MovieChat Forums > No Highway in the Sky (1951) Discussion > Ruminations on plot points, no DVD, UK v...

Ruminations on plot points, no DVD, UK version, etc.


I've watched this movie for many years and have always loved it. So let me share a few thoughts or questions with other fans....

As I got older it dawned on me that an unrealistic (sadly) plot point of this film is that the aircraft manufacturers seem genuinely glad to see Stewart's calculations vindicated at the end, and to learn that the Reindeer is indeed unsafe -- at one point they even tell Stewart that they'll all be very grateful to him if he proves to be correct. In 1951, that might have been the sort of scenario most people would have liked to believe in, but as we all know corporations will do anything to cover up defective products, keep putting them out, deny any culpability, and suffer through endless lawsuits rather than admit wrong-doing. Can you honestly imagine any owners happy about learning their product is dangerous and eager to pull it off the market and out of service, at a cost of millions? If they remade this today, guarantee they'd change that aspect of the plot to show the aircraft execs conspiring to thwart Stewart's character's research and suppress his findings -- which, sad to say, is exactly what would happen in real life.

It was common practice in this era to omit many of the performers' names from the credits list, but NHITS goes really overboard on this, not listing, for example, the pilots (Niall MacGinness and Kenneth More), or other well-known actors such as Wilfred Hyde-White, Maurice Denham and others. Also, there's no credit for the music, heard only over the opening credits and at the end. Years ago I decided that it sounded like Malcolm Arnold's style, which was always pretty predictable, and I was pleased to learn I had guessed correctly! (For once.) Anyway, has anybody seen the British version of this film, titled simple NO HIGHWAY (which was the title of the book)? Are the credits more complete, or at all different, than those in the US version, or are there any other differences?

Although NO HIGHWAY was the title of the book, I have to say I think the US variation, NO HIGHWAY IN THE SKY, sounds better, a bit more poetic and uplifting.

Finally, why no DVD yet? I have the VHS but this film deserves a top-flight [sic] DVD release. I'm hopeful that in 2008, Fox (and other studios) may put out several as yet unreleased James Stewart films to mark his centenary. If they do, NHITS would seem not only a logical release, but a must! Meanwhile, it has reappeared on the Fox Movie Channel the past month or so.

God, James Stewart would be 100 next May! Where did the twentieth century go? And where has Twentieth Century-Fox gone with NO HIGHWAY IN THE SKY?

Thanks for reading.

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hobnob,

I TIVO'd this a few days ago and I'm getting ready to watch it. But I'd never heard of it before so I came to IMDB to find out a little about it.

Let me pick up on your cynicism. You said: "Can you honestly imagine any owners happy about learning their product is dangerous and eager to pull it off the market and out of service, at a cost of millions?" My answer is: NO...but I can imagine that a corporation would like to be depicted in a movie doing exactly that.

Can't make anymore comments now...I haven't seen the movie yet...but I'm cueing it up now. I may be back with more comments after I've seen it.


Ciao, e buon auguri

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Jeffthinx,

I hope you enjoy(ed) NO HIGHWAY -- I first saw this in the early 60s when I was a kid, and it's been a favorite ever since. I'll be interested in your reactions.

Talk to you later.

hob

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hob,

I did enjoy it. I love those old '40s and '50s black and white movies. They remind me of the innocence of my youth. Plenty of plot holes and lots of naive stuff our 21st century sense of realism laughs at.

That plane was very futuristic looking for the time, but looks rediculous today. But Jimmy Stewart was always good at playing absent-mindedness. I never really thought of him as a comedic actor. And I never saw the one he did with the invisible rabbit (what's it called?). But he does a good job of being goofy.

After watching this movie, I dug out "Diplomatic Courier". Another movie with lots of unrealistic stuff in it...but scenes of Europe which sent me on a nostalgia trip back to my days in the '50s when I lived in Germany.

Love black and white. It's so colorful!



Ciao, e buon auguri

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Jeffthinx,

Glad you liked it! But speaking of futuristic....

If you noticed, when Stewart is talking to the flight engineer on board (just before he hears that they're on their third set of engines and the plane is near his failure deadline), he remarks, speaking of the engines, "Yeah, but they're kind of old fashioned, aren't they?" Earlier, when Major Pearl (Maurice Denham) is taking Jack Hawkins on a tour of the plant, he shows him some prop engines and says something about how "they're pretty much obsolete, we'll be all jets in no time." Even in 1951, they could see the end of propeller flight (at least for big aircraft) on the horizon, and in fact Britain did introduce the first passenger jet, the Comet, the next year. And, of course, the Comet was soon grounded because -- its tail fell off due to metal fatigue! Talk about a weird coincidence. (There's a thread on that on this board.)

