World War II has many memories in it's huge archives. But the ones which stand out in an audience's mind are the ones which recall family members who actually experienced them. This movie " Memphis Belle " reaches deep into the human Psyche and rekindles a plethora of war time conflicts. The actors chosen for this masterpiece are incredible as they superbly resurrect the dangerous era of the courageous men and their historic aircraft. Matthew Modine plays Capt. Dennis Dearborn, a stern commander who exhibits a tough veiner, but is inwardly aware and concern with every man in his crew. Tate Donovan is Lt. Sinclair, anxious to experience bravery as a necessary element to achieve fame. However when the war touches him, he realizes, it's not as glorious as he imagined. Eric Stoltz, D.B. Sweeney, Billy Zane, Sean Astin, Harry Connick Jr., Reed Diamond, Courtney Gains and Neil Giuntoli play the crew. Rounding out the cast, adding prestige and enhancing the over-all story are David Strathairn and John Lithgow. Together, this superior ensemble and the dramatic talent of the special effects specialists allowed the 'Belle' to rise center stage and display its last wartime flight. The result is nothing short of extraordinary. Behind the men and their plane is the memory of the thousands of brave airmen who gave their lives for their country. In short, their sacrifice becomes the lasting monument which continues to this day as a lasting tribute to our freedom. A great film which is sure to become a military Classic. Highly recommended! ****

It's 1943. B-17 bomber Memphis Belle and her crew goes on their 25th and final mission over Germany. They are aiming to be the first squad to finish 25 missions ending their tour.

The actors playing the crew include Matthew Modine, Eric Stoltz, Tate Donovan, D.B. Sweeney, Billy Zane, Sean Astin, and Harry Connick Jr. The movie tries to give all 10 members of the crew individual characteristics and their own screen time. They are mostly well-acted but generally uncompelling.

It's an old fashion kind of war movie. The flight is fictionalized from many bomber war stories. There are a lot of minor inaccuracies. At least, its heart is in the right place. It is nice to see some real bombers at work. The effects is reasonable for the times although it's a bit old fashion. It's a dramatization rather than a documentary.

This film has virtually nothing to do with the original "Memphis Belle" of 1944, except I suppose that it involves the crew of a B-17 on their final mission. Maybe a few duplicate shots. That's about it. It's a kind of cinematic coelacanth, a thing we'd long thought was extinct, surfacing now in a semi-fossilized form that seems to think it's being canny in showing off clichés that were obsolete years ago.

Two notably good things about it. One is that it gives us the feeling of what it's really like to be aboard a bomber in combat, or at least I think it does, never having been in that situation myself. They've convinced me though. On the ground the big airplane shivers from the vibration of the four engines like a Magic Fingers mattress. Everyone and everything jiggles at high frequency. We see bombs armed in flight. We see what the target looks like through the bombardier's sight. We feel the airplane lurch upward after the couple of tons worth of bombs are released. And we catch some of the dynamics of the crew. The bombardier has posed as a doctor. One waist gunner plays grab*** with the other's religious medallion.

The other outstanding feature is the aerial photography, or the computer-generated images. Everything is so crisp, so clean, so sky blue, except for those black blotches ahead and the drab B-17s droning their way to and from hell.

It's extremely exciting too, once it gets off the ground. That's part of the problem. Everything we see happening to the Memphis Belle happened to one 8th Air Force bomber or another, but never to the same airplane on the same mission. It's as if all the very real dangers facing these fliers had been put into a duck press and slapped onto the plot. If you've seen airplane-in-jeopardy movies before, you'll find little that's innovative here. A man dangling out of a hole in the fuselage (twice). The near miss after takeoff. The sight of a buddy's ship going down. Should we throw the badly wounded radio operator out with a parachute over Germany in hopes that his life will be saved? We're running out of fuel -- throw out everything we don't need. Let's sing Danny Boy for good luck. Before the mission, the pilot stands alone under the moon next to The Memphis Belle and talks to his airplane. "You're a good lady. You've gotten us home every time so far." The cornball is exquisite. Ted Lawson never talked to his airplane like that in "Thirty Seconds Over Tokyo" and Guy Gibson in "The Dam Busters" wouldn't dream of it.

The whole film is derivative, from the beginning to the end, and everything is spelled out in big letters like a child's alphabet book. The opening lines from a PR officer tell us a lot. "Let's see now. We have a guy from Omaha, then an Irishman from Boston," or something like that. The PR officer (John Lithgow) turns out to be a knucklehead ("Baloney is my business") but that doesn't stop the writers from using him as the crudest tool of exposition.

The opening scene, a drunken party, is ripped off from "Das Boot," only here, in case you didn't know why the party was taking place, it's made plain for you. "I don't want to die!" one drunk screams at the sky. In "Das Boot" Wolfgang Peterson let you figure out for yourself that despair led to drunkenness. His writers thought you had enough in the way of inferential abilities to pick it up. These writers don't.

The dialog is ludicrous, right out of a 1944 funnybook.

Captain to crew: "Let's make this our best bomb run ever." Crew member: "Right down the pickle barrel!" Captain: "You bet!" Captain to crew: "Boys, nobody ever said this was gonna be all fun and games. We're here to do a job so let's do it. If we don't do it somebody else will have to come back and do it." There is virtually no swearing. It's alright for us to see a man's blood and guts splattered all over the nose, but we aren't allowed to hear a terrified or a wounded man shout **** or **** or even ****.

I think the most nauseating bit that's included in this movie, from the point of view of poetics, is the damned dog. See, as in all other bombing movies, the ground crew are waiting tensely for the return of "their" airplanes and crew. They play desultory softball to distract themselves but glance into the skies from time to time. They have a dog. The dog mirrors the anxiety of the men, skulking around and looking worried. At one point he flops onto his belly, his chin buried in his paws, and seems to be looking airward. I think this is known as the pathetic fallacy.

At least the writers left out the conflict of crew members about some mixed up love affairs back on the ground.

Well -- the film may serve its didactic purpose anyway. Kids who don't know why this war was called World War TWO may learn something from it. (A student at a well-known university once complimented Barbara Tuchman after a lecture on World War I, saying he'd always wondered why the other was called WWII.) For the rest of us, if you can stomach that dog you can get through an exciting and well-photographed war movie.