Andy Howlett Ernest Tilley (Attenborough) has discovered the identity of the man who drunkenly killed his baby daughter in a hit-and-run, and armed with a bomb boards the same flight as him. Tilley is deeply depressed and obsessed with killing this man at any cost, even if it means killing his own family and everyone on board. Attenborough plays Tilley very quietly, a man hollowed out by his depression and hatred, not only for the hit-and-run driver, but for the whole world. As the film progresses, it is very easy to feel real sorrow for him. The writer and the director keep the lid firmly on for most of the time, only allowing the anger and fear to burst out in small doses. The other seats on board are occupied by many faces of the time, including Dame Sybil Thorndyke and Harry Secombe, who sit together and do a grand job of lightening the mood with their witty and charming performances. Husband and wife Bernard Braden and Barbara Kelly don't do much and neither does Marty Wilde. Very nice to see Stanley Baker playing against the usual 'thick ear' parts he normally gets, and he turns in a very good part. This film will not appeal to modern audiences who need an explosion or slanging match every five minutes. It's a character study, and a very British one at that. If you like your thrillers with a bit of humanity and depth, I can thoroughly recommend this impressive film. DVD from Simply.

Spikeopath Jet Storm is directed by Cy Endfield, who also co-writes the screenplay with Sigmund Miller. It stars Richard Attenborough, Stanley Baker, Hermione Baddeley, Bernard Braden, Diane Cilento, Barbara Kelly and David Kossoff. Music is by Thomas Rajna and cinematography by Jack Hildyard. Plot finds Attenborough as Ernest Tilley, a man still angry and grieving over the hit-and-run killing of his seven year old daughter. Tracking down James Brock (George Rose), the man responsible for the accident, he boards the same aeroplane flight as him and threatens to blow it up as an act of vengeance against Brock and mankind for allowing him to get away with his crime.It's a real hard film to track down. Packed to the rafters with British acting talent, it has rarely been licensed to even be shown in the United Kingdom. I myself had to order a DVD copy from Australia, but the wait was very much worth it.As has been noted by the very few reviews of the film on the internet, it's a British prototype disaster movie, but that in no way means this is cornball stuff, it's a very human and intelligent drama. Endfield's film is looking into how a number of people react differently when faced with the possibility of death, while it casts a scathing eye towards a society that creates someone like Ernest Tilley. How would you react if you faced impending death on board a plane? How would you react if your child was killed and the man responsible got away with it? Searching questions that of course don't bare thinking about, but that's why we have cinema, to let us escape into a dramatic world that paints possibilities for us.The ream of character sub-plots are excellently performed by the huge cast, but it's Attenborough and Baker who shine brightest. The former has Tilley as hollowed and tragic, a man tipped over the edge, pain seeping from every pore. The latter has Captain Bardow as silky smooth, calm during crisis, it's an elegant portrayal by one of Britain's most under valued actors. Elsewhere, Endfield does a marvellous job of threading so many character strands together, making one successful whole and he deftly paces it and brings it in under 90, exposition free, minutes. The lovely title song is called Jetstream (a working title for the film), not Jet Storm as is listed on IMDb, and it's warbled by Marty Wilde (lyrics by Endfield) who also features in the cast.An under seen British classic of entertaining substance, one that also has the requisite drama and suspense as it dangles its questions. 8/10

fung0 It's not easy to catch up with this marvelous little film, but DO NOT pass up any chance you get. It's a real little gem, which manages to live up to some very high aspirations.A quick plot synopsis makes it sound very much like Airport, or The High and the Mighty, but Jet Storm is a very different type of film. It's not an adventure, or a soaper, or a suspenser. Although it does include a diverse group of passengers and a hidden bomb, it's not actually about whether the plane will be saved, or how. It's about how these people react to danger. And about how all of us SHOULD react to danger.The cast of familiar British actors does a superb job. Richard Attenborough shines in his portrayal of a weak, confused man, who's slipped over the brink of bitterness, depression and madness. Harry Secombe adds a contrastingly jovial note. And a young Paul Eddington (best known from the much later Yes, Minister series) is interesting as a not-very-admirable husband.We learn a lot about these various characters, but the real meat of the film is in how each of them reacts when faced with imminent danger and probable death. The film asks us not to worry so much about whether these people will die, but to consider how they choose to live. Do they meet fear and uncertainty with fortitude? Resourcefulness? Humor? Resignation? Or even indifference?The film shows us that some of these responses are clearly better than others. It demonstrates that the fear of disaster is far worse than the disaster itself. This message makes Jet Storm more relevant today than when it was made. We can see how much wiser things were in the 1950s. A psychopath would have been able to walk up and easily place a bomb on an airliner... but we didn't allow that remote possibility to dominate our lives.Jet Storm reminds us that risk is a part of life, but when we focus on that risk to the exclusion of everything else, we stop living. So while terrorism (of any sort) is sad, and crazy and reprehensible, giving in to terror is far more shameful.

Single-Black-Male Following the success of 'The League of Gentlemen', Dickie Attenborough began mobilising his own films and appeared in other films to raise the money to continue making his own (in the same way that Laurence Olivier was acting in films in order to finance his own stage productions at the National Theatre). This film is one of them.