The greatest movie ever made..!

SERIOUSLY. This is what the crap Hollywood still puts out?

In other words,this film is a surreal ride.

It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

I was really surprised to find an 8.0 rating for this show when I looked it up on the IMDb. The truth is, it was a fairly heavy melodrama with largely contrived plots, pervasive overacting, and only selective loyalty to realism, something that always seems to characterize any fiction ever done about aviation on video. And yet, of all the shows I watched as a little kid and then got to see again as an adult, this is the only one that has really been able to continue to feel special to me in spite of all its flaws. Despite everything else, and at least during the first season with Lansing, it took its subject matter seriously and did not engage in dramatic license to too much excess (unlike in its last season-and-a-half). The episodes usually maintained internally consistent logic and emotional effect and careful attention was paid to editing; one remarkable feature was how well the editors knew their World War Two aircraft and were consistently able to synch the storyline and dialog of the combat sequences with the real-life combat footage inserted as part of those sequences. The aircraft interior combat sequences were all shot inside of the fuselage of a real B-17 (a permanently grounded wingless wonder that was a refugee of earlier post-war civilian uses like water bombing forest fires), so what you see there is as authentic as possible. Moreover, the brooding quality suggested by the subject matter (which Lansing was very effective in enhancing), the black & white photography, and the perfectly-conceived and executed bittersweet Dominic Frontiere theme and score, combined with flying, aerial combat sequences which included a great deal of real-life combat footage, and best of all, copious quantities of photography (both new and vintage) of the B-17 Flying Fortress, styled by one famous aviation photographer as "the most photogenic airplane ever built", created a unique kind of mood that has never ceased appealing to me since I was seven years old. As a result, after I grew up, I learned to fly and then through a stroke of exceedingly good luck just happened to find myself living in a city where one of the few remaining (there are only about a dozen) B-17's still flying was based, and there I joined the crew.However, in spite of what others have written, Robert Lansing was not perfect, even though he was certainly at least persistently interesting, and some attempt at verisimilitude was generally present in spite of the demands of dramatic license. And things only got even more contrived whenever an episode veered near Paul Burke playing the Joe Gallagher character. Thus, naturally, when Burke replaced Lansing in the second season it continued down the same track as the first except that its execution at practically every level was not up to the same standard. The contrived plots seemed even more contrived - not only was the acting of the new principal characters frequently weaker, but the writing itself was as well - and finally they went to color (it was by then 1966, after all), which fundamentally altered the mood, and yet something else was lost. In the third season, even the original striking score was largely abandoned for something a lot less brooding but also a lot less notable. Over that time the series went from a focus on high drama to much more of an action-adventure format, and started looking a lot more like THE RAT PATROL. As a result, both drama and even story details suffered in favor of variety and action, regardless of how realistic it made the end result. Even the editing became much more indifferent. Still, some new elements of interest appeared. Paul Burke's character, as the replacement for Lansing's, had some good, pretty credible dialog written to demonstrate his (as well as other senior officers') leadership ability, and he was pretty much up to the task of delivering it. In fact, there was a lot more believably representative dialog generally than in the first season, occasioned also by the fact that the newly formatted show at long last included some significant enlisted characters as well as more interaction among junior officers, and for the first time an actual sense of camaraderie developed at times between various characters; originally, every episode was limited to a confrontation between Lansing's character and whoever his antagonist of the week was. Moreover, a second extremely cool aircraft was added in the form of the legendary P-51 Mustang fighter, with excellent footage included, even if the plot elements to accomplish this were as often as not fairly strained, factually. But while these new aspects of the show gave the producers exciting new story opportunities it never realized its potential. Had the series capitalized better on this and stuck with the tighter writing and editing of the first season, perhaps it could have weathered the various changes, but it was not to be. Even after about Episode 8 of the third season, when the show actually did start to click pretty well as an action series, it was not enough to save it from cancellation. But still, 12 O'Clock High remains for me the thing that began my life-long love for the magnificent B-17 Flying Fortress, and eventually, for their real exploits and men that flew them.