I always thought the two planes (not airplanes!) on the tail looked aerodynamically unsound, but then I'm not an aircraft designer.

The movie with the invisible rabbit is HARVEY (1950). I can't believe you've never seen it! Stewart reprised his stage role (which had been originated by Frank Fay, who people who saw both Broadway productions thought was better, though I find that hard to believe). This is one you've got to rent or buy. Although they padded the movie out with some unnecessary silliness, it's basically faithful to the play and is quite delightful. Stewart got his fourth (of five) Oscar nominations for his performance, and Josephine Hull, repeating her stage role as his dotty aunt, won the Oscar for Best Supporting Actress. (She was almost exclusively a stage actress and did I think only six movies, but two of these were very memorable recreations of her Broadway work: HARVEY and ARSENIC AND OLD LACE.) Anyway, this is a very famous role and film and you've really got to watch it. It's not slapstick but rather whimsical and gentle in its humor, and definitely one everyone needs to see.

Stewart did a lot of comedy later in his career, much more than he'd done early on, often directed by the same man who helmed NO HIGHWAY, Henry Koster, who was known for his ability at light fare, what today we'd call "family films". I always thought him an odd choice to direct NO HIGHWAY as it's pretty out of character as subject matter for him, but he did a good job.

I thought DIPLOMATIC COURIER was okay, a little convoluted, and as you say, unrealistic (unlike other movies?!). One of those somewhat routine films 20th Century Fox was forcing on Ty Power as his contract with the studio neared its end. I'm wondering whether this one too might soon make it to DVD, as Fox is reportedly preparing a second box set of Power's films.

I love black and white too. Can't stand colorization. I don't understand why some people have such a violent reaction against b&w. Well, it's their loss. Hope to hear from you again. Watch HARVEY!

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hob,

It is an interesting (almost eerie) coincidence that the movie presaged the Comet and the concept of metal fatigue. And you can see in this movie that aerodynamics was still in it's early stages...the "kicked-up" shape of the tail of the fuselage, and the big bubble canopy (as well as the double tail planes) was more stylistically futuristic than efficiently functional, as the engineers would soon realize.

I've heard about "Harvey", and even seen trailers. But I've not been much of a lover of fantasy since I was a child. I guess that's why I never was anxious to see this film. Maybe I'll give it a look next time it's on TV. And I'll pay attention to Josephine Hull.

I'm impressed by your film knowledge. I've been recording onto DVD a lot of films over that last year or so...just for my own collection. And I've been paying attention to credits I never payed attention to before...cinematography, editing, music, etc. So I'm starting to become familiar with things I hadn't noticed before. And WOW!, was Jerry Goldsmith prolific, OR WHAT?!

By the way, as long as we're having this conversation, perhaps you can help me with a credit I've never understood. What exactly does a production designer do? And one more thing. I see credits (in newer movies) for "foley artist". What is foley?

Thanx, hope you're having a happy holiday season.

Jeff

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Jeff,

I always enjoy checking out a film's credits, especially older ones where you often see names of people who years later became directors or held other prominent jobs in the industry.

A production designer is the person responsible for the look of a movie -- essentially, he translates the script into a visual reality. Actually his is the most complex position on a film. The p.d. has to know about costuming, architecture, graphic design, construction, and so on, as well as have a solid grasp of lighting, cinematography, editing, sound and visual effects, etc., plus history and other fields that are needed to give a film the proper look and context. He also has to be able to budget his work within a film's resources and understand the financial and technical aspects and constraints of a movie he's working on. In doing all this he of course works with the rest of the crew in the areas of their particular specialties, but he's the one ultimately responsible for the look and design of a film. Another term used for a p.d. is art director or set designer. It's a very difficult, far-ranging job, as you can see, and arguably the most vital position -- except possibly the director's -- on a film.

A foley artist is a sound technician responsible for adding or modifying sound effects on a film during postproduction, especially sounds made by people (natural sounds like kissing, or sounds created by human actions, like footsteps).

