Reception
Reviews of Bombers B-52 mainly focused on the aerial scenes, which during the Cold war era, did project a near-propaganda effort, using many period aircraft to depict the era faithfully. The review in The New York Times was mildly laudatory, describing it as a "frank tribute to Air Force nuclear power, laced together with a familiar service feud ... Irving Wallace's dialogue is excellent. Furthermore, his unpretentious scenario is credible and persuasive in training sequences and especially in the hearth scenes." The performances of the leads was also considered "natural." Overall, the Times critic thought "'Bombers B-52' is not, but it could have been much, much worse." Variety gushed that it was "magnificently mounted, with breathtaking scenes of the new B-52s," while Time magazine more aptly characterized Bombers B-52 as a "$1,400,000 want ad for Air Force technicians." In other reviews, the dichotomy of a 19-year-old Natalie Wood, being courted by 40-year-old Efrem Zimbalist Jr. was noted as well as the attempt to portray a contemporary, if tepid love story.
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Famous quotes containing the word reception:
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
—Rémy De Gourmont (1858–1915)
“He’s leaving Germany by special request of the Nazi government. First he sends a dispatch about Danzig and how 10,000 German tourists are pouring into the city every day with butterfly nets in their hands and submachine guns in their knapsacks. They warn him right then. What does he do next? Goes to a reception at von Ribbentropf’s and keeps yelling for gefilte fish!”
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“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)