It is truly fine to be among the fans and supporters of this fine old chestnut. I am also in my fifties, and I knew a lot of WWII vets when I was a kid. My father rebuilt the big airfield at Foggia in Italy and the pastor of the church I went to was a nose gunner in B-24's. I've known 17, 24, and 29 pilots. To them the series was right on the money.I always liked Lansing's Savage better than Peck's, but none of you noticed that the first few episodes were written by the men who wrote the original novel. In most cases, that usually makes for high production values and attention to characterization. Lay and Bartlett had a good ear for the experience because they lived it.I have used "The Men and the Boys" and "Golden Boy Had Nine Black Sheep" as teaching tools in my European history and American history classes. The kids generally take to them, once they get past them being in black and white.When this comes out so I can put it alongside "Rawhide" on my shelves, I will truly be a happy man.Bob Potter Wilmington, Delaware

This was a not only a thinking man's series about WWII but also one that had a psychological approach to the fatigue and emotional stress that these men had to face in the line of duty. This was one of the best if not the greatest television shows of its day that depicted the outcome of the challenges of the 918th Bombardment Group of the United States Air Force during the horrors of battle in WWII.When "Twelve O'Clock High",premiered on ABC in the fall of 1964,it was like a show unlike no other since it was based on the classic 1949 war film that starred Gregory Peck. The television show was a remarkable achievement that lasted three years on the air from 1964 until 1967,and produced 78 episodes,with the last 17 episodes in color in its final season. The black and white episodes lasted only two seasons from 1964 until 1966,while the color episodes ran from 1966 until 1967(the 61 episodes were in black and white from 1964-1966;the 17 episodes were in color from 1966-1967,in its final season). "Twelve O'Clock High" was head and shoulders above its competition and it is ranked to "Combat!" as one of the most intense dramas to ever depict about the horrors and scars and emotional traumas in the line of duty,that was World War II. While utilizing stock war footage for bombardment and astounding dogfight scenes,the brilliant story lines really addressed the timeless issues of the warfare and the effects on some of the individuals who were in the line of battle both on the ground and in the air. Issues and subject matter like heroism and cowardice,and integrity along with compassion and commitment were the order of the day. And it was brought to life on a intimate scale.It also made a huge star out of actor Robert Lansing as General Frank Savage. His character during the first two seasons of the show brought more depth and integrity to the character than any other actor I have ever seen and it shows in the earlier episodes of the series. With a beautiful soaring theme by composer Dominic Frontiere,the strong production values of legendary producer Quinn Martin("The Untouchables", "The Fugitive","The FBI","The Invaders")along with long time QM associates Charles Larson,Phillip Saltzman,and fellow executives Howard Alston,Adrian Samish,and John Conwell as well as the supporting cast of the series including Frank Overton,John Larkin,and Andrew Duggan. The series garnered rave reviews,and was poised for a long network run on the small screen. However,the network executives over at ABC stepped in to make improvements which killed it. When the program was retooled for the second season,Robert Lansing's character of General Savage was killed off.....reportedly his plane was shot down somewhere over in Europe in hostile German country(in a gripping second season opener episode titled "The Loneliest Place In The World",which aired on September 13,1965).However,Paul Burke(from the 1950's cop show Naked City)was brought in as his replacement and from there the results to the changes really killed it. Paul Burke to me was never the right choice for the role and simply out he was not a very good actor. The show took even a major dive when the episodes were in color. When the show was cancelled in the summer of 1967,after struggling for two seasons with the new cast,the network downplayed this show just to ignore the fact the this series had promise after it received rave reviews and a Golden Globe Nomination during the first season of the series.

I recently had a chance to see this show again after many years. I thought that it was a great show before, and I feel the same way now (I refer to the Robert Lansing/season one show -- I agree completely with the comments that head this list).Robert Lansing, and the writers, show how leadership happens, when the commander doesn't have the option of starting over with someone else. He knows that his unit is only as strong as the weakest member, and he uses his knowledge and his leadership ability to get his men to do their best, even when it may cost him personal popularity.The combat scenes are well done, but so are the scenes when the airmen are back at the base, or off duty, in wartime England, socializing with the civilians before risking their lives on another day time bombing run deep into Germany.