A neat thing about music is that after a while you get so you can identify particular composers' work by their styles. As I wrote at the top of this thread, NO HIGHWAY carries no music credit, but I guessed it was Malcolm Arnold's (he won an Oscar for THE BRIDGE ON THE RIVER KWAI six years later), because his style is to me very familiar (and, frankly, repetitive). It turned out I was right, which may or may not be an admirable thing!

I've picked up all this stuff over the years, and they even got me to host a weekly classic film at a club I belong to in the summer, where I choose some movie then talk about it, its cast, director, whatever, before and after. Been doing that for six years now, and have a modest following. It's fun, especially if I can dig up something that people aren't familiar with. And that forces me to try to find out more info or gossip to keep things interesting!

Thank you for your holiday wishes, I hope you and you family have a happy season as well. Talk to you later.

hob

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hob,

Thanx for fleshing out Production Designer for me. I'd heard it described as the responsibility for the "look" of a film, but you've clarified it more for me.

Compared to you I'm obviously a novice film buff, but I am starting to recognize the work of some artists before I see the credits...mostly music so far (Elmer Bernstein, John Williams and Jerry Goldsmith). But the more I watch the more I notice things like cinematography and editing with a critical eye.

It's nice that you have the opportunity to share your knowledge through the film club. I'm sure I could enjoy picking your brain as I learn more and more about movies...especially older movies. I'm enjoying this continuing conversation.

I look forward to hearing back from you.

Jeff


Ciao, e buon auguri

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Jeff,

Going onto email might be an idea. I'll contact you at some point so you can send back. As to the crazies, just hit the Edit tab on your post immediately above and delete your email address and attendant language (including the "crazies" reference!). Since no one else has cued in on this thread as yet, I doubt anyone's seen it. But leave the rest of the message, we can come here too.

My favorite film composers of old include Dimitri Tiomkin, Elmer B., Max Steiner, Franz Waxmann, among others. In the summer of 2004 Bernstein, Goldsmith and David Raksin (LAURA, THE BAD AND THE BEAUTIFUL) all died within two weeks of one another, a big loss of the older generation of Hollywood composers.

I'll check back with you, here or on line, in a couple of days. Always glad to have my brain picked and exchange information. And again, a Merry Christmas to all!

hob

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hob,

Thanx for the edit suggestion. Talk to you later. Merry Christmas

Jeff

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Fast editing, Jeff!

I usually use that device just to edit out my mistakes so I sound smarter!

Catch up with you later. BTW, in the spirit of the film and the season, you don't suppose Santa Claus uses the wrong sort of "Reindeer", do you? I mean, who ever heard of a sled with metal fatigue?

hob

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hob,

How did I know that was coming?! I wonder if the set designer didn't, just for a joke, stick a big red ball on the needle nose of the plane some night after shooting when they were all sitting around having a toddy.

Jeff

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hobnob53,

I just saw the movie today on cable, and enjoyed it as well - although it seems quite quaint, with the reactions of the the British Airline employees and company seeming to be a product of the post-World War II zeitgeist before terrorists targeted civilain airliners and various famous technical gaffes struck later airline designs with mid-air crashes.

I have a degree in aeronautical engineering (as well as environmental engineering - which is the field in which I work), and I remember well our class discussions of the British Comet. A few points below:

1) Technically, the tail did not fall off of the Comet after metal fatigue. Rather the fuselage cabin developed a crack around the escape hatch leading to failure and explosive decompression in flight.

http://www.tech.plym.ac.uk/sme/interactive_resources/tutorials/FailureCases/sf2.html

As you noted, the tailplane design is odd - however the "biplane" design in he tail with dual horizontal stabilizers doesn't give any significant flight advantages (who needs more lift in the tail?), but would give several disadvantages (e.g. more chance of vibrational flutter at different speeds/angles of attack).

2) In the 1950's airplane manufacturer's where beginning to design and build pressurized cabins for crew and passengers - higher altitudes meant less fuel used - and having passengers on oxygen masks and and heated suits was impractical. The cycling of pressurizing and depressurizing the cabin for each plane flight involves stressing the metal cabin structure some 5-10 lbs psi.

Aeronautical engineers at the time didn't give this much thought, as overall metal fatigue generally took hundreds of thousands of cycles to manifest itself in civilian plane designs before pressurized cabins - DC-3's (manufactured 1930-1940's) are still in service hauling cargo in some regions.

3) Stress fatigue is notoriously difficult to predict - unlike Jimmy Stewart's mathmatics. In more simple engineered structures the number of cycles can vary by more than 10 percent. This can lead to plus or minus 10,000 flights or more.

