. Years earlier, an intoxicated Rose descends the stairs of her touring airplane as her promoter, Rudge Campbell, steadies her. They drive to a stadium filled with adoring fans. After the show, Rose complains to Rudge that she’s tired and wants to take a year off, but Rudge is worried about canceling $3 million worth of concerts and tells her to be tough. Backstage before her next concert, Rose removes songs from the playlist because she lacks the energy to perform a full set. Onstage, Rose drinks from several liquor bottles and her managers become angry that her alcoholism is out of control. After the show, Rose complains again to Rudge about her health and he produces a syringe filled with Vitamin B-12, which she injects. Later, Rudge introduces Rose to country singer Billy Ray, a musician she’s admired for many years, and Rose is humiliated when Billy Ray criticizes her talent. Livid that Rudge doesn’t defend her, Rose realizes that her promoter wants to work for Billy Ray. Storming out, Rose has a limousine chauffeur, Houston Dyer, drive her to a familiar club of female impersonators. There, Rose performs a duet with a drag queen of her own likeness as impersonators of Barbra Streisand, Diana Ross and Dolly Parton join her on stage. Back at a hotel, Houston and Rose make love. Later, when Rudge berates Rose for missing a recording session, Rose blames at Houston and jumps into the limousine as Houston drives away. Houston stops the vehicle in the middle of the street and disappears into a men’s bathhouse. There, Rose finds Houston in the steam room, and he reveals his own problems; Houston left his post as an army sergeant three weeks ago and is considered AWOL. Rose invites Houston to join her entourage. On her airplane, Rose cries that all the clouds look the same and she doesn’t know where she is. After a show in St. Louis, Missouri, Rudge introduces her to several important contacts, but Houston cuts Rose’s conversation short and Rudge warns him to stay away from Rose’s business. On the next leg of the tour, Rose and her entourage sit in an airport waiting room because of inclement weather and Rose strikes up a conversation with a few soldiers. One soldier, Mal, agrees to be her bodyguard and masseur for the rest of the tour. At a concert, Houston rescues Rose from a rush of fans storming the stage and carries her to her dressing room where she smothers him with kisses. At another show, Sarah Willingham, one of Rose’s former lovers, comes backstage and Houston walks in on their embrace carrying a bottle of champagne. When Rose tries to explain, Houston hits her and she hurls the bottle of champagne at the wall, then knees him in the stomach. Later, Houston disappears and Rose and Mal drive to her next show, which is located in her hometown. Walking into Leonard’s, the neighborhood grocery store, Rose orders a moon pie and a Dr. Pepper, triggering Leonard’s memory of her as a young girl. Leonard doesn’t realize that Rose is a famous singer and Rose becomes upset, believing that people in her hometown are not aware of her success. As roadies assemble the stage for Rose’s concert on the high school football field, Rudge worries that Rose won’t show up in time and quits upon her arrival. Rudge announces that he is cancelling the concert and leaves as Houston appears. Elated, Rose falls into Houston’s arms and agrees to go with him to Mexico. Meanwhile, Rudge hears Rose’s fans waiting for the concert to begin and believes he has called her bluff. On the road, Rose and Houston stop at Monte’s, the first venue Rose ever performed. Fortified with alcohol and drugs, Rose performs one of her songs, accompanied by the house band. However, Houston fights a redneck and drags Rose from the club before she has a chance to finish. In the car, the couple is interrupted by a phone call from Rudge, who begs Rose to perform. Houston realizes that they are not going to Mexico after all and leaves Rose at Monte’s, where Sam, a drug dealer, slips her some drugs. Later, Rose calls Rudge from a phone booth, asking him to collect her as she swallows several tablets with alcohol. When a helicopter delivers Rose to her hometown audience, Rudge helps her stagger onto the stage. The adoring fans revive Rose and she summons the will to sing, but she collapses after the first song. Back at Rose’s parents’ garage, the photographer finishes taking pictures and Mal turns off the light.
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[] |
[] |
[
"Mark Rydell"
] | null |
[
"IMDb"
] | null |
Mark Rydell. Actor: Der Tod kennt keine Wiederkehr. Mark Rydell was born on 23 March 1929 in New York City, New York, USA. He is a director and actor, known for Der Tod kennt keine Wiederkehr (1973), Am goldenen See (1981) and Hollywood Ending (2002). He was previously married to Esther Jacobs and Joanne Linville.
|
en
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IMDb
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https://www.imdb.com/name/nm0041932/
|
I'm a hopeful person; I'm not a cynic. I believe that cynicism is a cancer for an artist. It's a way of insulating yourself from experience. If you're cynical about something, it becomes removed and can't invade you. If you believe that life has to do with an engagement of issues and personalities that make you young and vital, it's hard to be anything but hopeful.
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dbpedia
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https://lux.collections.yale.edu/view/person/d8ea3393-b7b1-4853-85e9-dfe341366fdb
|
en
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LUX: Yale Collections Discovery
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Explore Yale University's cultural heritage collections
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en
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https://lux.collections.yale.edu/favicon.ico
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https://lux.collections.yale.edu
| ||||||
6000
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dbpedia
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https://www.alamy.com/stock-photo/director-mark-rydell.html
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en
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res stock photography and images
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[
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Find the perfect director mark rydell stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
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Alamy
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https://www.alamy.com/stock-photo/director-mark-rydell.html
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Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 29/08/2024 Alamy Ltd. All rights reserved.
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