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Twelve O'Clock High

According to their files, 20th Century Fox paid $100,000 outright for the rights to the unfinished book, plus up to $100,000 more in escalator and book-club clauses. Darryl Zanuck was apparently convinced to pay this high price when he heard that William Wyler was interested in purchasing it for Paramount. Even then, Zanuck only went through with the deal in October 1947 when he was certain that the United States Air Force would support the production.[10] The film made use of actual combat footage during the battle scenes, including some shot by the Luftwaffe.[10] A good deal of the production was filmed on Eglin Air Force Base and its associated auxiliary fields near Fort Walton, Florida.[11]

Twelve O'Clock High

Additional background photography was shot at RAF Barford St John,[22][23][24] a satellite station of RAF Croughton in Oxfordshire, England. Officially, the airfield is still under Ministry of Defence ownership following its closure in the late 1990s as a communications station linked to the since-closed RAF Upper Heyford. Other locations around Eglin AFB and Fort Walton also served as secondary locations for filming.[25] The crew used 12 B-17s for filming, which were pulled from QB-17 drones used at Eglin and other B-17s from depot locations in Alabama and New Mexico. Since some of the aircraft had been used in the 1946 Bikini atomic experiments and absorbed high levels of radioactivity, they could only be used for shooting for limited periods.[7]

The term "twelve o'clock high" refers to the practice of calling out the positions of attacking enemy aircraft by reference to an imaginary clock face, with the bomber at the center. The terms "high" (above the bomber), "level" (at the same altitude as the bomber) and "low" (below the bomber) further refine the location of the enemy. Thus "twelve o'clock high" meant the attacker was approaching from directly ahead and above. This location was preferred by German fighter pilots because, until the introduction of the Bendix chin turret in the B-17G model, the nose of the B-17 was the most lightly armed and vulnerable part of the bomber. Enemy fighter aircraft diving from above were also more difficult targets for the B-17 gunners due to their high closing speeds.

The film was nominated for several Oscars including Best Picture and won for Supporting Actor and Sound. But its highest approval rating came from veterans who acknowledged that it was both respectful of the sacrifice of American flyers and accurate in its portrayal of the experience of the B-17 bombing squadrons stationed in England.

Twelve O'Clock High's cast earned high praise. Gregory Peck was nominated as Best Actor for the fourth time in five years while Dean Jagger won a Supporting Oscar with his first and only nomination. Among the other able cast members, was Hugh Marlowe in a role that won him a Fox contract and five years of constant movie work, although he became sidetracked as ineffectual supporting players and unlikable villains (Night and the City, The Day the Earth Stood Still).

Parents need to know that Twelve O'Clock High is a 1949 WWII film in black and white about daylight bombers. There's casual era-specific drinking and smoking, wartime violence with no bloodshed but references to death, and exterior shots of planes blowing up. It focuses more heavily on the psychological effects of war and turning a hard-luck crew into a fighting machine than high-action scenes: There's a lot of extensive strategizing and talking, with only a few scenes of action out of 132 minutes. A gripping look at war, but not likely to keep the attention of young kids. Best for teens or older.

This mission has a timer of 5 minutes. Within this limit Vault Hunters must shoot Cargo Buzzards that fly overhead to make them drop Flyboy's bling. The buzzards do not have to be destroyed, but only damaged enough to drop their cargo. Escort Buzzards will fly around and protect the Cargo Buzzards during this time. All of the escorts have to be destroyed to complete the mission, but they will keep coming until twelve pieces of bling have been collected.

The concepts of twelve o'clock high and high noon have similar-sounding names but differ in meaning and in derivation. The first means "straight ahead and above" and the second means "exactly noon, when the sun is higher in the sky than at any other moment of the day".

I heard from a person on the beach that someone was drowning. Two of my friends jumped in after him and I swam to the scene from about 100 yards away. We pulled him to a shallower rock with help from his friend and another, who I believe to be his brother, and each took position to lift him to a higher rock where the water was not crashing. He was speaking to us at this point and saying that he could not breathe. He was shaken up but responsive.

Morgan went to Canada and on 4 August 1941, enlisted in the Royal Canadian Air Force. After flight training, he was sent to England and assigned to RAF Bomber Command. Flight Sergeant Morgan flew twelve combat missions with the RAF. He was then transferred to the U.S. Army Air Corps with the warrant rank of Flight Officer. On 23 March 1943, Red Morgan was assigned to the 326th Bombardment Squadron (Heavy), 92nd Bombardment Group (Heavy), at RAF Alconbury (Army Air Force Station 102), at Huntingdon, Cambridgeshire, England.

The 12 O Clock Highs are a perfect chilled out, high calibre and romantic soundtrack, the duos close harmony and reworking of old classics will have you hooked. They play everything from Adele and Ed Sheeran, to Coldplay, Dusty Springfield, Stevie Wonder, and a host of modern and timeless classics. The duo have some incredible performance credentials, from being on a world Tour with HONNE, to supporting Tom Jones, Beverly Knight and performing at Wembley. The pair have released music with pop sensations BTS and HONNE and have found success with their own solo and duo career supporting and collaborating with international acts and attaining a number one spot overseas.

A new commander is posted to a WWII American heavy bomber group assigned to daylight bombing runs over targets in Germany and occupied Europe. Fighter escorts have not yet arrived from the U.S. and casualties are high. The unit is functioning poorly and morale is low. Can the new commander make the bomber group into an effective fighting unit under these conditions? The film is based on the novel by Beirne Lay, Jr. and Sy Bartlett.

In 1943 the English and the Americans disagreed about tactics for the air war against Germany. Earlier in the war, the English had suffered unacceptably high losses during daylight bombing. In response, they equipped their heavy bombers, the Lancasters and the Halifaxes, for night bombing. However, night bombing was not precise and could only target general areas. The American B-17 Flying Fortresses and B-24 Liberators were more heavily armored than the English planes and had bombsights that allowed them to strike specific targets during the day. The U.S. Army Air Corps wanted to conduct long-range daylight strategic bombing.

The differences in tactical views were accommodated by having the English bomb at night while the Americans tried to prove that daylight raids would not result in unacceptable losses. The odds against a crew surviving the war were daunting. The original tour of duty was 25 missions. The average survival rate was 15 missions. Sometimes the tours of duty were extended. In October 1943, the American planes suffered a 25% loss rate in the air raids against the ball bearing plants in Schweinfurt. Daylight bombing was then curtailed until 1944 when long-range fighter escorts, most often P-51 Mustangs, became available. The film shows an American bomber group during 1943, before the curtailment of daylight bombing suffering from the effects of the high casualty rates of the daylight bombing campaign.

It doesn't take long to understand why a Baltimore gang of dirt bikers is called the 12 O'Clock Boys: Flying at top speeds down city streets, they flip precariously high wheelies, maneuvering their bikes to near vertical positions, like clock hands at high noon.

Coleman is often called the unofficial poet laureate of South Central Los Angeles, a title used mainly by book reviewers, I suspect, but it's an apt one all the same. Coleman is a prolific, award-winning poet, and her prose style reflects that. There is poetry present in each story. In "Joy Ride," for example, the story of two young couples whose afternoon drive leads to an encounter with an abandoned baby in a burlap bag, the narrative can be highly lyrical: "The mental sanctuary of their shock is violated as the brass section pours it on and the trumpet player's shrill wail is nearly drowned in the slam of brakes and the shriek of tires. The sedan swerves and stops on a diagonal, coughing out the two men" (3). 041b061a72

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