Where Eagles Dare (1968)



They look like Nazis but . . . The Major is British . . . The Lieutenant is American . . . The Beautiful Frauleins are Allied Agents! See »

During WW2 a British aircraft is shot down and crashes in Nazi held territory. The Germans capture the only survivor, an American General, and take him to the nearest SS headquarters. Unknown to the Germans the General has full knowledge of the D-Day operation. The British decide that the General must not be allowed to divulge any details of the Normandy landing at all cost and order Major John Smith to lead a crack commando team to rescue him. Amongst the team is an American Ranger, Lieutenant Schaffer, who is puzzled by his inclusion in an all British operation. When one of the team dies after the parachute drop, Schaffer suspects that Smith\’s mission has a much more secret objective.

Written by
Dave Jenkins <[email protected]>

In 1944, an American General is shot down over a heavily defended German fortress and imprisoned within. A rescue attempt is at once launched by British Intellegence, since the General must be liberated before being made to reveal Allied plans for an invasion of France. As the mission unfolds, however, double and triple agents begin to appear in the ranks of the rescue team with the added mystery of an American Lieutenant assigned to the mission for reasons unknown.

Written by
Anthony Hughes <[email protected]>

Genre: Action,Adventure,War

Where Eagles Dare (1968)
Release Date: 12 March 1969 (USA)
Country: UK , USA
Director: Brian G. Hutton
  • Richard Burton
  • Clint Eastwood
  • Mary Ure
  • Patrick Wymark
  • Michael Hordern
  • Donald Houston
  • Peter Barkworth
  • William Squire
  • Robert Beatty
  • Brook Williams
  • Neil McCarthy
  • Vincent Ball
  • Anton Diffring
  • Ferdy Mayne
  • Derren Nesbitt

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32 Responses to Where Eagles Dare (1968)

  1. Evil_and_Divine
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    Just made a video for a World war 2 game called Men of War.

    Using the Awsome soundtrack from Where eagles dare.


  2. thepoetbandit
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    When the Burton/Eastwood team walk out of the woods in their German uniforms into the town, I expected there to be a language barrier. But remarkably everyone speaks English. Are we supposed to believe that the Eastwood character speaks fluent German without an American accent? Are we supposed to pretend that language is not an issue? Or do the Germans in that town all speak English?

  3. vandwedge
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    I saw this movie for the first time last night, and I don’t know if this has been addressed anywhere else. It probably has.

    SPOILERS, obviously.

    Anyway near the end of the movie, when it’s time for the downwards descent in the cable cars. Burton is on top of the cable car, and he knocks the guy off of it. Then he plants some dynamite on it, and jumps to the other cable car. Then the first cable car blows up.

    When it blows up, wouldn’t you expect the cable to be destroyed? Since the dynamite was on top of the car? But moments later, everyone’s riding another car down on that same cable, like the explosion never happened. Is this an error or am I just missing something….

    All the plot you need is that The Warriors have to "bop their way back to Coney." —alanmc1uk

  4. ScornedReality
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    Would he really have been convicted on the hearsay of Smith and a Nazi officer? It seems that the allegations were based on suspicion and not on actual hard evidence. Begs the question why he didn’t just deny everything.

    "This isn’t a brothel, this is a war!"

  5. Kyanzes
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    When the GESTAPO officer disrupts the chatter at the table and Smith explains himself:

    "It’s perfectly simple major, the lieutenant and myself have just uncovered a plot to assassinate the Führer. :)))))))"

    After so many twists he dares to utter such a blatant lie, I mean it’s a fascinating level of subterfuge at that point. :))) I could hardly stop laughing.

    "Gods Mill grinds slow, but sure"

  6. Movies_For_Life
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    Name yours, mine are;

    1. Where Eagles Dare

    2. The Dirty Dozen

    3. The Final Countdown

    4. La battaglia dell’ultimo panzer (battle of the last panzer)

    5. Hart’s War

  7. Schnorbitz
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    As part of Empire film magazine’s Done in 60 Seconds competition this year, we decided to make a very swift one minute spoof version of Where Eagles Dare. And I’m really surprised and delighted to find out that we have been chosen as one of the finalists!

