Plot
A newsreel sets the scene for summer 1940, showing Nazi advances in Europe with England facing invasion and aerial attacks on the island increasing. On 15 September 1940, during the Battle of Britain, RAF Squadron Leader Geoffrey Crisp (David Niven), the station commander of a Spitfire squadron, recounts the story of how his friend, R.J. Mitchell (Leslie Howard) designed the Spitfire fighter. His pilots listen as Crisp begins with the 1922 Schneider Trophy competition, where Mitchell began his most important work, designing high speed aircraft. While watching seagulls with his binoculars, he envisages a new shape for aircraft in the future. Crisp, an ex-First World War pilot seeking work, captivates Mitchell with his enthusiasm and the designer promises to hire him as test pilot should his design ever go into production. Facing opposition from official sources, Mitchell succeeds in creating a series of highly successful seaplane racers, eventually winning the Schneider Trophy outright for Great Britain.
After a visit to Germany in the late 1930s and a chance meeting with leading German aircraft designer Willy Messerschmitt, Mitchell resolves to build the fastest and deadliest fighter aircraft. Convincing Henry Royce of Rolls-Royce that a new engine, eventually to become the famous Rolls-Royce Merlin, is needed, Mitchell gets the powerplant he requires. Faced by the devastating news that he has only one year to live and battling against failing health, Mitchell dies as the first prototype Supermarine Spitfire takes to the skies. (In fact, Mitchell died over 15 months after the first flight). Crisp ends his account when the squadron is scrambled to counter a German attack, voicing a thanks to Mitchell for creating the Spitfire.
Read more about this topic: The First Of The Few
Famous quotes containing the word plot:
““The plot thickens,” he said, as I entered.”
—Sir Arthur Conan Doyle (1859–1930)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)