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Twelve O'Clock High

Twelve O'Clock High

War · Action · Drama · 1949

In the early days of daylight bombing raids over Germany, General Frank Savage must take command of a 'hard luck' bomber group. Much of the story deals with his struggle to whip his group into a disciplined fighting unit in spite of heavy losses, and withering attacks by German fighters over their targets.

Movie details

Twelve O'Clock High

“A story of twelve men as their women never knew them...”

1949 War · Action · Drama 2h 12m

Critical arithmetic

One number, for now.

TMDB

7.2 / 10

Community rating

In the early days of daylight bombing raids over Germany, General Frank Savage must take command of a 'hard luck' bomber group. Much of the story deals with his struggle to whip his group into a disciplined fighting unit in spite of heavy losses, and withering attacks by German fighters over their targets.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Twelve O'Clock High?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Henry King

Written by

Beirne Lay Jr. · Sy Bartlett

Gregory Peck

Gregory Peck

Brigadier General Frank Savage

Hugh Marlowe

Hugh Marlowe

Lieutenant Colonel Ben Gately

Gary Merrill

Gary Merrill

Colonel Keith Davenport

Millard Mitchell

Millard Mitchell

Major General Patrick Pritchard

Dean Jagger

Dean Jagger

Major / Lieutenant Colonel Harvey Stovall

Robert Arthur

Robert Arthur

Sergeant McIllhenny

Paul Stewart

Paul Stewart

Major "Doc" Kaiser (flight surgeon)

Court is in session

Put Twelve O'Clock High on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.