    You can see our video at http://www.empireonline.com/awards2010/donein60seconds – we’re number 14. Please have a watch of the film and if you like it, please vote for it!

    We’re also viewable in glorious Youtube-erama at http://www.youtube.com/watch?v=VMxxhE1gQ6M.

    All the best,


    or, in our version, "Richard Burton"

  8. Altho73
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    make the error of issuing their soldiers with blanks? I mean they must have, how else could Clint Eastwood have continually faced dozens of their soldiers and mowed them all down without one of them coming near to hitting him. Not only that but he also always stood in position that fully exposed him as a sitting duck.

  9. The_Khazi
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    ….according to play.com but subject to change and I haven`t seen it on any other sites such as Amazon.No details as to what`s on the disc either including the intermission,new extras,deleted scenes etc.Incidentally have a look at a magazine currently available in UK/US called "Cinema Retro"-it`s got an 80 page feature packed full of interviews,rare photos(including couple of deleted scenes),section on the music,posters,behind the scenes etc.Pricey at £6.95 but excellent read!

  10. Trioxin_Zombie
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    It’s snowing outside the rumbling sound

    of engines roar in the night.

    The mission is near the confident men

    are waiting to drop from the sky.

    The Blizzard goes on but still they must fly

    No one should go where eagles dare.

    Bavarian alps that lay all around

    they seem to stare from below.

    The enemy lines a long time passed

    are lying deep in the snow.

    Into the night they fall through the sky

    No one should fly where eagles dare.

    They’re closing in the fortress is near

    it’s standing high in the sky.

    The cable car’s the only way in

    it’s really impossible to climb.

    They make their way but maybe too late

    They’ve got to try to save the day.

    The panicking cries the roaring of guns

    are echoing all around the valley.

    The mission complete they make to escape

    away from the Eagles Nest.

    They dared to go where no one would try

    they chose to fly where eagles dare.

    2732 zombies were harmed in the making of this movie – L4D2: Dark Carnival finale.

  11. Hotrodder
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    It was deleted and re-edited to how it is now. Honest, would I lie to you?



    RICHARD BURTON….Major John Smith

    PATRICK WYMARK….Colonel Wyatt Turner

    CLINT EASTWOOD….Lieutenant Morris Schaffer

    The scene- in the aircraft flying home Major Smith has just exposed Colonel Turner as a German Spy….

    Smith: "You see you underestimated Admiral Rolland, he’s suspected you and the others for some time. He brought me and Mary back from Italy because we were the only two in his department he could trust, yourself included. He asked you to choose a leader for this expedition. You chose me because you knew from German intelligence that I was a double agent. Admiral Rolland knew that I was not. For you I was the perfect choice."

    Turner: "Now you’re guessing, Smith."

    Smith: "No guesswork, Colonel, your pointing that gun at me is sufficient evidence. You are pointing that gun at me aren’t you?"

    Turner: "Go on."

    Smith: "Mary was brought on the mission without your knowledge because I needed her to get me into the castle. The Lieutenant being an American had no possible connection with MI6 and was the only member of the group I could trust. I wasn’t even sure of Harrod and McPherson until they were killed by the others."

    Turner: "Fascinating, very fascinating. Perhaps even true."

    Smith: "You’re overlooking something, aren’t you?"

    Turner raises and points his Sten gun at Major Smith.

    Smith: "Not at all. Admiral Rolland took you to the plane himself didn’t he? He also made certain that you had that gun with you, didn’t he? We took the precaution of removing the firing pin before the mission started."

    Tuner pulls the trigger only for gun not to fire, the bolt clicking ineffectively home.

    Smith: "Put it down Colonel."

    Schaffer picks up his MP40 and points it at the Colonel.

    Smith: "Not so hasty, Lieutenant, we mustn’t cheat the hangman’s noose."

    Turner: "What now, Major?"

    Smith: "You’ll be tried for treason."

    Turner: " A public trial would be embarassing, painfiul not only for myself but for British Intelligence and Admiral Rolland."

    Smith: "Perhaps, but not as painful as that long drop at the end of the rope."

    Turner: "Well, it seems I have no cards left to play do I?"

    Smith: "No, you don’t."

