Very very predictable, including the post credit scene !!!

Touches You

One of my all time favorites.

Great Film overall

At this stage of the First World War, Britain was crucially dependent for shell propellant on HM Factory Gretna (Moorside) with its immense nitration facilities for guncotton and nitroglycerine. There are claims that the Cumbrian Fells and Pennines 'protected' this strategic target from air attack.Whilst Staaken and Gotha aircraft had a limited 800 km range, the Zeppelins would have been superb strategic bombers to attack HM Factory Gretna. The Zeppelin could have hovered out of range of ground fire and dropped small bombs precisely onto nitration facilities, acetone works, glycerine works and acid plant.Similar facilities such as Waltham Forest and Holton Heath - both in easy range, in southern England - were never attacked either. What did the German government think it was up to ? Attacking the explosive works would have left Britain without the means to hold the Western Front and could certainly have prolonged the war. It would have forced the redeployment of fighter squadrons to defend the works and other potential industrial targets.

The movie is a fictionalized account from a German-born British official ( Michael York ) since his own point of view . He races against time to prevent a hateful scheme and thwart the plans of cunning , detestable baddies ( Anthon Driffing , Peter Carsten ). The Zeppelin made in scale model is the real star of the film , the enormous Blimp causes damages , wreak havoc , disrupts communications , rampage over cities and destroys vital points and gun positions, nowadays the Zeppelin is led a secret mission.The film gets a magnificent creation of suspense , thriller and emotional drama including some exciting and well staged aerial images . A first rate cast with a valiant and sympathetic lieutenant well reincarnated by Michael York ( Three Musketeers , Cabaret ), a gorgeous beauty as Elke Sommer ( The prize ), her scientist husband old man ( Marius Goring of Red slippers) , Andrew Keir ( Quatermass and the Pit ) and of course the two top-notch devious villains as Anton Diffring and Peter Carsten , both of whom are usual in Nazi roles . Splendid aerial photography with impressive outdoors and sensational sky-shots by cameraman Alan Hume and good matte cinematography , besides fantastic maquettes of ingenious flying machine . Exceptional and atmospheric musical score by musician Roy Budd with extraordinary leitmotif as when the Zeppelin takes off from hangar . The picture is correctly directed by Etienne Perier . It's an acceptable picture and well produced with high budget and shot in Pinewood studies . Rating : Good , better than average .

First---I want to say I have always enjoyed this movie since first seeing it some years ago. It explores some aspects of of a (relatively) little-know war i.e. World War I, and especially the use and technology of Zeppelins--which has been rare to non-existent in cinema.Recently having purchased a video tape of the movie, I noticed something that has raised questions in my mind. In the movie, it is stated more times how critical weight is on a Zeppelin. For instance, when Richter-Douglas is first brought on board, Frau Altschul says "weight is critical on an airship--we haven't allowed for this man!" However, later when the Zeppelin has docked on the ship in the North Sea, a score or more of the men who are the "commandos" board the ship, and nothing is said about extra weight.The only thing I can surmise is that the men who were to actually perform the commando raid in Scotland replaced the regular Zeppelin crew; who consequently disembarked and were left on the naval ship. If this happened in the movie or was mentioned, did I miss it?

Produced as Ronald Getty's (son of J.Paul Getty) venture into motion pictures it attempted to explore a subject that had up to its point only been explored through the explosion of the German airship Hindenburg. It attempted to tell the story of loyalties with the then current anti-military fashion (petty drum rolls when the more dramatic and militaristic "We Sail Against England" was originally written would have provided a contrast needed).Since the general public's reaction to a philo-German film was unknown it was thought that any overt militarism (such as the "Blue Max") should be down because the subject matter of Zeppelins without swastikas (i.e., The Hindenburg) was an unknown commodity thus a safe course was taken and downed played and thus weakening the film. Originally, scenes of epic battles waging beneath the skies of blue were considered and deleted.In a story meeting Bob Wise's underplay of German militarism in "The Sound of Music" was argued as the public's desire to see Germania topics -- as fodder for story antagaonists without their significance.It remains at least to me an attempt to discuss loyalty, love's betrayal and history on a very very limited budget.I remember researching it with dad. What interested Getty was that his father's oil company furnished Germany's airships during the First World War. His contribution despite his then titanic sums available to him for a variety of reasons was very modest. Rumor had it J. Paul called Jack Warner and was concerned that his son was investing in movies and what could he expect... Ronald should however be commended because without his involvement no film on zeppelin would have been made at all (of the very limited collection of zeppelin films thus far).The film could have used an injection of drama that was unfortunately out of vogue during the time of its production. This sounds like an excuss but one must remember it took "Patton" ten years to be produced out of similiar concerns. It was private money after all...To dad... thanks for the memory ol' fella will miss ya...