The movie's title was only a partial clue; the opening scene of airmen lounging by a plane wreck in the Libyan desert, and talking of their life in that inhospitable wilderness for the preceding 17 years, immediately alert you that we're venturing into 'Twilight Zone' territory. Except that this film is more about the twilight zone of the conscience of a guilt-wracked man: a man who'd suppressed his guilt for 17 years, but is now being forced to confront it, publicly, and by men who had come to respect him.
There's so much that's admirable about this film it's hard to know exactly where to start: I suppose everything has to start with the script, which is superb, as is its editing, structure, and direction. Using the ghosts of dead men as both commentators and judge and jury of the navigator who'd abandoned them is an inspired choice, as is leavening the drama and tragedy with the comic relief they provide, a relief derived partly from their tacit recognition of their powerlessness.
At times it plays like a detective story, too, as the most likely scenarios are assessed, and as pressure is brought to bear upon the Major leading the enquiry, reminding him of the necessity to think of his career, and of the distinguished officer whose career and reputation he may be about to damage, irreversibly, should he make the wrong conclusions. Until we learn of the mistake the major had himself made.
Inevitably a decision had to be made, but even then the director and screenwriter found a way to ingest a little poetry: those beautiful, elegiac final scenes, where the ghosts feel their immortality slipping away, were a fitting end to a wholly admirable piece of work.
It was interesting that I would have first become aware of two of the three leads playing commanding officers in science-fiction ships of different eras - respectively Richard Basehart, as the general (Voyage To The Bottom Of The Sea), and William Shatner (Star Trek). Unsurprisingly, Basehart, being the more feted actor, shone brightest here, but Shatner acquitted himself well as the pragmatic enquiry leader, focused on his career, and his imminent pension. Vince Edwards did well, also, as the major, with his own debt to pay.
There's so much that's admirable about this film it's hard to know exactly where to start: I suppose everything has to start with the script, which is superb, as is its editing, structure, and direction. Using the ghosts of dead men as both commentators and judge and jury of the navigator who'd abandoned them is an inspired choice, as is leavening the drama and tragedy with the comic relief they provide, a relief derived partly from their tacit recognition of their powerlessness.
At times it plays like a detective story, too, as the most likely scenarios are assessed, and as pressure is brought to bear upon the Major leading the enquiry, reminding him of the necessity to think of his career, and of the distinguished officer whose career and reputation he may be about to damage, irreversibly, should he make the wrong conclusions. Until we learn of the mistake the major had himself made.
Inevitably a decision had to be made, but even then the director and screenwriter found a way to ingest a little poetry: those beautiful, elegiac final scenes, where the ghosts feel their immortality slipping away, were a fitting end to a wholly admirable piece of work.
It was interesting that I would have first become aware of two of the three leads playing commanding officers in science-fiction ships of different eras - respectively Richard Basehart, as the general (Voyage To The Bottom Of The Sea), and William Shatner (Star Trek). Unsurprisingly, Basehart, being the more feted actor, shone brightest here, but Shatner acquitted himself well as the pragmatic enquiry leader, focused on his career, and his imminent pension. Vince Edwards did well, also, as the major, with his own debt to pay.