Howard Koch Movies

Made for television, Hostage Flight fomented a well-publicized controversy when first aired by NBC on November 17, 1985. On a domestic flight headed for Detroit, 65 passengers are held hostage by four international terrorists. The demands of the hijackers are simple: Release their imprisoned leader or the hostages will be executed one by one. Only after innocent blood is shed do the outraged passengers form a united front to rebel against their captors, and, ultimately, to take justice in their own hands. The film's original ending found the passengers, having staged their own "trial" of the hijackers, doling out punishment in a gruesome manner (and a highly unlikely manner, given the limited head-space on a typical jetliner). This denouement proved too horrifying for the NBC executives, who demanded that a modified ending be filmed (though the original climax was shown when the film was released outside the United States). ~ Hal Erickson, All Movie Guide

Cliff Robertson and George Chakiris star in this dumbed-down version of The Guns of Navarone. During World War II, the story concerns a Scandinavian underground leader, Erik Bergman (George Chakiris), who reports to British authorities the location of a German V2 fuel plant. As is the case in most World War II action films, the plant is in an impregnable location -- beneath an overhanging cliff at the end of a highly defended fjord. The only way the British can hope to destroy the plant is by collapsing the cliff on top of it. In order to do that, light Mosquito aircraft must be utilized. This is the job assigned to Wing Commander Roy Grant's (Cliff Robertson) 633 Squadron. In order to assist Grant in his air attack, Bergman attempts a simultaneous ground attack, but the ground attack fails, and Bergman is captured by the Germans. When he is tortured in their efforts to uncover the RAF plans, Bergman may not be able to withhold the top-secret information. Howard Koch and James Clavell adapted their screenplay from Frederick E. Smith's novel, reportedly based on a true story. Though Koch and Clavell are each known for their excellent writing, Squadron 633 is notable mostly for its adept cinematography from the co-operative effort of John Wilcox and Edward Scaife. ~ Paul Brenner, All Movie Guide

A young Susannah York had her first lead role in this drama about a teenage girl on the cusp of womanhood. When her mother falls ill during a vacation in the French wine country, 16-year-old Joss Grey (York) is left to her own devices as she and her three younger siblings are left in the reluctant care of Madame Zisi (Danielle Darrieux), the proprietor of the hotel where they were staying. Eliot (Kenneth More), Zisi's strapping boyfriend, offers to show the youngsters some of the sights in the countryside, and Joss finds herself developing a strong infatuation with the older man. However, when she realizes that Eliot and Zisi are lovers, she becomes despondent and ends up getting drunk on wine with Paul (David Saire), a boy who works in the kitchen at Zisi's hotel. When Joss learns that Eliot is actually a jewel thief wanted by the law, she informs the police of his whereabouts. However, that same night, Paul's efforts to seduce Joss degenerate into a violent attempt at rape, but when Eliot hears her screams for help, he comes to Joss' rescue. Having spared her virtue and perhaps her life, Joss confesses to Eliot that she has turned him in to the police, and urges him to flee for his own safety. One of Joss' sisters is played by Jane Asher, a distinguished actress who was most famous in the United States not for her abilities as a performer, but for spending several years as Paul McCartney's girlfriend. ~ Mark Deming, All Movie Guide

A remake of the French Le Corbeau ("The Raven"), The Thirteenth Letter is a film noir in a curious setting -- a rural village deep in Quebec, seemingly sleepy and typical. Dr. Laurent (Charles Boyer) returns from a medical convention in Montreal, anxious to see his much younger wife, Cora (Constance Smith). Cora is attracted to Dr. Pearson (Michael Rennie), a young doctor who moved into the town soon after his unfaithful wife killed herself. Soon Pearson, Laurent and Cora all receive letters -- signed "the Raven" -- hinting at an affair between Pearson and Cora. Soon more poison pen letters are showing up around town, including one which insinuates that Pearson has not been telling the truth about the medical condition of a wounded war hero. Distraught, the veteran takes his life, unaware that the information in the letter was a lie. Meanwhile, Pearson has become attracted to Denise, (Linda Darnell), a romance-starved young woman born with a clubfoot. As suspicion builds about who is sending the letters -- and about whether Pearson should be trusted -- the Mayor takes charge of the investigation, and Pearson doubles his efforts to prove his innocence. ~ Craig Butler, All Movie Guide