4) Metal fatigue stress in cabin designs has continued to be a problem throughout the years. Remember the Boeing 737 that blew out half of it's cabin over Hawaii in the late 1980's. If I remember correctly, a stewardess was sucked out of the plane during the initial event, but the crew landed the plane safely saving all passengers.

I just checked Wikipedia on this incident. Interestingly, this incident occurred on a Hawaiian Airliner, where the number of cycles could quicly build up on island hops, and the plane would subjected to a continuous saltwater environment.


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barry-lewis-1,

Terrific information you passed on. Knowing nothing of aeronautical engineering, I'm glad to hear your analysis of the odd tail design, as it always struck me as a layman as being not only of no use but possibly contributory to the problem in some way (though I certainly could not have understood how). Thank you also for your description of the Comet's problems.

One thing in the film makes no sense to me, but then engineering is, as I say, not my specialty. The denoument has Stewart "realizing" that the reason his prototype tail didn't fall off as predicted was that his tests were being held in a heated shed, so that if he'd lowered the temperature 40 degreees it would have collapsed on schedule. But he adds that the two planes whose tails had fallen off had been flying in the tropics early in their deployment, before being shifted to colder climate service. Yet their tails fell off as predicted, at circa 1440 hours.

So: if the two long-service planes had spent part of their time in warmer air and the rest in colder climate, wouldn't that also have skewed his figures, as the temperature variation and subsequent shift would have also affected the "timing" of the onset of the tails' metal fatigue? Presumably his calculations either ignored temperature or would have assumed the same, relatively steady temperature variables for the aircraft. In that case, a plane flying steadily on the same run might suffer metal fatigue at 1440 hours, but a plane subjected to unusual heat during some or all of its service life would have a different failure point -- assuming temperature is, as he states, a key factor. I would expect that the two airliners would have experienced fatigue past 1440, but before whatever hour figure (I think it was 1500-something) was reached by his tail prototype.

Can this be correct?

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I haven't checked back on my post for awhile, so sorry for the late reply.

To answer your question about fatigue stress vs. temperature I'll take up a couple of points below:

1. I did some checking on the relationship to metal fatigue vs. temperature and found that in general, metal fatigue occurs more quickly at higher temperatures than at lower. However, it can be shown only with a very wide temperature range between the two (e.g. -50 degrees C vs. 196 degrees C). You won't see these ranges of temperatures in the air.

2. Cold air at the altitudes othat commercial aircraft travel are universally cold no matter where you are on the planet. You're going to be in the neighborhood of -50 C to -10 C no matter what. And the airplane is going to spend the majority of it's service life in this environment when in flight - and the airplane must make a flight in order to count as a "Cycle" in the load calculations.

I think that this point has been lost in the movie. It's not the number of hours in the air, but the number of times the wing has been flexed with a certain amount of force - and the bigger forces are what count (flying vs. sitting on the ground or flying straight and level vs. pulling out of high speed dive).

Actually, corrosion plays a much stronger role than temparature in decreasing the number of cycles until failure. That was the real problem in the case of the Hawaiian 737 mentioned previously. Salt works it's way into the microscoping cracks as they form, causing oxidation of the metal. Metal oxides are far, far more brittle than the metal itself.

3. I wasn't going to get into this (I erased it in my original post), but stress fatigue varies with the logarithm of the number of cycles and this is what makes predicting failure of the structure so hard for engineers and aircraft inspectors.

To explain, Earthquakes are measured on the Richter Scale which is logarithmic. An earthquake magnitude of 7 is ten times stronger than a magnitude of 6 and a hundred times stronger than a magnitude of 5 and so forth.

Aluminum has no measurable maximum endurance strength that can be pointed to on a graph measuring # of cycles (logarithm) vs. a repeated stress load (unlike steel). The curve at the upper end is relatively flat. This means that for two identical planes seeing the same number of cycles (ignoring corrosion), with the same wing loadings (easily done as one plane doesn't fly empty and one full of passengers for their entire service lives) - one plane might have a wing failure at 1,000,000 plane flights and it's twin at 10,000,000 plane flights.

Hope this helps.

