Flight from Ashiya

The screenplay tells the story of three men ,two of whom fought during WW2.Now they all work for Air Rescue Service with a commendable motto.The problem is that the film is far from being commendable.

During a mission,Widmark's dark memories come back to haunt him and ,in the middle of a sea rescue,we're offered a full flashback :he once loved a woman (Shirley Knight),and that is supposed to make us comprehend why he hates Japanese.But if it is bad ,a second flashback (dealing with Yul Brynner's past) is still worse.In a chocolate box North Africa ,he falls in love with an Arab girl -who barely looks Arab anyway.As George Chakiris did not fight during WW2(see above),the director spares us a third flashback,phew! This is a flick where even technical competence is at question and that is very ill-conceived.

In 1964 at Ashiya Air Force Rescue station in Japan, another Flight From Ashiya is launched when word of survivors on a raft in the North China Sea is heard. Two planes are given the mission.

While on the way in flashback we see the lives of three of the men on the rescue mission with various incidents from their past. The three are Colonel Richard Widmark, Lieutenant George Chakiris, and Sergeant Yul Brynner.

You're supposed to take only essentials, but in this situation all three men are taking a lot of baggage along. Both Widmark and Brynner met and lost their true loves during World War II and Chakiris blames himself for the deaths of several people during another mission ten years earlier that both Widmark and Brynner were on.

There are some very nice flying and rescue sequences in Flight From Ashiya, aviation buffs will love this film.

Best performance in the film has to be Yul Brynner the half Japanese half Polish American sergeant who decided to make a career of the Armed Services even after World War II. My guess is that Brynner probably served in the 443rd Division of Nisei and served in Italy as well as North Africa where his flashback takes place.

Widmark was a civilian pilot who ran an airline in the Phillipines before World War II where he met Shirley Knight. What happens to both of them after Pearl Harbor and the invasion of the Phillipines shapes Widmark's attitudes.

Last year Dennis Quaid and Ashton Kutcher did a film about the Coast Guard Rescue Force called Swimmer. A lot of Flight From Ashiya was incorporated into that film. That was a worthy successor to Flight From Ashiya.

If you want to see this film it helps being not too attentive. This film has a nice surface which promises an entertaining, adventurous film but unfortunately "Flight from Ashiya" instead is full of clichés, stereotypical characters and of often unintentionally funny story lines. "Highlight" is the story of Yul Brynner which takes part in Africa and which involves a super-exotic woman and a doll's house's Africa. The end of this part of the film is ridiculous and at the same time disgusting and a perfect example of the exploitation of a character for a very cheap effect. The most funny is the pathetic narrative voice-over commentary which claims that everything in this film really happened - which indeed would surprise me... All in all "Flight from Ashiya" unfortunately is a perfect argument for all the people who despises classic Hollywood films for being stereotypical and false, which this film surely is.

In Flight from Ashiya, Richard Widmark, Yul Brynner, and George Chakiris are search and rescue pilots. It's a tough business, one that requires compassion, courage, and logic. Sometimes, not everyone in need gets rescued because there's limited room in the planes. Dick is supposed to be the hardened villain, and we're supposed to be on George's side. But anyone who knows anything about their profession will take Dick's side! They're a search and rescue crew; not guardian angels. By definition, they have to search and rescue those they can. They can't save everyone, and some people will be left behind to die. Yet George gets tears in his eyes and calls Dick and unfeeling monster. It's pretty unfair.

And, as we learn through flashbacks, Dick has had his fair share of heartache in his past to help harden his heart. He fell in love with beautiful, sweet Shirley Knight; but since he's got "pain" written all over his forehead, we can guess it didn't last. Details will be revealed in their own time, and Dick gets a nice big weeping scene out of it. How often does he get to do that?

No matter your type, ladies, you'll get to have some eye candy during this movie. Three tough guys with soft spots in their hearts are pretty irresistible to a female audience. While they each have their distinct roles (Dick is the uncompassionate veteran, George is new and too soft), Yul is the only one with an active love interest with Suzy Parker. We can all hope that he makes it safely back from his missions and into Suzy's loving arms. She didn't make many movies, so it's always a treat to see her.

I was surprised to find so few and low rated reviews on this deeply compassionate film about World War II veterans who chose to continue risking their lives by saving lives of others. George Chakiris, Richard Widmark and Yul Brynner have each one their own story to tell of profound human interest, Chakiris battling with a constantly bad conscience for having failed in one rescue emergency operation during the war, Widmark constantly battling with his hatred of the Japanese because of what they did during the war with his love Shirley Knight as a casualty, and Yul Brynner, part Japanese, part Polish, recalling his crushing love affair in Tunisia with a moslem girl he wanted to marry. It's a great film for its very realistic pathos offering an alternative solution to the most common war trauma: not to be able to stop fighting, and usually resorting to drinking or drugs for a bad recompense; but these men channelled their persisting war energy into an Air Rescue Service, battling their guilt complexes and insufficiency traumas by saving and rescuing lives in desperate need. Most of the film is flashbacks from the war, but the situation is of timeless and universal interest.