Perhaps the finest American film from the famed European director Max Ophüls, the film stars Joan Fontaine as a young woman who falls in love with a concert pianist. Set in Vienna in 1900, the story is told in a complex flashback structure as the pianist, Stefan Brand (Louis Jourdan), comes upon a letter written to him by Lisa Berndl (Fontaine), a girl who has been in love with him for years. Stefan is in the process of fleeing Vienna on the eve of fighting a duel. As he prepares himself for the nocturnal journey, the letter arrives. It begins, "By the time you read this letter, I may be dead." As Stefan sits back in his study to read this letter, it turns out to be a confession of unrequited love from Lisa. The story flashes backs to when Lisa was 14 years old and Stefan was her neighbor. After following Stefan with a girlish obsession, the romance gets much more serious, and they have a brief encounter. Stefan promises to come back to her after a concert tour, but he never does. Meanwhile, Lisa marries another man when she discovers that she is pregnant with Stefan's child. When she runs into Stefan years later, he doesn't remember her and tries to seduce her. After Stefan reads the letter, he wants to rush to her side, but now poor Lisa is dying from typhus. ~ Paul Brenner, All Movie Guide

There's slightly more fancy than fact in this lavish film biography of legendary American composer George Gershwin, but oh! That music! Director Irving Rapper had wanted Tyrone Power to play Gershwin, but Power was still serving in the Marines, so Rapper had to settle for Robert Alda--who isn't bad at all, just a trifle over-enthusiastic. The film traces Gershwin's rise from a "song plugger" for a Manhattan music publishing company to the heights of international fame and fortune. Gershwin's first big hit is "Swanee," introduced on Broadway by Al Jolson (who plays himself, making his first film appearance in six years). In collaboration with his lyricist brother Ira (well played by Herbert Rudley), George pens hit after hit in show after show. Impresario Charles Coburn is happy with this, but George's kindly old music teacher Albert Basserman wants his prize pupil to aspire to something more artistic. Gershwin responds with "Rhapsody in Blue", which debuts at Aeolian Hall in 1924 under the baton of bandleader Paul Whiteman (also playing himself). As his fame and workload grows, George finds he has no time at all for romance; the two (fictional) ladies in his life, both of whom eventually realize that they'll always have to play second fiddle to Gershwin's muse, are musical comedy star Joan Leslie and socialite Alexis Smith. Gershwin continues to compose such masterpieces as "An American in Paris", "Cuban Overture", "Concerto in F" and the 1935 folk opera Porgy and Bess. He will not allow himself to rest on his laurels, ruthlessly pushing himself to top all his previous accomplishments. Finally, the strain proves too great: George Gershwin dies of a cerebral hemorrhage in 1937, at the age of 39. Featured in the cast as themselves (in addition to those already mentioned) are Gershwin's lifelong friend Oscar Levant, producer George White, and Broadway performers Tom Patricola and Hazel Scott. Morris Carnovsky and Rosemary DeCamp play George's parents, while Julie Bishop is cast as Ira's wife Lee, who is saddled with the film's silliest line: "Ira, promise me that you'll never become a genius." Alternately hokey and inspired, Rhapsody in Blue has weathered the years as one of Hollywood's most solid biopics. And, as a bonus, we are treated to a virtually complete performance (running a full reel) of the title composition. ~ Hal Erickson, All Movie Guide

More so than most wartime films, Mission to Moscow must be viewed within the context of its times. Requested by President Roosevelt to make a film supportive of America's Russian allies, Warner Bros. turned to the memoirs of Ambassador Joseph H. Davies, who spent several years prior to WWII in the Soviet Union. As played by Walter Huston, Davies is a pillar of incorruptable integrity, reporting the facts "as I saw them" (only in later years was Davies revealed to be something less than a paragon of virtue who was willing to alter opinions for political, personal and financial expedience). Sent to Moscow by FDR as a means of finding out if Russia is a potentially trustworthy ally in case of war, Davies and his family are given the royal treatment by the Commissars, who display the social, technological, agricultural and artistic advances made under the Stalin regime. Invariably, the Russian citizens are shown to be singing, smiling, freedom-loving rugged individuals-in contrast to the Nazis, who are depicted as humorless automatons. In its efforts to present the USSR in the best possible light, the film glosses over the notorious Purge Trials of 1937, presenting the trials as scrupulously fair and the defendants as unabashed traitors to the Soviet cause. At one point, Russia's annexation of Finland in 1939 is "justified" by Davies' explanation that the Soviets merely wanted to protect their tiny neighbor from Nazi domination! It is unfair to label Mission to Moscow as Communistic or even left-wing, since it was merely parroting the official party line vis-a-vis US/Soviet relations in 1943. Even so, screenwriter Howard Koch found it very difficult to get film work after the war because of his contributions to this "Pinko" project (conversely, Jack Warner pulled a Pontius Pilate, washing his hands of the matter by insisting that he was strongarmed into making the film). Seen objectively, Mission to Moscow is top-rank entertainment, superbly and excitingly assembled in the manner typical of Warners and director Michael Curtiz. The huge cast includes Gene Lockhart as Molotov, attorney Dudley Field Malone as Winston Churchill, Maynart Kippen as a benign, pipe-smoking Stalin, Charles Trowbridge as Secretary Cordell Hull, Leigh Whipper as Hailie Selassie, Georges Renavent as Anthony Eden and Alex Chirva as Pierre Laval, along with the more familiar faces of Ann Harding (as Mrs. Davies), George Tobias, Eleanor Parker, Moroni Olsen, Minor Watson, Jerome Cowan, Duncan Renaldo, Mike Mazurki, Frank Faylen, Edward van Sloan, Louis-Jean Heydt, Monte Blue, Robert Shayne and even Sid (sic) Charisse. Original prints of Mission to Moscow include a 6-minute prologue delivered by the real Joseph Davies. ~ Hal Erickson, All Movie Guide