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Believe it or not, yes, this does help! Although planes of that era (pre-jet age) would not have been cruising at anything like the altitudes now flown (c. 30,000 feet); their normal flying altitude would have been nearer 9,000. Thus, the outside temperature would have been much higher than those routinely endured today. This factor may have made some difference in re the notion of the two prototypes having flown in the tropics -- they would in fact have encountered higher temperatures than those on a transatlantic run, because they wouldn't have been at the heights where temps of -10 to -50C exist worldwide.

I think!

Thanks for the detailed information -- really interesting.

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[deleted]

My own background is in metallurgical engineering and general aviation as well, and I appreciate your comments. Do you know to what extent stress corrosion cracking was identified as a factor in the Hawaiian event?

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I have no idea as to the extent of the corrosion and, hence, the degree to which it caused the Aloha Air crash, only that this was a factor -- presumably a major, perhaps the primary, cause. Unfortunately I don't have your and barry-lewis-1's technical knowledge, and I wish I knew more, as your question is interesting.

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I can honestly imagine the executives being happy about it. It would have cost even more millions in lawsuits, after it was proven that they had been warned earlier and still let the planes fly.

Of course they wouldn't be the kind of happy depicted in the film, but selfishly happy. Just relieved that the company wouldn't take a huge hit.

I guess it's like looking at clouds. You see one thing and I see another. Peace.

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Maybe the men in charge in that era had a greater sense of responsibility than those today...although the track record of big businessmen in such regards isn't good, let alone noble or public-spirited. Look at White Star and its reactions to the Titanic disaster.

Of course, by the 1950s people wouldn't have simply accepted their lot, as they had up through the early twentieth century, and been meekly resigned to their losses (of relatives, etc.). Lawsuits would certainly have arisen as planes crashed. A question is whether the Establishment (the aircraft manufacturer) would have yet adopted the practice all too common for many years now, of simply accepting a certain level of lawsuits as the cost of doing business, and found it cheaper to deal with legal claims and expenses than actually retooling their planes. The magnitude of the problem with the Reindeer was huge: this wasn't a matter of replacing a bad part, but of junking the entire fleet -- perhaps scores of planes -- since the very metal they were constructed out of was itself the problem. There was no recourse but to destroy all the planes and rebuild with other materials. The British aircraft industry in fact had to do just that after the Comet began crashing in 1952-53...due to metal fatigue! The publicity and scope of the problem was just too great to ignore. But I doubt anyone was the least happy about it, even if maybe Lloyd's of London bailed them out financially.

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I don't know about that. Metal fatigue cracks may be prevented in known cases to day simply by adding layers of reinforcing alloy in the affected area (as is done on the Boeing 737's), and vibration characteristics might be altered by making some airfoil changes (as was done on the Bell X-1). Reconstructing merely the tail sections of the aircraft using different alloys and/or designs by itself would likely mitigate the problem without having to junk the entire aircraft.

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That's a very good point, and such a fix might have been possible for the Reindeer. Even so, it would have cost millions, and what the Establishment chairman called "the almost ruinous publicity" the planes had received might have rendered them a "product liability" even if they could have been reconditioned to be absolutely safe from vibration-caused catastrophes. In real life, the Comet never recovered commercially even though refitted planes eventually served as cargo craft. I suspect that, at best, a similar fate would have befallen even "fixed" Reindeer -- had they not gone the way of, say, the Edsel...or the Hindenburg!

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The irony struck me too, but I can't help but think that, given the overall quality of this movie, it was intentional. Although it was not played up in the movie, such a situation is not hard to believe in real life, as any fan of the Dilbert cartoon series knows. The people in the metallurgy department would want to be proven right if only to preserve their own job security even if it meant that the rest of the company suffered in consequence. This by itself could explain John Hawkins's feelings, since he was the head of that department. And in this case, with Stewart having made such a dramatic spectacle of himself by wrecking the aircraft, the whole organization would have risked looking bad either way. One other thing to bear in mind is that it wasn't a purely private project, but was government-subsidized (likely by the socialistic post-war Labor government), which would have introduced a whole other dimension to the public affairs aspect of the problem. In this regard you'd have to know something about popular attitudes toward the government at that time; remember, this is the same country that rejected Winston Churchill as prime minister at the very moment he had achieved victory in World War II.

