| Flight from Ashiya | |
|---|---|
 | |
| Directed by | Michael Anderson |
| Written by | Elliott Arnold (novel) Waldo Salt |
| Produced by | Harold Hecht |
| Starring | Yul Brynner Richard Widmark George Chakiris Suzy Parker Shirley Knight Danièle Gaubert Eiko Taki Joseph Di Reda Mitsuhiro Sugiyama E.S. Ince Andrew Hughes |
| Cinematography | Joseph MacDonald, ASC Burnett Guffey, ASC |
| Edited by | Gordon Pilkington |
| Music by | Frank Cordell |
Production companies | |
| Distributed by | United Artists |
Release date |
|
Running time | 100 minutes |
| Countries | Japan United States |
| Language | English |
| Budget | $2.3 million[1][N 1] |
Flight from Ashiya (akaAshiya Kara no hiko) is a 1964 film about theU.S. Air Force'sAir Rescue Service, flying fromAshiya Air Base,Japan. In this American-Japanese co-production film set in the early 1960s, a flight crew's mission is to rescue a liferaft of Japanese civilians stranded in rough seas.[3] The film was based on the 1956 novelRescue! byElliott Arnold (repressed asFlight from Ashiya in 1959). It was released in Japan asAshiya Kara no hiko.[4]
MSgt Mike Takashima (Yul Brynner), Col Glenn Stevenson (Richard Widmark) and 1st Lt John Gregg (George Chakiris), all members of the U. S. Air Force Air Rescue Service at Ashiya Air Base, Japan, set out to rescue the survivors of a Japanese ship wrecked in a still-raging storm. As they fly to the site of the wreck, each man recalls a part of his past: Gregg remembers the avalanche caused in Europe when hisSikorsky H-19 Chickasaw helicopter came too close to a mountain. The avalanche subsequently buried alive the group of people whom he was attempting to rescue.
The accident has since caused him to fear flying solo. Stevenson, deeply prejudiced against the Japanese, recalls the reason for his hatred: as a civilian pilot in the Philippines prior to World War II, he met and married Caroline Gordon (Shirley Knight). She and their infant son later died in a Japanese prison camp when they were refused medical supplies which were being saved for Japanese soldiers. Takashima, half-Polish (mother), half-Japanese (father), reminisces about his tragic love affair with Leila (Danièle Gaubert), an Algerian girl, when he was an Army paratrooper duringWorld War II. He was unable to stop a bridge from being blown up, a bridge where Leila had run to look for him after learning that his unit was being withdrawn from town.
Stevenson, Gregg and Takashima are the crew of the lead aircraft of a flight of twoGrumman HU-16 Albatross seaplanes dispatched to rescue the Japanese civilians at sea. When one HU-16 crashes in the rough seas, Stevenson refuses to jeopardize his aircraft for Japanese lives. At the last minute, however, he recalls Caroline's dying plea not to hate; he overcomes his prejudice.
Takashima volunteered to parachute to the life rafts with rescue equipment. Stevenson and Gregg then land the aircraft at sea and rescue the survivors, but when Stevenson is injured in the landing, Gregg is forced to overcome his fear and handle the dangerous takeoff and the flight back to Ashiya.
Principal photography onFlight from Ashiya began on August 27, 1962, with a 12-week shooting schedule.[1] Most of the sequences took place in Japan with air base exteriors filmed at theTachikawa Air Base, home to theUSAF39th Air Rescue Squadron. Two of the squadron's twin–radial engine Grumman HU-16 Albatrossamphibiousflying boats were supplied to the production.[5][N 2]
Film reviewerHoward Thompson in writing inThe New York Times, was scathing in his review ofFlight From Ashiya: "Occasionally, it's diverting to see just how consistently bad a picture can be. Anyone interested should catch 'Flight From Ashiya', which opened yesterday at the Palace and other Premiere Showcase theaters."[7]
Aviation film historian Stephen Pendo, inAviation in the Cinema (1985) had a similar reaction;Flight from Ashiya was "dull" and ruined by "too many flashbacks."[8]
"I turnedFlight of the Ashiya down three times, and for some reason I couldn’t explain why I did not want to make that movie. I didn’t think it was right for me, but I couldn’t explain why. So I finally went to the head of the William Morris Agency and he gave me three reasons why I should make this movie. He said “It’s important to keep making movies. Look at the billing you’re getting. Look at your money you’re getting.” He didn’t say 'Maybe this is a career move.' He wasn’t thinking that way either. He thought it was important to be seen and the money was good. But if you’re thinking of a career and properties you want to associate yourself with, none of that was happening and I didn’t know how to make it happen. I don’t say that with any real regret, but it was something I had to learn."[6]