In This Our Life is not a "for the ages" classic of the Golden Age of Cinema, but as a highly effective and entertaining melodrama, it more than fits the bill. Howard Koch's screenplay is a trifle predictable, but it's well structured and provides the requisite juicy roles for its pair of female stars. It also provides a number of little surprises -- a sympathetic and (for the time) non-stereotypical portrayal of a black character and two characters living not only in sin but adulterously so -- that give it some distinction. The script's main drawback is its initial lack of focus; it doesn't seem to quite know exactly what its story is and where the real conflict will lie. Ultimately, this doesn't really matter, for John Huston knows where it's going, and he shepherds the story along very efficiently, throwing in a little social commentary here, heightening the atmosphere there, tossing in a hint of the unsavory elsewhere. Although he doesn't really know what to do with the male actors (save for Charles Coburn and Frank Craven, each of whom is just right in entirely different ways), he handles the women in exactly the right way, including Billie Burke as the coddling, neurotic mother. It's Bette Davis, of course, who gets the showiest role, and she sinks her teeth into it and plays it for all it's worth. It's a great Davis performance, but she's still outdone by Olivia de Havilland, whose quiet, understated work anchors the film and ultimately makes the greater impression. It's terribly fine film acting, and immensely satisfying. ~ Craig Butler, All Movie Guide

In this melodrama, a loyal research psychologist escapes from Budapest after the nature of his work is discovered. He resettles in Scotland and soon resumes his work. His benefactors provide him a female assistant, and at first the stubborn scientist is not pleased. Eventually the two fall in love. Not long after the research is finished, they marry and for a time the two are happy. But then a terrible fire erupts and the assistant/wife dies trying to protect the researcher's valuable notes. The distraught doctor dedicates the rest of his work to her memory and then heads to China to work as a medical missionary. ~ Sandra Brennan, All Movie Guide

In the 1580s, the Sea Hawks -- the name given to the bold privateers who prowl the oceans taking ships and treasure on behalf the British crown -- are the most dedicated defenders of British interests in the face of the expanding power of Philip of Spain. And Captain Geoffrey Thorpe (Errol Flynn) is the boldest of the Sea Hawks, responsible for capturing and destroying more than 50 Spanish ships and ten Spanish cities. His capture of a Spanish galleon, however, leads to more than he bargained for, in a romance with the ambassador's niece (Brenda Marshall) and the first whiff of a plan to put Spanish spies into the court of Elizabeth I (Flora Robson). Thorpe's boldness leads him to a daring raid on a treasure caravan in Panama which, thanks to treachery within Elizabeth's court, gets him captured and, with his crew, sentenced to the life of a slave aboard a Spanish ship. Meanwhile, Philip of Spain decides to wipe the threat posed by Elizabeth's independence from the sea by conquering the island nation with his armada. Thorpe, though chained to an oar, knows who the traitor at court is and plans to expose him and Philip's plans, but can he and his men break their bonds and get back to England alive in time to thwart the plans for conquest?

The Sea Hawk was the last and most mature of Flynn's swashbuckling adventure films, played with brilliant stylistic flourishes by the star at his most charismatic, and most serious and studied when working with Flora Robson, whom he apparently genuinely respected. Boasting the handsomest, most opulent production values of a Warner Bros. period film to date, The Sea Hawk was made possible in part by a huge new floodable soundstage. Another highlight was the best adventure film score ever written by Erich Wolfgang Korngold; and the script's seriousness was nailed down by various not-so-veiled references not to 16th century Spain but 20th century Nazi Germany. The movie was cut by over 20 minutes for a reissue with The Sea Wolf, and the complete version was lost until a preservation-quality source was found at the British Film Institute. Since then, that 128-minute version -- which actually contains a one-minute patriotic speech by Robson as Elizabeth that was originally left out of U.S. prints, as well as amber tinting in all of the Panamanian sequences -- has become standard. ~ Bruce Eder, All Movie Guide