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I think the natural, or perhaps reflexive, tendency of any group -- be it a corporation, professional group, anybody -- is to rally around the group and defend itself and its members, even when they're clearly responsible for errors or wrong-doing. This is why I think the resolution of the film is a bit unreal. The metallurgy people had actually overlooked the issue of metal fatigue, since only Stewart was pursuing it: Jack (not John) Hawkins had in any case just come on the scene, and the company was plainly shown to be willing to jettison Honey (Stewart) to save its own reputation, at least before he was found to have been right. In real life, I think Honey, while he probably couldn't have been outright fired, would have soon found himself transferred to other duties elsewhere, someplace where he couldn't cause further problems for the ownership. And the aircraft company (and the airline) would have taken the lion's share of the credit for "protecting" the flying public and solving the problem, even though they had previously rejected Honey's findings and had fought against any inference that the Reindeer were unsafe. Whistle-blowers may fare better today than in earlier years, but the power still remains with those who caused the problem, few of whom pay for their mistakes, and many of whom continue to wield control of their enterprises (corporate, governmental, whatever).

I agree, the fact that the companies involved were now nationalized would add another complication to affairs. (This film was made in 1951, when the Labour government was in its sixth -- and final -- year of governing after WWII, and it had long since nationalized these and many other companies. The Royal Aircraft Establishment in the film was a real entity, and a government-run company.) But at that time, nationalization and the like was generally popular with, or at least not seriously opposed by, most of the British public, and the government -- as I said, like any government, any group -- would do whatever it could to avoid responsibility for a problem, then take credit for a fix it had initially opposed (much as today's Congressional Republicans denounce economic stimulus legislation even as they grab millions for their own states, then claim credit for projects funded by the legislation they had actually voted against).

Labour's ruinous economic policies did indeed have long-term deleterious consquences for British industry, but at the time, any steps seen as "redressing" Britain's notorious class differences, and the privileges of the few vs. the hard lives of the working class, were popular. Even the Conservatives, who swept back into power under Churchill later that year, never took steps to undo any of the changes wrought by Labour, which remained fixed in British life until the country was near economic collapse in the late 70s, when Thatcher came in and changed the country's economic set-up -- at least to some extent. Churchill and the Conservatives were thrown out in 1945 because, with the war now ending, they offered nothing to the average voter for the future -- no program or promises or willingness to change things, or any indication they realized the yearning for a better life of most hard-hit Britons, while Labour understood the public mood and offered the chance of making things better. People were grateful to Churchill but he was seen as out of touch, which to a large extent he was, if you know about the campaigns waged by each side in '45.

As far as a scenario such as the one in this film is concerned, if anything, people would have been far more forgiving of a government-run industry, as it was perceived as at least working for the people and preserving jobs, than they would have been toward a private company, which would have been portrayed as a heartless, uncaring industry bent on profit for the few at the expense, even lives, of others. And there was (and continues to be: see Toyota) quite a lot of history in the western world of companies behaving in exactly that way to give such a view a great deal of credence.

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I always loved this film, since first seeing it in the 1960s as a kid. (And as cheesy as the special effects look today, I thought they were pretty cool in 1963!)
For a remake, we could have an engineer at Toyota finding a hardware/software glitch in fly-by-wire throttles and being unable to convince company officials to act.

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I joined American Airlines in April of 1979, working in their computer department. This was just one month before the tragic crash of Flight 191 in May.

My first major job was to go through the passenger list of all people on that aircraft to hand over to investigating authorities. I can tell you I could barely read through the tears.

When it was discovered that an AA employee had come up with a new procedure to save man-hours and theorized it would improve safety (though this proved in error through a combination of ergonomics and DC-10 design flaws), AA neither attempted to cover this up nor avoid criticism and blame. They were devastated. There was a pride of doing things well, not just for business for the safety of the passengers that permeated AA at that time, and from the CEO Al Casey down to that mechanic, this truly haunted them for the rest of their days.

Regarding this film, I think both the President and the head of Metallurgy were anxious to be very fair to Honey (remember the scene in the President's office after Honey had trashed the plane). Perhaps the Board was eager to jettison Honey, but then Boards are not necessarily members of the company itself but officers of other companies whose duty is to 'protect the value of the business' they are hired to govern.

No business is perfect. This is certainly recognized in the movie by the attenuation of testing hours from 24x7 to 8x7 to accommodate the community (to preserve them from the racket in off hours). But note the willingness of the company to go right to 24x7 to determine if Honey was right after the trashing of the plane, and the fact they let the tests continue well beyond the 1440 hours (watching their clocks all the while).