    Turner:"Do I have an alternative?"

    Smith: "If you want it."

    Tuner: "Thank you."

    Turner stands and starts moving towards the door.

    Smith: "I’ll…have those books."

    Turner hands the books to Smith and the rest watch as he jumps to his doom from the plane. Schaffer puts down his gun, gets up and closes the door.

    Schaffer: "Well, that’s it."

    Smith: "Yes, it is, Lieutenant."

    Schaffer: "Do me a favour, will you? Next time you have one of these things keep it an all British operation."

    Smith smiles.

    Smith: "That can be easily, arranged, Lieutenant".

    Smith picks up Schaffer’s MP40 and points it at Schaffer.

    Schaffer: "What kind of cockermanie trick are you pulling now, Major?"

    Smith: "I think it’s perfectly obvious, I’m pointing this gun at you. Apart from the others in this plane you are the only one who knows how badly MI6 was infiltrated by the Germans. That’s why you’ve got to go, we can’t have you embarrassing MI6 by blabbing about all this now can we? I want you to follow Turner’s example."

    Schaffer: " You’ve got to be kidding me! You’ve been playing me for a putz all this time?"

    Smith: Sorry, Lieutenant, but it was necessary. But at least you can go to your death knowing you’ve cleared MI6 of infiltrators."

    Schaffer: "Sh!t! I bet Smith isn’t even your real name, is it?"

    Smith: "You’re right. It’s actually Philby. Kim Philby. Now jump."

    Schaffer gets up and goes to the plane’s door. He looks at them all.

    Schaffer: "Bunch of cocks!ckin’, motherf!ckin’ Limey bastards!"

    Schaffer jumps. The others listen to his cursing as it dwindles to nothing as Schaffer plummets to his death below.

    Smith: "Right then. Cartwright Jones- you’re next!"

    THE END.

    "Trust me. I know what I’m doing."

  12. blktoptrvl
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    It is amazing how much editing and directing was done to make Burton look like the big hero.

    Out climbing the much younger Eastwood.

    Being much smarter than Eastwood.

    Fighting off two Germans while having a bad hand.

    Jumping 20 feet or so – with a bad hand – to a cable car.

    This is one of my fav WW2 movies. But they went too far making Burton look good, and Eastwood barely competent.

  13. incognitoami
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    I was watching this thinking the castle sure looks a lot like Castle Brunwald in Last Crusade. Even the fireplace in the Wolf’s Lair looks nearly identical to the fireplace Indy and his Dad seek cover in while tied to the chair. Were the interiors shot on a soundstage or on location? Did Spielberg (who cites this film as one of his favorite WWII films) use the same locations or set pieces for Crusade? While watching I couldn’t help but keep thinking how familiar it looked.

  14. doire
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    I love "Where Eagles Dare" but, upon each viewing, am annoyed by a few anomalies that I believe detract from the movie and make it overlong. Top of the list here is Smith´s decision to take the three German spies back to Blighty with his group. Eastwood has, by this stage, shot about half the German army, so why risk taking back these three men who, aware that a hangman´s rope will await them in England, will prove dangerous and burdonsome, most particularly since Smith´s group have not yet even made their descent from the castle. Would it not have made more sense, considering the amount of killing already evident, to just have executed these men and gotten it over with? Dangerous and burdonsome they prove to be, overpowering Eastwood and necessitating pursuit by Burton on the cable car. Burton even risks the success of the mission by pursuing these men in the cable car – when he straps explosives to it, how in the world does he imagine that he is going to get back up to join his comrades? Does he know that another cable car will be passing him at an opportune moment and, with a wounded hand, he would be able to successfully launch himself onto it and rejoin his colleagues still at the Schoss Adler? And why did the two Germans on the cable car, when they had incapacitated Eastwood, not simply open the door of the cable car entrance and make their escape? And why would BOTH of them dare to fight with Burton on the roof of the cable car itself? It makes little sense to me. As does the fact that the cable car entrance is deserted when Smith and company are making their great escape. Why would the Germans, considering the damage already done to the castle, not simply use explosives rather than hammers to open these doors? Drama is the answer, I suppose!

  15. spawn711
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    Does anyone know any good smilar movies from the 60’s & 70’s. Thanks!

