Night Crossing

PG 6.5
1982 1 hr 47 min Adventure , Drama , Action

Two men want to escape from East Germany (under Communist rule) but they will only go if they can take their families with them. Based on a true story.

  • Cast:
    John Hurt , Jane Alexander , Beau Bridges , Glynnis O'Connor , Klaus Löwitsch , Sky du Mont , Günter Meisner

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Reviews

Dotsthavesp
1982/02/05

I wanted to but couldn't!

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UnowPriceless
1982/02/06

hyped garbage

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Crwthod
1982/02/07

A lot more amusing than I thought it would be.

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Zlatica
1982/02/08

One of the worst ways to make a cult movie is to set out to make a cult movie.

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merklekranz
1982/02/09

A real surprise. Not exactly family entertainment from "Disney". Some violence, lots of tense moments, and a great story, based on fact. The theme of "Night Crossing" is, determination wins. Never losing sight of their objective, two East German families risk it all, in their daring balloon escape to freedom. The story is both harrowing and heartwarming. Time is not on their side. The East German Police are closing in and the outcome far from certain, until the very end. If you are looking for a good evenings entertainment, that contains no nudity, and limited violence, then I highly recommend "Night Crossing". It is pure entertainment. - MERK

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craigmaramilan
1982/02/10

What can I say about this film other than the narrative is one of the most exciting in film history...and based on a true story! Being old enough to remember the Berlin Wall when it was still used to contain a country, this film gives you a dark insight into the grim incarceration of East Berliners, and their desperate attempts to escape, no matter what the cost. The film follows the lives of two families , who decide to escape using a hot-air balloon manufactured by themselves. Forever fearing arrest by the authorities, under scrutiny by neighbours, they have to calculate a plan to reach the other side of the wall. A tense & thrilling story of courage and determination which truly pays homage to all those who succeeded and failed the treacherous journey to West Berlin and freedom.

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anyone
1982/02/11

Probably grossly underrated by all who never experienced the hell of living under communist regime. Although, it seems hard to believe, all of it happened, actually the reality was even worse than the movie. It resembles Orwellian fiction, only this is no fiction. John Hurt is excellent as always. Yes, the screenplay is not full of action, but life is not either. Plot is breathtaking. Yes, people were shot, yes thousands of them. Their 'crime' was that they wanted to leave communist 'paradise' without government authorization. At times the movie drives tears in your eyes. We need more movies like this to really appreciate what America provides for us. Excellent movie, highly recommend! God bless our country, USA!

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kelvis
1982/02/12

Few surprises from Disney in the tale of two East German families who escape to the West in a homemade hot air balloon. Director Delbert Mann gives sometimes slack pacing to what could have been a taut thriller, and the dialog is at times stilted. Still, the players give fine readings of what they have to work with, excepting possibly Doug McKeon (familiar as On Golden Pond's recalcitrant teen), whose performance smacks more of the San Fernando Valley than Saxony. Mann doesn't skimp on East Bloc clichés like spying neighbors and a scarcity of fresh produce, but it is frighteningly effective when the police start throwing their totalitarian weight around. Of course, the movies are full of mean, authoritarian Germans who, regardless of their ideological leaning, dress neatly and shout orders in heavily accented English; Günter Meisner, who plays the chief communist baddie, gave much the same performance in The Winds of War miniseries as a famous anticommunist, Hitler. Still, even if a lot of this is B-grade stuff, the flight sequences are beautifully filmed, with the usual Disney flair. This also is interesting as one of a series of adult-themed films Disney produced in the late 70s and early 80s (The Devil and Max Devlin, The Watcher in the Woods), as the studio struggled to define itself in the post-post-Walt (but pre-Michael Eisner) years.

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