Synopsis
THE SKY IS THE LIMIT for Fun, Thrills, Excitement!
The story of Frank W. "Spig" Wead - a Navy-flyer turned screenwriter.
The Wings of Eagles
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Alternative Titles
Alas de águila, Kader böyle istiyordu, Крылья орлов, Hennes vilda man, A Águia Voa ao Sol, Na skrzydlach orlów, A sasok szárnyai, Ο κυρίαρχος του Ειρηνικού, O kyriarhos tou Eirinikou, Hurja mieheni, Ørnevinger, Asas de Águias, 山鹰之翼, Le ali delle aquile, L'aigle vole au soleil, Dem Adler gleich, Escrito bajo el sol, Asas de Águia, 碧血溅长空, Křídla orlů, Na skrzydłach orłów, 남자의 생애, Escrit sota el sol
Genres
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Theatrical limited
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USANR
Theatrical
22 Feb 1957
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USA
09 Oct 1957
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FranceU
Physical
01 Jan 2000
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Brazil12
Releases by Country
Brazil
01 Jan 2000
- Physical12 IMDB
France
09 Oct 1957
- TheatricalU
USA
31 Jan 1957
- Theatrical limitedNR New York City, New York
22 Feb 1957
- Theatrical
Popular reviews
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ahhh the push and pull of being the greatest filmmaker of all time and also really loving the idea of giving your life over to the american military... Ford was "more Brecht than Brecht", as Jean-Marie Straub said. this film teases at being something like The Long Gray Line with a hollywood ending, but when Wayne is called back into service after Pearl Harbor, and Ford cuts between him in the tower calling shots and (Ford's own?) propaganda footage shot in world war two, it's just as strange and impactful as the ghosts and bells at the end of Line. opening with a stunning aerial sequence of pure hot-dogging, the broad stunt-driven comedy of airplanes and fistfights becomes as challenging…
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We are struck more by life’s incoherence, its defeats and failures, its decomposition. It remains a mystery marked by persistence, endurance, and more than a hint of futility. Wead may remind us of Sisyphus, but we do not think of him as happy. Such a vision of life may be realistic. But is such irresolution consistent with the needs of art, in which we expect aesthetic completion? Can the film have meaning, when its subject does not? The question nags at Ford’s movies in this period. He had always sought to equate form and meaning. But now meaning begins to disintegrate, and so form decomposes, too. Peter Bogdanovich found a message in these movies: “Glory in defeat.” Of course, in…
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LA grandeza insuperada de Ford puede medirse por su capacidad para interesarnos por personajes que nos son totalmente ajenos para conmovernos hasta lo más hondo en contra de nuestra voluntad, al referirnos dramas que no podemos sentir como propios. Así, resulta que lo que más me emociona —con ser mucho— de Cuna de héroes —película que, para mí, se cuenta entre las más admirables que hizo y que se mueve en un terreno cercano al de The Wings of Eagles— no es el momento en que comunican al protagonista que su hijo recién nacido ha muerto, ni cuando descubre que su mujer ha dejado de vivir, experiencias que puedo imaginar y compartir, sino cuando llega a la capilla de West…
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Only John Ford would make a film showcasing how alcohol can help heal paralysis.
Also, I prefer the source material title, We Plaster the Japs, but I may be alone in this.
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'Now I owe you my life!'
'You owe me nothing.'
'That's what I meant.'By nothing he means everything. Ford is cinema's greatest for a number of reasons, but I think that one of the main ones has always been his ability to truly modulate life's pain, injustice and harshness alongside all the joy and beauty of it with a masterful articulation of genres and procedures, departing from culture but always finding a very strong sense of community and humanism in his diegesis. A funeral march becomes a dancing tune, a dead son becomes a reunion between his father and mother, a tragedy becomes a tale of overcoming, a mirror is a window to the world but also its prison.…
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"I'm gonna move that toe!" ~ Frank Wead
This is director John Ford's tribute to two-time Oscar-nominated scriptwriter Frank W. 'Spig' Wead (1895-1947), who served as one of the Navy's first pilots and was instrumental in getting aircraft carriers included in the nation's fleet prior to World War II. In the movie version of Frank's life, John Wayne takes his part, married to the Admiral's daughter Min (Maureen O'Hara) and best friends from Annapolis school days onward with ace pilot John Dale Price (Ken Curtis)
Also starring in this often comic biopic is Dan Dailey as Spig's #1 assistant 'Jughead' Carson and Ward Bond as Hollywood producer John Dodge. There's also Kenneth Tobey as Spig's Army rival Capt. Herbert Allen…
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La más completa y desgarradora de las obras maestras fordianas. Realizada como producto nostálgico de la Metro, para lo que incluso parecía llegar tarde. Pero supongo que los directivos del estudio más conservador de Hollywood buscaban en Ford a esa figura del pasado que un lustro antes había arrasado con The Quiet Man, y buscaban repetir la jugada con el mismo cineasta y el mismo reparto. Pero Ford encontró la posibilidad de hacer una biografía de alguien a quien conocía (Frank Wead, aviador y guionista de Hollywood en los años 30, incluida Air Mail, del propio Ford), para reflejarse a sí mismo en ella, de la misma manera que lo había hecho en The Long Gray Line.
Sobrevolar la vida…
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I've come to realize that much of John Ford's minor work falls into two categories: Ireland porn and Navy porn. This is the latter.
The Wings of Eagles is about the life and career of Frank "Spig" Wead, a Navy officer and record-breaking pilot who became a screenwriter after suffering a spinal injury. Wead wrote 24 pictures, two of which were directed by Ford (Air Mail and They Were Expendable). This is a clearcut case of hero worship, but it's executed with maximum tastefulness. It suffers from some of the standard biopic hangups, but it's not hard to get emotionally invested in this man's legacy. The portion where Wead is recovering from almost certain paralysis is the film's highlight, with…
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john ford films make me want to throw my glass into the fire place after chugging a brown liquor
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One of John Ford's strangest movies, which is saying something. The first forty minutes mostly consist in brawls breaking out between army men and navy men after tossing cake in each other's faces at parties. It abruptly morphs into an extended medical melodrama whose entire source of dramatic conflict is whether paralyzed John Wayne will or will not move his toe. Dan Dailey tries to strum it out of him by ukulele, singing "I'm Gonna Move That Toe!" Then it becomes a fascinating metafilm showcasing a hysterical performance by Ward Bond as an eccentric, crotchety film director, a stone-cold perfect parody of John Ford himself. Endearingly bizarre, and a treat for fans.
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