Where Eagles Dare marked a turning point for… | Little White Lies

In Praise Of

Where Eagles Dare marked a turn­ing point for Hol­ly­wood action

22 Sep 2018

Words by Mark Allison

Two men in military uniforms, one with an emblem, talking intensely.
Two men in military uniforms, one with an emblem, talking intensely.
The film’s rad­i­cal approach to vio­lence and gen­der pol­i­tics was per­fect­ly pitched for the counter-cul­ture generation.

Richard Bur­ton once claimed that Where Eagles Dare was con­ceived at the request of Eliz­a­beth Taylor’s two sons, who want­ed to see their step­fa­ther in the sort of rol­lick­ing adven­ture film he would nor­mal­ly shun. It seems fit­ting, then, that Bri­an G Hutton’s World War Two action­er has earned noto­ri­ety as the quin­tes­sen­tial boys’ own adven­ture”. Or, less char­i­ta­bly, the ulti­mate dad movie”.

Despite its uncool rep­u­ta­tion, Where Eagles Dare still endures 50 years after its ini­tial release – Steven Spiel­berg once named it as his all-time favourite war movie, while the code phrase Broadsword call­ing Dan­ny Boy”, as uttered by Richard Bur­ton sev­er­al times in the film, still sur­faces in the unlike­li­est of places, from Doc­tor Who to Rebekah Brooks’ tri­al dur­ing the News of the World hack­ing scan­dal. The sim­ple expla­na­tion for this wide­spread affin­i­ty is that Where Eagles Dare is a far more sub­ver­sive and impor­tant work than it is often giv­en cred­it for. Draw­ing inspi­ra­tion from the New Hol­ly­wood Amer­i­can film­mak­ers of the late 1960s, it employs a rad­i­cal approach to vio­lence, gen­der pol­i­tics and his­to­ry which was per­fect­ly pitched for the counter-cul­ture generation.

By 1968, action-adven­ture films in a sim­i­lar mould to Where Eagles Dare had been pop­u­lar for decades, arguably begin­ning with pulpy wartime pro­pa­gan­da pic­tures like John Farrow’s Com­man­dos Strike at Dawn. Author and screen­writer Alis­tair Mac­Clean was a pro­lif­ic fig­ure in the genre, and as such his script for Where Eagles Dare is an admit­ted­ly rote affair.

Ice-cold intel­li­gence oper­a­tive Major Smith (Bur­ton) leads a team of slight­ly aged British agents and a token Amer­i­can, Lieu­tenant Schaf­fer (Clint East­wood), into Bavaria to res­cue a cap­tured allied Gen­er­al from a moun­tain­top Nazi fortress. From there, the sto­ry becomes almost laugh­ably con­vo­lut­ed as a pro­ces­sion of trai­tors and dou­ble agents are uncov­ered dur­ing the sec­ond act, fol­lowed by a full hour of non-stop action. On the page there isn’t much to dis­tin­guish Where Eagles Dare from its innu­mer­able peers, but its exe­cu­tion is both thrilling and gen­uine­ly subversive.

The first action sequence occurs at the 59-minute mark, and it’s from this point that the film’s por­tray­al of vio­lence begins to bend the expec­ta­tions of the genre. Clas­sic war adven­tures like The Guns of Navarone and the cyn­i­cal­ly sadis­tic The Dirty Dozen had been typ­i­cal­ly blood­less affairs; Nazis are rid­dled with bul­lets and blown to pieces with­out any obvi­ous phys­i­cal dam­age. In con­trast, Where Eagles Dare takes its cue from the icon­ic vio­lent finale to Arthur Penn’s Bon­nie and Clyde, where every bul­let wound explodes gra­tu­itous­ly with blood.

The film’s cal­lous approach to vio­lence echoes the spaghet­ti west­erns which cat­a­pult­ed East­wood to star­dom in the mid-’60s. As Lieu­tenant Schaf­fer, he dis­patch­es reg­i­ments of Wehrma­cht infantry with a clin­i­cal, super-human deft­ness, rem­i­nis­cent of The Man With No Name deal­ing with ban­dits in the Wild West. Notably, the immen­si­ty of vio­lence is at odds with Alis­tair MacClean’s orig­i­nal nov­el, in which the pro­tag­o­nists take care to avoid any loss of life, even to the extent of res­cu­ing an uncon­scious Nazi from a burn­ing build­ing. Evi­dent­ly, such clemen­cy was not con­sid­ered appeal­ing to cin­ema­go­ers in 1968 – the film has a body count of over 100, with East­wood him­self killing more peo­ple than in any of his oth­er films.

It’s not only the vio­lence that reflects the era in which the film was made. The two female leads, played by Mary Ure and Ingrid Pitt (her­self a real-life Holo­caust sur­vivor) are both very much prod­ucts of the late 60s. They are writ­ten as quick-wit­ted and inde­pen­dent­ly mind­ed agents, and at least as adept with a machine gun as East­wood. Nev­er­the­less, they repeat­ed­ly find them­selves sub­ject to uncom­fort­able ogles and leer­ing remarks from their male co-stars, both heroes and vil­lains. This con­flict between strength and objec­ti­fi­ca­tion is an embar­rass­ing para­dox, but com­mon­ly found in films of the era (1968 also saw the release of Jane Fon­da sex­ploita­tion clas­sic Barbarella).

These flour­ish­es of 60s counter-cul­ture give Where Eagles Dare a sub­ver­sive edge which helps to explain its last­ing appeal and influ­ence. When East­wood turns his sub­ma­chine gun on a horde of unsus­pect­ing Nazis, it’s dif­fi­cult not to cast your mind for­ward 40 years to the bloody cli­max of Quentin Tarantino’s Inglou­ri­ous Bas­ter­ds. Indeed, Where Eagles Dare even takes a sim­i­lar­ly loose approach to his­tor­i­cal authen­tic­i­ty, from Eastwood’s bouf­fant hair­style to the inex­plic­a­ble appear­ance of post-war Bell 47 heli­copter. It’s a fan­tas­ti­cal and stylised vision of World War Two which was quite rad­i­cal for its time.

Where Eagles Dare serves as a bridge between two eras of Amer­i­can action cin­e­ma – the blood­less fun of The Guns of Nar­varone and the unflinch­ing bru­tal­i­ty of Dirty Har­ry. With this in mind, it feels apt that the film brought togeth­er Hol­ly­wood vet­er­an Richard Bur­ton and rel­a­tive new­com­er Clint East­wood. While East­wood would soon become one of Hollywood’s hottest prop­er­ties, Bur­ton was nev­er again to star in a major box office hit. Let’s hope his step­sons were happy.

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