If you hang out with pilots for any length of time and the movies come up you’ll very likely hear the more or less unanimous opinion that Hollywood doesn’t make good movies about aviation.
I agree good aviation movies are few and far between, but it should be noted that an aviation movie is about people flying or otherwise involved with airplanes. An “aviation movie” should let the non-flying viewer glimpse what motivates otherwise normal people to learn to fly and deliberately, even eagerly, perform the unnatural act of flying.
Pilots don’t tend to talk about the faults in the story. That’s sort of secondary. They tend to focus on technical inaccuracies about the airplanes or the techniques of flying them. A particularly egregious example is a movie where a Spitfire pilot manages to break the speed of sound by “cross-controlling” – possibly a misunderstanding of the control reversal phenomenon experienced by some airplanes as they near Mach One – an event that, even at the time the film was made, was known to be not merely incorrect but something that would lead to the destruction of the aircraft and probably its pilot. Exceeding Mach One in a propeller-driven aircraft is an aerodynamic impossibility, anyway.
My personal favorite mistakes include identification of one type of airplane as another. The film “Midway” (1976) had aerial shots that identified an airplane with four engines (probably a C-130 Hercules) as a twin-engine PBY Catalina; a long shot of an aerial dogfight where the airplanes involved all appeared to have in-line engines, whereas all the airplanes at Midway had radial engines; or the scene where an American TBF torpedo bomber is identified as a Japanese “Kate” even though the white star of the US national insignia, as opposed to the red rising sun of Japan, is plainly visible.
Directors would probably argue, with some justice, that to most people an airplane is an airplane is an airplane and what the blank, they’ve all got wings, don’t they? So what difference does it make? Besides, it costs a lot of money to shoot those aerial scenes right. Look at Howard Hughes nearly going broke shooting “Hell’s Angels.”
So what’s the big deal?
Well…you don’t become a pilot unless flying means something to you beyond the ordinary, and given the vanishingly small percentage of people who actually become pilots, much less professional pilots, maybe it isn’t surprising that so few people understand why it’s important to pilots to get these “little details” right.
Because, you see, to pilots, especially professional pilots who may have lives riding on their skill and expertise, there’s no such thing as a small or unimportant detail. Little things can kill you.
So I suspect at least two reasons why pilots scowl at aviation movies. First, as noted, if overlooking details can result in damage, death, or disaster, then one can understand why pilots – the ones who tend to live longest, anyway – tend to acquire a thorough and painstaking knowledge of their craft and the airplanes they fly. It should also be understandable why pilots tend to be intolerant of mistakes and ignorance. Those can get you killed.
That seems pretty obvious, but there is a second reason, a little more subtle, and it involves the craft of writing a story. The fiction story usually requires something called “dramatic conflict” – a compelling reason, interesting to the reader, for the character or characters to be confronted with a problem to be solved. The detective story is a perfect example; the actions of the detective in solving the case carry the action of a story in a most satisfying way, if properly written.
If a pilot performs properly, aviation, from outside of the cockpit, appears uneventful, a transit between two points in varying degrees of comfort. Pilots work very hard indeed to achieve that level of apparent lack of drama.
When things go bad and pilots do what they’re supposed to do in an emergency, far more often than not dealing with the emergency, from outside the cockpit, still has that aura of the ordinary and uneventful. It’s not every day that Sully Sullenberger has to put an airliner into the Hudson, less than three minutes after departure, because both engines of his airplane ingest birds and flame out. I got a real kick out of listening to the tape of Sullenberger on the radio with the air traffic controllers. They’d ask him if he could reach this airport, or that airport, and Sully, being perhaps a tad busy, consistently replies with nothing more than “Unable.” That recording is available on YouTube. Listen to Sully’s voice. It’s the voice of a master at work.
Even more, it’s not every day that a flight crew is confronted with engine failure combined with hydraulic failure resulting in inoperative controls, a condition highly likely to lead to a catastrophic departure from controlled flight, as nearly happened to United Flight 232 on July 19, 1989. That crew, aided by a United Airlines training check airman who was aboard, gave new meaning to cliches like “used every trick in the book” and “snatched victory from the jaws of death.” Victory in this case meant most of the passengers survived the crash landing, when casualties could easily have been 100%. They survived because the members of the flight crew were consummate practitioners of their craft.
In aviation, dramatic conflict usually means death or the danger thereof. That’s how most people see it, anyway. Maybe that’s why pilots don’t like aviation movies. No one likes to be reminded of how things can go to pieces and leave you to pick up the mess, if you can. Especially when the blank-blank details are wrong. Some fool kid might think it was right, go try it, and end up in a smoking hole at the scene of the accident.
All of that being said I’m going to recommend the following five movies as good aviation films, maybe not always spot-on with details, but true at least in spirit. These films, to me, show something very close to what it means to be a pilot. Feel free to agree or disagree with my choices, and by all means make other recommendations.
“Spirit of St. Louis” (1957)
“Dawn Patrol” (1938)
“Only Angels Have Wings” (1939)
“The Bridges at Toko-Ri” (1954)
“I Wanted Wings” (1941)