We get a lot of our impressions from the media, who seem more and more to think it’s their duty to highlight failure and bad news, and not the many good things going on in business today. There have always been some bad corporations, or at least bad officers in corporatons; but I’m betting there are many times more businesses trying to do right by their customers and their employees. It’s like your acquaintances – how many of them are truly selfish, uncaring, and evil? Probably less than 1%. Yet most of what we hear in the media is about that 1%, not the 99% who however imperfect are striving to make the world around them a better place for themselves, their families and their community.

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And that is why my mother and I, having to fly every few months in the mid- to late 70s, flew AA and no other. Thank you.

Let's just say that God doesn't believe in me.

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I'm glad to hear your experiences, but it's a question how widespread such inclinations or practices are.

Shortly aftert his film was released, the British Comet jet airliner began crashing all over the world, yet BOAC persisted in passing the jet as fit for flight and refused to ground it for any significant length of time until two or three other Comets had gone down, after which they finally grounded the aircraft and discovered the flaw in its design.

I don't indulge in cartoonish depictions of people or organizations, but the fact remains that most companies deem it easier to pay off claims than fix a problem ahead of time. History is replete with such examples.

The fact is most corporations' natural inclination is to protect their good name and deny any responsibility for error. This is true of the airline industry, though the scrutiny of governmental agencies and competition make it harder for airline companies or plane manufacturers to deny responsibility for problems than similar organizations can get away with in many other industries.

As far as this movie goes, I just do not believe that a company would so openly welcome evidence of their failure, and the millions in costs this would entail, as is depicted in the film. True, they'd try to correct a problem once they'd been convinced it existed, but they would certainly deny that any such actions would have been the result of a whistle-blower, or that any "serious" issue existed beforehand: it would have been put down to some routine or preventive action on the part of a "vigilant" airline. On the record, virtually all big entities -- corporate, governmental, or other -- attempt to cover up their faults, or try to at least mitigate their own responsibility. No Highway itself shows directors of the "Establishment" doing whatever they can to discredit Honey and preserve a false, flawless image of British transatlantic aviation, at any cost.

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I believe the company employees, even its officials (and remember Directors are not necessarily members of that company) are depicted as wanting to be fair and do the right thing. This is clearly shown by the attitudes of the company President and the Head of Metallurgy. To be fair, they may also have thought themselves indemnified from liability, as Honey did not release anything official to them, only a preliminary general statement of concern.

It was Honey's desire to wait until all the evidence was in before filing an official report that legally could have gotten the company off the hook.

Therefore I find it very believable that the people in the company could support the safety findings of the final test, corroborated with the Labrador tail section findings, to then pull all the planes from circulation until their issues could be addressed, as only at this time was there positive proof of a need for action.

I, and my father before me (he head of Operations/Flight Control for Continental for 43 years, I have been in the business for 42 years now) have been involved in the airline industry for a very long time. True, I have not met with every employee of the industry, but those I have met with, which includes CEOs, Presidents, Directors and many line workers, have always evinced a very serious and dedicated attitude towards safety.

I can only speak from this personal experience, but I cannot believe that experience (broad as it is) is unique.

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Perhaps I have too jaded a view based on reading of too many irrepsonsible actions on the part of "powers-that-be" in many industries. One reason the airline industry might be better at tending to problems is that, unlike, say, a mine operator, they owe their livelihood directly to the public; therefore, they have to pay close attention to safety to insure they stay in business. Companies that do not deal directly with the public -- ordinary consumers don't go into mines for their coal, or into slaughterhouses for their meat -- might be more inclined to try to get away with things than someone on the front lines, dealing directly with the public.

But remember that in the film, the directors were prepared to condemn Honey as having "an unbalanced mind" -- not simply say he was mistaken, or the evidence wasn't all in -- but to throw him to the wolves and, as Honey himself complains, lose his research even though it may have some truth to it. Whether the directors were all in the industry itself is irrelevant. They ran the Establishment and were prepared to drop the matter altogether and scapegoat an innocent man in order to prevent further damage to British aviation (as they also say at the meeting).

The fact that in real life BOAC delayed doing anything (or really, anything much) about the Comet until several had gone down indicates a reluctance to put safety before reputation.

Also, Honey's desire to wait until all the evidence was in is depicted, properly, as a bad thing, in that he was willing to allow people to board the Reindeer and fly in it even with their lives at risk, simply because he was detached from the real, human consequences of the problem he was investigating. To him, it was just an academic exercise.

