Aces High (film)

Aces High

Company type	Film
Industry	Motion picture
Founded	1976
Founder	Jack Gold (director), Benny Fisz (producer)
Headquarters	United Kingdom / France (Anglo-French collaboration)
Products	War film

Aces High is a 1976 war film helmed by director Jack Gold, featuring performances from Malcolm McDowell, Peter Firth, Christopher Plummer, and Simon Ward. This Anglo-French collaboration draws its inspiration from the 1928 stage play Journey's End by R. C. Sherriff, incorporating additional elements from the memoir Sagittarius Rising by fighter ace Cecil Lewis. The screenplay was crafted by Howard Barker.

The narrative transforms the trench warfare drama of Journey's End, originally set during the First World War, into an aerial combat scenario in 1917 involving the Royal Flying Corps (RFC) operating over the Western Front. It follows a squadron facing heavy pilot losses within a single week, emphasizing the severe stress endured by those who survive. Central characters and story arcs closely parallel those in Journey's End: a hopeful novice officer who dies near the conclusion and whose sister is romantically linked to his hardened, alcoholic squadron leader; the experienced second-in-command known as "Uncle," who perishes on a perilous reconnaissance flight; and an officer suffering from neuralgia, mistakenly perceived as cowardly.

Plot

In October 1916, renowned fighter ace John Gresham addresses senior students at Eton College, among them Stephen Croft. Gresham, formerly Croft’s house captain and his sister’s suitor, serves as a role model to the young men.

One year later, 2nd Lt. Croft joins Gresham’s unit in northern France as a replacement pilot. Captain "Uncle" Sinclair cautions Croft that Gresham may have changed since their school days. Struggling under the weight of his heroic reputation, Gresham relies heavily on alcohol to sustain his performance in flight—something Croft might reveal to his sister. Throughout their challenging experiences, Gresham becomes a mentor to Croft, successfully shooting down a pursuing German fighter. When Croft sends a letter home celebrating this achievement, Gresham intercepts it under the pretense of military censorship; instead, Sinclair reads it aloud to the group.

Following Sinclair’s death during a mission flown by Croft, Gresham arranges for Croft to lose his virginity with a French prostitute in Amiens. However, when Croft returns the following evening, she dismisses him in favor of a French colonel.

Croft manages to shoot down his first enemy aircraft but soon dies in a midair collision with a German plane. Back at base, Gresham struggles to compose a letter informing Croft’s sister of her brother’s death. As fresh replacement pilots arrive, Gresham briefly glimpses an apparition of a smiling Croft outside his office window before instructing the newcomers to prepare for duty.

Development

Producer Benny Fisz, a former RAF serviceman and filmmaker responsible for The Battle of Britain, envisioned adapting Journey's End with an emphasis on air combat. He proposed this concept to British director Jack Gold, noted for The Naked Civil Servant. Although initially reluctant about directing an aviation-themed film, Gold agreed after Howard Barker reworked the script.

Gold was attracted to the narrative’s exploration of youth, courage, and fear, focusing on interpersonal dynamics beyond mere aerial engagements. Barker acknowledged that Fisz’s vision broadened Sherriff’s original play beyond its confined dugout environment.

The project received joint financing from EMI Films and was officially announced in July 1975 by EMI executive Nat Cohen as part of a £6-7 million production slate that included films such as Whatever Happened to the Likely Lads, The Sweeney, and Sergeant Steiner.

Casting

Joining Malcolm McDowell in the cast were Peter Firth and Christopher Plummer. McDowell accepted his role partly because of director Gold’s well-regarded standing among actors.

Filming

The main shooting period extended over seven weeks, preceded by a week dedicated to rehearsals. Exterior scenes were captured across locations in Spain and Southern England, including Booker Airfield in Buckinghamshire, St Katharine Docks, and Eton College. Interior sequences were completed at Pinewood Studios. Malcolm McDowell fondly remembered a notable moment when Douglas Bader visited the production set.

To ensure historical accuracy, the production utilized authentic First World War–era gear for settings such as airfield facilities, barracks, and transportation. The fictional 76 Squadron draws loose inspiration from the real 56 Squadron RAF, renowned for flying the S.E.5 aircraft that helped reestablish Allied air dominance in 1917. The film’s narrative incorporates genuine Royal Flying Corps experiences, including pilots confronting death without parachutes. It also portrays the fatalistic mindset of young aviators and features mess hall songs that reflect the grim realities of the time, where new pilots often survived only a few weeks.

Aerial sequences

Although some aerial footage was recycled from The Blue Max (1966) and Von Richthofen and Brown (1971), original flight scenes were also filmed specifically for this production. The British S.E.5s used were extensively modified Stampe SV.4 trainers dating from the 1930s, while Sinclair’s aircraft was a period-appropriate Avro 504.

Most German planes were adapted versions of post-war models, except for a replica Fokker E-III, which appears intact during a scene where its pilot receives a toast from British officers. Production photographs display Malcolm McDowell (Gresham) alongside a Bristol M.1C, although this aircraft does not feature in the final cut.

Director Jack Gold recalled difficulties in sourcing suitable aircraft, relying heavily on scale models and archival footage to create action sequences that closely supported the storyline. He acknowledged the valuable assistance provided by Derek Cracknell and special effects experts.

Reception

The movie did not achieve commercial success. Malcolm McDowell attributed this to its mixed genre—too action-oriented to be strictly psychological drama yet lacking enough action to satisfy full-fledged action film audiences.

Critical

The Sunday Telegraph acknowledged the cast’s potential but criticized British studios for failing to maximize it. The Observer dismissed the film as "a shrill anti-establishment squawk."

The Guardian labeled it "a straightforward epic... executed with competence and confidence."

While The Evening Standard commended the aerial cinematography, it found the psychological exploration of pilots lacking.

Film historian Michael Paris interpreted Aces High as part of a movement aimed at "de-mystologising" warfare. Historian Stephen Pendo highlighted Gerry Fisher’s aerial photography as the film’s strongest aspect but regarded the overall production as "standard fare."

Howard Barker criticized the adaptation for weakening the original play’s impact by transforming Journey's End into an aviation narrative, resulting in what he described as "public schoolboys flying over Surrey."

According to Filmink, this version failed to effectively bring Journey’s End to the screen, considering 1938’s Dawn Patrol a superior adaptation.

US release

The movie did not receive a theatrical release in the United States; instead, it made its debut on HBO in 1979.

Legacy

In a 2017 interview, Howard Barker described the film as "a poorly planned endeavor" but recognized its significance in shaping his career, despite not earning any financial rewards from theatrical productions.

The track "Aces High" by Iron Maiden drew inspiration from the film, although it is set during the Second World War, differing from the film’s First World War backdrop. Iron Maiden frequently names their songs after war-related movies.

The Blackadder Goes Forth episode titled "Private Plane" features aerial footage sourced from Aces High.

Bibliography

• Beck, Simon D. The Aircraft Spotter's Film and Television Companion. Jefferson, North Carolina, 2016. .
• Carlson, Mark. Flying on Film: A Century of Aviation in the Movies, 1912–2012. Duncan, Oklahoma: BearManor Media, 2012. .
• Orriss, Bruce W. When Hollywood Ruled the Skies: The Aviation Film Classics of World War I. Los Angeles: Aero Associates, 2013. .
• Paris, Michael. From the Wright Brothers to Top gun: Aviation, Nationalism, and Popular Cinema. Manchester, UK: Manchester University Press, 1995. .
• Pendo, Stephen. Aviation in the Cinema. Lanham, Maryland: Scarecrow Press, 1985. .

External links

• allmovie/synopsis