Production
One of the strengths of the film was British and international character actors who enlivened each contestant's nationality's foibles. The entertainment comes from the dialogue and characterizations and the aerial stunts, with heroism and gentlemanly conduct. Benny Hill, Eric Sykes, Terry-Thomas and Tony Hancock provided madcap misadventures; Hancock had broken his leg prior to filming and Annakin wrote it into the story. The two lead actors, Stuart Whitman and Sarah Miles fell out early in the production. Director Ken Annakin commented that "she hated his guts", and rarely deigned to speak to him if it wasn't part of the script. Annakin had to employ various manipulations in order to ensure the production proceeded smoothly despite his stars' animosity towards each other.
Another aspect was the fluid writing and directing with Annakin and Davies feeding off each other. They had worked together on Very Important Person (1961), The Fast Lady (1962), and Crooks Anonymous (1962). Annakin and Davies continued to develop the script with zany interpretations. When the German character, Gert Fröbe, contemplates piloting his country's entry, he climbs into the cockpit and retrieves a manual. Annakin and Davies devised a quip on the spot, having him read out: "No. 1. Sit down."
Although a comedy, elements of Annakin's documentary background were evident with authentic sets, props and costumes. More than 2,000 extras out in authentic costumes were in the climactic race launch.
Read more about this topic: Those Magnificent Men In Their Flying Machines
Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
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—Debbie Taylor (20th century)