NR | 1h 49m | Adventure, Drama | 1953
When it comes to disaster films, the more realistic build-up of tension has mostly been replaced by the modern-day variety with splashy but fake-looking computer-generated effects, so extreme that they practically melt your eyes out of their sockets. I may be exaggerating, but you get the point.
Similarly, ultra-high-decibel sound effects, such as earsplitting explosions and the wailing shrieks of people being waylaid in all sorts of gruesome (and ridiculous) ways, are cheap ways for filmmakers to hide the fact that their storylines are threadbare to nonexistent.
That’s why it’s so refreshing to see some of the precursors to the modern disaster film, such as the seminal 1953 production of “Island in the Sky.” This beautifully macho aviation disaster drama is based on a novel of the same name by sailor, aviator, and author Ernest K. Gann. Gann also wrote another popular aviation disaster novel titled “The High and the Mighty.” Not only were both books turned into films, but both also starred Hollywood legend John Wayne as their protagonist (“The High and the Mighty” film debuted a year later, in 1954).
“Island” has one of the most impressive (and immersive) opening scenes I’ve seen in a disaster film. The rugged fuselage of a silvery Douglas C-47 Skytrain (a military transport plane) is shown gliding through the skies as a baritone narrator describes the equally rough and tumble lifestyle of those who worked for the Air Transport Command, which transported supplies from the United States to Allied countries during World War II.
By the time we move into the plane and are introduced to the crew, we are keenly aware of the incredible dangers these men faced on a day-to-day basis. Since they routinely flew over harsh, uninhabited terrain and covered vast distances over land and sea, seemingly minor mistakes could turn into fatal catastrophes.
Capt. Dooley (Wayne) heads up a five-man crew, and each of them has his own role within the plane. The men’s realistic banter is periodically interrupted by turbulence as the narration eases in and out. There’s a slow burn of anxiety as the plane is jostled about in the increasingly dire weather.
Soon, the plane drifts into dense clouds of freezing winds, and ice begins to form on the wings and propellers. Landing at a safe airstrip quickly becomes the crew’s priority; the only problem is that they haven’t been able to contact anybody because the weather is interfering with their radio signal.
Since their fuel is running low, Dooley makes the decision to try and land the plane as safely as possible, but the closest flat area he knows of is also the most remote. Squinting through open windows through the icy winds, they locate the relatively flat landmass and brace themselves as they cut the engines, and the plane gradually descends to the snow-covered ground.
The landing scene is nail-biting, and soon after they survive the landing, Dooley exhales and says “Thank you, God Almighty,” which echoed my thoughts about the entire sequence.
The crew did manage to send out a last-ditch radio distress call that did indeed reach a remote station. The only problem is that the station is hundreds of miles away, and nobody knows the downed crew’s exact location, which is in an obscure area near the Quebec–Labrador border in Canada that has yet to be officially mapped.
That night, as his crew slumbers in their sleeping bags, Dooley takes stock of their terrible situation. He looks at their remaining food stores, which are “three tins of salmon, eight chocolate bars, some c-rations,” and in a humorous touch, “two marmalade sandwiches left over from last night” (bite marks and all). He figures the food they have left can last the five men for six days.
Dooley also thinks of how their first night will be the easiest since everybody is still relatively well-fed and full of energy. But as the days roll by, his mind ponders some of the realistic problems that can arise, such as certain disoriented crew members deciding to wander off into the night to find help in their confused state. And, perhaps others, at the edge of exhaustion, being overcome with the desire to lay down and never get up.
Meanwhile, back in civilization, we get the perspective of those who have been alerted to the transport crew’s emergency situation. It quickly becomes apparent that Dooley has quite an esteemed reputation; the mention of his name and circumstances rouse men from whatever they’re doing to join the rescue effort.
It’s a race against time as the rescue operation swings into full gear and tries to locate Dooley’s downed crew before it’s too late. It’s harrowing stuff, bolstered by a terrific cast (which includes some comic relief by the rotund wonder Andy Devine) and incredible cinematography. Combined with a tension-filled score, and great writing, this movie proves that you don’t need a frenzied cavalcade of orange fireballs and deafening noises to catch viewers’ attention.
With the absence of that vapid sound and fury, viewers can immerse themselves in the well-told story with minimalist, yet meaningful, action. In the end, “Island in the Sky” is a truly remarkable piece of filmmaking that features top-flight performances by its stellar cast, gripping suspense, and a unique lens into the adventurous, and often perilous, lives of air transport crews during World War II.
