When it comes to the Hollywood cinema, the 1980s have been a decade of Steven Spielberg. He was almost everywhere, making critical and commercially successful satisfactions from the crowd, who also noticed nominations for the Academy Award ("Indiana Ons: Thieves of the Lost Ark", "Extra-Terrist"), producing other hits of box office as a company for production company (company production company "himself named after a short film Spielberg once made) that fueled even more major money from money like "Gremilini" and "Returning to the Future". However, for his entire plant and the undoubted art talent, there were still regular accusations of sentimentality. I tend to agree in some cases. I have always preferred a more separate sense of miracle in "Close Meetings of the Third Type" than the tear-tears of "ET;" And while Spielberg's direction was good enough to land the "color purple" best image image At the Oscars, I doubt it is his waving treatment of the original material that prevented him from winning. Sentimental Steve also hit again at the end of the decade with "Always", a much better military film.

Updating Victor Feming's classic of 1943 "A man named OEO" by a modern setting, "always" stars Richard Dreyfus as Pete Sandich, a fire protection pilot whose habit of driving his happiness is causing concern for his girlfriend Dorinda (Holly). Their worst fears happen as Pete dies in a forest fire after heroically saved al -life, but that is not the end of Pete. In the afterlife, he meets Hap (Audrey Hepburn in her latest film role), a spiritual guide who sends him as a guardian angel to specialize in pilot Ted Baker (Brad Nsonson). Much of Pete's disappointment, Ted starts falling for Dorinda, but he must leave his feelings aside when Ted is summoned to a deadly rescue mission.

"Always" must have seemed as a winner of security. It happened because of Spielberg and Dreyfus's LOVEBOBOBOV to a "guy named OEO", as the couple floated the idea of ​​rethinking him while shooting "jaws". The film has a lot about it even out of it, including a solid team (except for Nsonson's "Blood Rival") and Spielberg confidently shaking hands with big pieces. Although he still made money at the box office, the film was finally too much Maudlin and is generally considered one of Spielberg's worst pictures. Let's take a closer look at the original movie and where it all went wrong for "always".

Spencer Tracey Starswells in "One Man named OEO" like Pete Sandy, an American flyer in the UK during World War II, who cannot resist the urge to risk his life performing dangerous acts of heroism, constantly landing in the hot water. But everything is cute when he is on the ground because he hangs out with colleague pilot Dorinda Darston (Irina Dan) and can always rely on his loyal friend Al -Jaki (Ward Bond). After nail punishing Pete by sending him and Al to Scotland for the reconstruction, Dorinda has a bad feeling and gives him an ultimatum: return to the safety of the United States and train new pilots, or instead, she will take a new position in Australia. The Love Coat wins and Pete reluctantly agrees shortly before trying to intercept a German aircraft carrier for a last mission. During the operation, however, his "crate" was fatally damaged by a hostile fighter, forcing Pete to attract his security team before going into the inevitable race to bomb the ship.

Waking up in the afterlife, Pete is welcomed by his old friend Dick Rumeni (Barry Nelson). With his lead, the General (Lionel Berimore) sends him to the ground to look at the shoulder of inexperienced pilots who train for action abroad. Pete's candidate is Ted Randall (Van Nsonson), a rich and charming young man with lines of cornices. Sent to New Guinea, Ted must try its routine for Dorinda's pickup, which is now stationed on the island along with Al and Nails. They are in charge and Ted proposes, encouraging Pete to take revenge by encouraging Ted to fly recklessly in the hope of being smashed by the nails. Nails have other ideas, and chooses Ted for a very dangerous mission to destroy a Japanese ammunition landfill.

Released four years after he delivered the Gone's double whirlwind with the wind and "Oz Wizard", "A man named OEO" is another classic with director Victor Fleming. The excellent cast used most of the Dalton Trambo scenario, which provides a sparkling rebellion and inspirational speeches. Although some modern critics considered it relentless when people die in a struggle, the film now stands along with "Question of Life and Death" by Powell and Prosburger as a supernatural military romance that celebrates the vitality of life in a time of global conflict.

A year before a "boy named OEO" premiered in Newouort, Rick Blaine (Humphrey Bogart) stood on the foggy runway, citing Ilsa Lund (Ingrid Bergman) To find a plane with her husband of resistance, giving up their chance of happiness for greater good in the fight against the Third Reich. There is a similar scene in the latest roll of Victor Fleming's film when Pete's heavenly commander gives him an inspiring speech, asking him to set aside his personal feelings for Dorinda and help the people he left behind in the war.

Like "Casablanca", "a man named OEO" hits a similarly shaky note of propaganda. After the United States entered World War II, people all over the country bid farewell to their loved ones, not knowing if they would ever see them alive again. Movies like this, which hit a deeply relative note with their romantic stories, assured the audience that self -sacrifice was crucial if the allies were to defeat the axis. As bright and ingenious as "a man named OEO", this sense of uncertainty and mortality hangs throughout the film. We are focused on three people and their hill from beans, but gives you greater sense that these personal stories are played through every theater of war, with the possibility of death that it is never far away.

This is where "always" falls. By updating the story and removing the military context, Steven Spielberg and his screenwriter Jerryi Belson are guilty of reducing stakes. Of course, there are still lives that hang in balance, but the drama feels more unstable without the background of the global conflict. The whole urgency is lost, and the film eventually moves away as Spielberg succumbed to his worst sentimental tendencies. You really can't blame the craft or the cast, because it's a wonderful film and the actors all do a little, even if Richard Dreyfus and Holly Hunter lack Spencer Tracy and Irina Dan in the original. After all, "always" takes the beloved classic and makes it more beautiful and more lavish, but somehow ends up feeling far less than the sum of its parts.