  16. rollingfields
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    Surely Clint’s hair style wouldn’t pass muster for a German officer? A little too rock ‘n’ roll. Do you think he refused to have it cut?

  17. james_perrypa
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    I really like Heidi. She is so gorgeous which is one of the reasons I like this movie so much. When I first saw this movie, I thought she was a Nazi, until I saw her going into the woodshed with Smith. The actress who plays her, Ingrid Pitt, made a daring escape of her own, over the Berlin Wall. Whenever I watch the film, at the scene of the people running from the bus into the plane, I like to say "Don’t shoot Heidi!"

  18. swamprat_21
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    Why does the entire city blow up when the good guys try and escape. Sure the detonate a booby trap and toss some grenades, but they leave the city they seem to drive for 5 minutes through a buring city. The fire marshall should have done something, no?

  19. jbrunton007
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    Where was this film made with the tram and castle? Its beautiful!

  20. Rothwell19
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    Anyone know if this is coming to Blu-ray anytime soon? The DVD quality is magnificent and I can only imagine how good the Blu-ray would look. Also, its a classic Clint Eastwood and Richard Burton movie, and a classic action movie as well.

  21. sgraf_x
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    It looks like it was expensive and it only made 7mil in America.

    There is NO Gene for the Human Spirit.

  22. faded2001
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    One thing I didn’t understand was the identity of Maj Smith (Richard Burtons character).

    He told the Col to call some Nazi Maj to verify his identify.

    The Nazi Maj asked about a scar on Smiths forearm, then about how he got it to which smith replyed "at birth".

    Then the Nazi Maj called him dispicable or something and Smiths replay was the Nazi Maj was a scoundral (or something like that).

    The Nazi Maj laughed and remaked "yup, it is him".

    What exactly was Maj Smiths relation to the 3rd Riech?

    "all I have ever asked of my men is to follow my orders as if they were the word of god"

  23. non-41
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    This may have been brought up before but I couldn’t find it under mistakes or here on the forums. But 3/4’s of the way into the movie where the Nazi’s throw grenades at Eastwood; after he throws the one back and they toss two at him he runs into the back room. Then a Nazi runs up, throws a grenade (presumably trying to get it into the room) but instead it blatantly bounces off the door and lands at his and his allies feet. Where then the explosions takes place in the back room. I was just amazed that a mistake like that could be overlooked because it was so incredibly obvious to me. Anyone else notice?

  24. filmklassik
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    — not while the Iraq War still rages, the world hates America, and anti-military sentiment at home is at its highest level since Vietnam.

    I’m not saying these feelings are justified, they’re not. But they do exist, and as long as they do, Hollywood is never going to risk bankrolling a non-reflective, jingoistic WWII Adventure movie.

    And I know that WHERE EAGLES DARE was produced during the height of the Vietnam War — but that was 1968, when the Soviet Empire was still vital and threatening, and the U.S. was perceived as manning the ramparts of democracy against the Communist hordes. In other words, the world felt they needed us then.

    Now, of course, it hates us, and a sprawling, $250,000,000, pro-American adventure movie needs a lot of foreign support if it’s going to make a profit.

    So I’m sorry, kids. But the political climate needs to change drastically before Hollywood will risk another movie like WHERE EAGLES DARE.

    The good news is, it WILL change. It always does.

    The bad news is, it will change because we, the U.S., are going to get attacked again. Sadly, the extremists of the world are not done with us yet. They haven’t even started.

    Another attack is inevitable, it’s only a question of when. And the day that happens, the flags will begin reappearing on lawns and lapels and bumper stickers, and the rest of the world will once again be saying "WE ARE ALL AMERCIANS" — at least for a little while.

    Maybe for an afternoon.

    And then we’ll see.

  25. lasermagnetic
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    I have some interesting memories I would like to share of working on the film at MGM.