But I agree, I've known a few commercial pilots and they and the people they work with were all concerned first and foremost with safety. But the fact that they were the ones whose lives were on the line is a powerful motivator. The front office might not always have such a sense of urgency, or at least it might be overly concerned with misguided conceptions of public relations and corporate reputation.

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I can understand the jadedness (word? :)) of many readers of the media -- after all the media seems to think that it's their duty to highlight mainly the negative aspects of humanity for the reading public.

As I mentioned in an earlier thread, we cannot judge the world by what the media has to say about it. That's because the media focuses only on the negative. Who can say how many wonderful and inspiring things have been done in the airline, or any industry, that never get reported? Based on my experience, 1000s of things on a daily basis worldwide. But they never get the publicity that the occasional negative thing does.

As I said earlier, probably less than 1% of all the people we have ever met are truly selfish, uncaring people. If this is true in our wide circle of acquaintances, I venture it is true throughout the world. Thousands of acquaintances after all is a pretty good sampling pool for humanity.

That is why we must all be careful what lessons we learn from the media -- that source is surely a biased, unrepresentative sampling of all things that occur...

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It's easy to criticize the media (and Heaven knows they often deserve it), but that's basically a rather glib, meaningless cop-out. The truth is that most media try to report the news. There's some truth to the old adage that if they reported the "good things" that are done every day, then we should worry, because then such things would be the exception, not the rule. As a minor elected official, and a journalist by training, I have had occasion to see how the media both succeed and fail in their news coverage, and I can be either critical or complimentary of them as the circumstance warrants. The implication that everything the media say is biased or incomplete and therefore never to be trusted is ridiculous. Like any other source of information, what you hear should be treated with an appropriate amount of skepticism, depending on the source.

If you're implying that corporations are more "truthful" or honest than the evil media, this is preposterous. The fact is that most companies try to get away with as much as possible, and that includes skimping on safety concerns whenever they can. Obviously this is a broad statement that varies from industry to industry, but it does constitute the basic norm. Take the auto industry. For decades, it has fought every safety concern tooth and nail and refused to take any positive actions until compelled to by government action (and the media spotlight). Seat belts, air bags, anti-lock brakes, the list is endless. None of these things became part of the American automobile until Detroit was forced to make the changes by a public aroused to the flaws in their cars that were killing thousands every year. Even airlines, where as I mentioned earlier there is direct contact between the companies and the consumer, have skimped on safety in some ways -- notably in the utter disregard shown by some airlines toward the critical issue of pilot fatigue (witness the crash near Buffalo, NY, the other year). This is an example of a thoroughly foreseeable problem that some airlines, mostly feeder and commuter ones, simply ignore.

In any case, all this is off the track. You don't have to read newspapers or watch the news to understand that a primary motivation of many industries is to get away with the least expense, least bother, and least interference from regulation, as possible. History is replete with the consequences of such attitudes, from before the Triangle Shirtwaist factory fire a century ago to the present.

This has nothing to do with individual acts of kindness by average people. Of course, there are thousands -- millions -- of such acts daily. But there is often a disconnect between how people behave in their private lives vs. how they behave in a group -- and no rule even here. Many people would never put someone in danger in their private life, but would go along with policies set by their workplace that cause harm, even death, to unseen others. On the other hand, some people who can be nasty or dishonest personally can suddenly flip and become the most generous and concerned people around when placed in a group that values such selflessness (e.g., the military, a church, charities, etc.).

I think this debate has run its course, but the basic issue as far as No Highway is concerned is whether the company would welcome evidence of their error, and the loss of millions, with such equanimity, even eagerness, as many of the characters in the film evince. I believe that while they would ultimately have to accept the truth and take action, none of them would be so philospohical about it, nor would they welcome Honey's actions or credit him with finding the problem in the first place. Unfortunately, too often normal human practice is to cover up, defend the status quo, and discredit any evidence that threatens to disrupt their affairs; there are people in the film who behave this way. These men may be nice guys in private life and not heartless killers in their careers, but they still have conflicting impulses between doing what's right for the company, and just doing what's right.

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I hate to say it, but in addition to having a metallurgy background I have been a lawyer for over twenty years, and have defended many companies in lawsuits originating with accidents of various kinds. Whether a company wants to be very forward about their failings or wants to cover them up is something that can go either way. I'm delighted to hear that the airlines discussed here seem to take their primary obligations seriously, but as was shown regarding the loss of the space shuttle CHALLENGER, you can't take it for granted that every company will always be straightforward in acknowledging their failings.

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