Twelve O'Clock High (1949)

Directed by Henry King; produced by Darryl F Zanuck

The U.S. Army Air Force’s 918th Bomber Group has become known as a ‘hard luck’ unit for its continuing disasters during missions over occupied Europe. Tough Brigadier General Frank Savage (Gregory Peck) is sent to take over command; despite his predecessor (Gary Merrill) being his friend, Savage blames him for being too soft in driving the officers and men under his command, for becoming too involved in their problems. By ruthless but fair methods, Savage slowly turns the group around – but at what cost to his men, and to himself?

One of the most significant of war movies, Twelve O’Clock High found favour with audiences, critics and veterans of the European bombing campaign. It may be one of the first American films of the ‘40s to depict the war as a soul-damaging, character-crushing experience, yet it offers a highly complimentary picture of the men involved.

The story-line is reportedly very realistic; it certainly comes across that way. The events are an amalgam of real experiences, and the characters are either based on single individuals or composites. The casting of Peck as Savage was inspired, I think: tall, broad-shouldered, physically strong Peck is perfect for the unbending, almost unforgiving commander, and makes what happens to him as the film progresses all the more startling.

The other actors are all very good. They convey, with ease, so it seems, their characters’ personalities. Especially good are Dean Jagger as Stovall, a First World War veteran serving as the group’s adjutant; his unashamed drunkenness at certain times ironically shows strength and independence toward authority, while the man serves as a subordinate desk-bound officer. Merrill, as a former group commander, who tries to warn Savage of what might happen with his methods; Millard Mitchell as General Pritchard, VIII Bomber Command’s leader, and Robert Patten, whose youth contrasts with his casual acceptance of danger and death, should also be noted. Kenneth Tobey has a bit part as a military policeman who draws Savage’s wrath.

The writing is also exceptional. There is a moment when Savage confronts Pritchard with objections to yet another high-risk raid: it shows how far the former has come to being little different than his predecessor. Yet the interest lies not just in that scene but in the realization that the change in Savage has been building all along. The script works in demonstrating the correctness of Savage’s unpleasant driving of the men, as well as understanding the men’s resentfulness at being ordered always to do more, always better. There are other aspects of the story that fit well together, as in Stovall’s gradual comprehension of Savage’s character and what he is trying to accomplish, and Stovall’s subsequent, and secret, assistance in that goal.

There is surprisingly little action in the film, though this is not to be regretted. Such action is not missed, as the writing, acting and direction creates enough drama and suspense to relieve action of its duties. Henry King first sat in the director’s chair in 1916, and left it 46 years later. He worked with Peck half a dozen times, and Tyrone Power almost as often. He directed films as diverse as The Song of Benadette, The Black Swan (reviewed on this blog in September, 2021) and Wait Till the Sunshines, Nellie. Not a name that is famous now, King seemingly could direct successful movies whether dramatic, epic, actionful or musical.

There are parallels between Twelve O’Clock High and Appointment in London (reviewed in November, 2023), about another bombing unit commander, this one in the Royal Air Force. Though both cover aspects of conflict within hierarchy, intense stress, expectations and relationships, Appointment in London showed a bit more of the technical elements of the job, while Twelve O’clock High was harder-hitting.

An excellent film, an important war-movie, Twelve O’clock High should be seen for its story, acting, direction and everything else it has to offer.