    I was working as a projectionist at the Odeon, Elephant and Castle and I got a call, in March/April 1968, from the NATKE projectionist’s union to attend an interview with Tom Howard at the MGM British Studios in Borehamwood, Elstree, Herts. There was a vacancy for a trainee in the Process Projection Department which was part of MGM’s Special Photographic Effects Department of which Tom Howard was in charge. As a lot of you know Tom Howard’s career goes back to the days of Alexander Korda and he worked on many British-based MGM films in the forties, fifties and sixties. "Village of the Damned", "The Haunting", "Gorgo", "2001" to name just a few. (MGM moved into the lot after the war and remained there until 1969. Besides MGM, Fox and the Mirisch Corporation shot some British productions there. Before the war MGM used Denham Studios where they made such productions as "Goodbye Mr. Chips" and "The Citadel". They were known as the ‘MGM Unit’).

    >>I got the job and re-located to Borehamwood. MGM was the first studio I worked for and it was overwhelming. At every opporunity, I walked around the studio. On the backlot there were the remains of exterior sets of "Quatermass and the Pit", and "The Dirty Dozen", and a satellite dish – which was part of the Discovery in "2001" – sat rotting away. I met many veterans of MGM who had worked there for many years. One person in particular was Reg a carpenter (they are knicknamed ‘chippies’) and he described to me how he achieved and executed the effect of the ‘bending door’ in "The Haunting". I also recall visitng the property department and sitting high on a shelf at the back was Gorgo’s head! (I regret not claiming it when I left, as it probably finished up in the trash when the studio closed).

    At this time there was little work for us, but within a week or two Tom Howard came to us with some news that we would be starting on a production in June, which was "Where Eagles Dare". During the slow times we would have to service the projection equipment. Unlike regular cinema projectors, which were equipped with an intermittent sprocket beneath the picture gate, they were installed with a ‘Mitchell movement’. The ‘Mitchell movement’, as it was known, was probably the most successful method of moving film through the gate at an extremely steady rate. It was designed, by the Mitchell Corporation in the US, many years before for the 35mm motion picture camera and was the standard throughout the film industry for many years.

    The film we used, which was known as ‘plates’, was specially photographed by a unit on the production, or from a library of moving backgrounds photographed at various angles, which were projected behind actors in various set-ups, boats, planes, cars etc. These 35mm standard four-perf plates were specially color graded and utilised the complete negative area.

    When the main unit arrived from Switzerland and Austria they immediately started filming on existing sets that were constructed on the various large sound stages, of which MGM had many. From memory, Stage 10 housed the ‘Gold Room’ where Burton and Eastwood’ confront the Germans during a meeting. On another stage there was the interior of the cable car station which was located at the top of the castle. The station itself was built high up on the stage as several feet were needed for an approach and departure for two ‘practical’ (which means working) cable cars. The cables themselves ran several feet to the bottom of the stage.

    The scenes that we were to prepare for were backgrounds for the plane on it’s approach and escape from the airfield, the bus, the motorcycle, the cable cars and for odd close ups of actors.

    Our very first set up was a shot of Richard Burton in the cable car unscrewing a light bulb while instructing on the timing of the explosives. On the many occasions where we utilised actors, we would have to wait, sometimes hours, to become available from the main unit.

    On the cable car scenes, we utilised a front projection rig. What I described previously, ‘rear’ projection, was a method that was used throughout the industry for years.

    This front projection rig was specially designed for Stanley Kubrick on "2001". It consisted of a method of projecting a static 10×8 positive/negative plate which was projected through a special 50/50 transmission/reflection glass plate mounted at 45 degrees onto a large glass bead coated screen, developed by the 3M company (now widely used). The image on the screen was amplified in light level by many times, reflected straight back into the mirror and reflected at a right angle into the lens of the camera which was attached to the same rig as the projector. The main benefit of this process was to pour more light onto the background image resulting in a more realistic illusion of the foreground subject being in the same location as the background. A problem which has beset rear-projection set-ups for many years.

    Kubrick was so sold on the idea, that 3M had developed, that he planned to use it extensively on his next project which was to be "Napoleon". On my many visits to Tom Howard’s office, he showed be a rough plan of how he and Kubrick planned to apply this material.

    Tom Howard was one of the ‘old school’ gentleman, and very much a father figure to me. (I was only 20 at the time). He knew I was genuinely interested in what he did and was always eager to share it with me. The last time I saw him was at ABPC around 1977, almost eight years after MGM closed, and he told me of his plan to write a book called "From Korda To Kubrick" which I don’t believe was ever published.

    The front projection rig was only used for background shots behind exteriors and interiors of the cable cars, when leading actors can be seen clearly, as I do not want to discredit the incredible work of the stuntmen headed by the legendary Yakima ‘Yak’ Canutt and his team. Unfortunately, I did not meet Canutt at the studio as I think he left after the location work was completed. However, I did befriend Alf Joint who doubled for Burton.

    The rear projection work on the bus was utilised by a method called ‘triple head’ projection. Looking toward the rear and the front of the bus three simultaneous images were required, one facing at the rear and one on each side. Three interlocked projectors were used. The shutters had to be phased with each other as well as the camera and each image was projected onto individual translucent screens. The motorcycle, airplane and car-crash sequences utilised the traditional single projector set-up. With rear projection, being located on the other side of the translucent screen to the camera and actors and crew, you couldn’t observe the action being filmed. All you could hear was the director shouting instructions to the actors and the actors performing their lines and sometimes firing weapons, which were often extremely loud.

    As I had mentioned previously, we would set-up the equipment and then sometimes sit around for a long time for the main unit to come over to the stage. If the set-ups involved using main actors, the main first unit would come to the stage, and I had the opportunity to get to know most of the crew. Brian G. Hutton, the director, was very friendly toward me. His background was as a Hollywood actor. He played ‘bad’ roles in "Gunfight at the OK Corral" and "King Creole". I believe this was his second film, I think his first was "The Pad" (1966).

    Where the rear projection set-ups only used a portion of the stage, the art department built several sets. I had the oppportunity to watch them being filmed. Among the scenes I recall was a brief scene shot between Ingrid Pitt and Mary Ure in her bedroom. The underside of the bridge was constructed for the scene of Eastwood and Burton rigging it with explosives. On this occasion Liz Taylor came to visit the set one early evening.

    We did do a front projection set up with Richard Burton retrieving his parachute. I recall the camera operator requesting Burton’s hood not to be pulled too far forward over his face, immediately Burton snapped back that audiences would know who it was!

    There was a mock-up of the snow covered roof of the cable car station. This was used for an insert of two gloved hands, where Burton reaches out to prevent Eastwood from sliding off the roof. Obviously, the actors were not needed for this shot, just two stand-ins with jackets and gloves.

    After watching the first hour or so of the film last night, I was reminded of the contribution of the matte artist, Douglas Adamson, an MGM employee. I visited his department on one occasion where he and his lovely assistant Anne were painting on glass a long shot of the ‘Castle of the Eagle’ with the surrounding mountains. A large miniature was also constructed on the back lot. The painting can be seen when Derren Nesbitt accompanies Mary Ure and Ingrid Pitt in the cable car at night. The scene is made up of location, (the cable car station – at the bottom – when the cable car leaves) the POV’s of the Castle which are the matte painting and / or miniature and interior studio when they reach the cable car station. Similarly, the sequence where Eastwood and Burton travel on the roof of the cable car, is a mixture of location with stuntmen, studio with actors and front projection set-up.

    When filming was completed on the cable car station, the set was struck with the exception of the cables and the two cable cars. This was left for the shot where Burton leaps from one cable car to another after rigging it with explosives. The jump was done by Alf Joint. On the morning, I managed to go down to the stage to watch. Alf did it in one take successfully, but in the process he landed on the cable car and his caught his mouth on the rail, which ran around the rim on top of the car, and cut himself badly.

    During the filming of the interior of the plane sequences, the costume or props department asked if I would be willing to put on Mary Ure’s parachute, as at that age I was approximately her height, so they could check to see how it would fit and make necessary adjustments before she arrived on the stage.

    I also recall that day several actors, such as Patrick Wymark and Peter Barkworth who were relaxing and reading, sitting in special prop chairs. One of my supervisors was always grumbling and complaining and on that day he raised his voice to me and I will never forget Wymark’s expression when he looked up and frowned at him!

    One morning when the crew were walking toward Stage 10 to film on the ‘Gold Room’ set, I noticed Derren Nesbitt in costume and a bandage over his eye. I did not realize until that evening or the next day, in the newspaper, that Nesbitt’s eye was injured. Apparently a squid effect of him being shot by the squid somehow misfired and part of it went into his eye.

    In late July early August 1968 filming was completed and, with no immediate work in sight, I decided to take a projectionist’s position at Pinewood Studios. It was just a year later after the completion of productions such as "Captain Nemo", "Goodye, Mr. Chips" and "Alfred the Great" that MGM Studios were closed permanently. MGM continued to be represented in England for a few years, by name only when they collaborated with the Associated British Picture Corporation and became MGM/Elstree Studios. One victim of the closure of MGM was Fred Zinnemann’s production of "A Man’s Fate", of which much money had been spent including extensive exterior set construction on the back-lot.

    During the completion time of "Where Eagles Dare", the new James Bond film "On Her Majesty’s Secret Service" was readying to go into production. The climax to the new Bond Adventure was a fight between Bond and Blofeld on the roof of a cable car. When the Bond Producers heard of the fights aboard the cable car in "WED", they rewrote the end of their screenplay to a fight on a toboggan run instead.

  26. jaytee_23
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    as well as his others!

    Clint Eastwood On… Where Eagles Dare

    (1968, BRIAN G. HUTTON) "My agent felt it would be a great idea to pair up with an actor senior to me," starts Eastwood as mystified by the ways of agents as anyone. "In this case it was Richard Burton." Based on an Alistair MacLean novel, this brusque, often incomprehensible, but entirely entertaining bit of WWII derring-do seems predicated on the idea good-looking stars look even better in Nazi uniforms. From Eastwood’s point-of-view it was a good payday ($800,000) even if he got second billing, and an opportunity to prove himself a on different ground. "It wasn’t a role that was very challenging for me," he admits, "but I got to go to Austria and work with a lot of new people. I on those experiences."

    Its barrage of nifty stunts and snowy locations, and the ping pong of double crosses that make up the twist ending, have granted the film a bank holiday charm. Although it was a long, arduous shoot – all the fuss Eastwood hates – he and Burton got on swimmingly. "Richard was quite a character," he laughs fondly, "and of course he was with Miss Taylor at the time, they were sort of the couple. I was the young guy who didn’t have to worry too much."


    Thought I was havin’ trouble with my adding. It’s all right now

  27. Issus123
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    It is clear that the Brits already knew about the German spies within MI6 and arranged to have them part of the rescue team? But why? All to get them divulge the names of the other German agents? Why not catch them, pump them full of scopolomine and get the names? of course, we wouldn’t have got this movie then. Any ideas from anyone?

  28. matjusm
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    Why is it that Hollywood doesn’t make films like this (other examples include The Guns of Navarone and Kelly’s Heroes) anymore because I’d really like to see another good ol’ style WWII action adventure that DOES NOT HAVE AN OVERDOSE OF GRAPHIC VIOLENCE.

    mmm, doughnut

    -Homer Simpson

  29. Mccadoo
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    I haven’t read all the threads here so someone may have already mentioned this before but;

    A helicopter appears in both the movie and the novel and in the "goofs" section they mention that the Germans did not operate American Bell helicopters in WW two.

    That’s correct, as far as it goes, the Germans didn’t operate ANY helicopters in WW 2 and neither did anyone else; while the helicopter existed it was still experimental and did not go into general service with any country until after WW 2 was over.

    I’m surprised Alistair MaClean made such a huge mistake in his writing. Poetic license is one thing, but this fact jumped out at me even when I first read the book as a child.

  30. neil.thompson1
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    After speaking to Tom Sachs (the unit manager) some months back in 1998…

    he tells me there were no major accidents on the set..

    I `m not sure where this story has originated from but it seems to me to be untrue, and without fact ????

  31. mgmatthewlux
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    I was just seeing this film for the second time on DVD yesterday (the DVD being a Region 1 version- a North American DVD version of the film) and I actually found a way to hear the Germans really speak German. If you change the audio to French all the German characters in the film actually speak German and the only French spoken is when any of the Allied characters are by themselves (without any Germans being around).

  32. tommyuk
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    Another great Alister Mc Clean adaptation this time with Anthony Hopkins as the man on a mission.


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