By ScottDS. The success of
Die Hard spawned a new genre: “
Die Hard on a [blank]” with [blank] representing everything from a bus to a hockey arena. It was inevitable we would see “
Die Hard on a plane” and two of the best examples are 1996’s
Executive Decision and 1997’s
Air Force One. However, while
Air Force One is the more successful of the two, I believe
Executive Decision is the leaner, more efficient film. Neither film is a work of art, however one is oblivious to its stupidity while the other is almost aware of it.
In Air Force One, Harrison Ford is President James Marshall, veteran Vietnam helicopter pilot and Medal of Honor recipient. We open with the capturing of Ivan Radek, a terrorist dictator in Kazakhstan. Three weeks later, Marshall delivers a speech at a Moscow state dinner. He reminds the guests that the U.S. will not sit idly by while atrocities occur halfway around the world. Meanwhile, a group of Radek loyalists posing as a Russian news crew is allowed to board Air Force One. Their leader is Egor Korshunov (Gary Oldman, a tad over the top).
Assisted by a traitorous Secret Service agent, Korsh and his men hijack the plane. Marshall is rushed to the escape pod (an ingenious, albeit fictional idea) while Korsh kills the pilots and sets a course for Kazakhstan. He calls VP Kathryn Bennett (Glenn Close) and demands Radek’s release from prison. Marshall, hiding in the avionics bay, calls the White House. Korsh has taken First Lady Grace and First Daughter Alice up to the cockpit area. Several hostages parachute to safety during refueling but one of Korsh’s men causes the parachute bay to depressurize. Korsh takes Marshall hostage and demands Radek’s release. Marshall acquiesces but eventually breaks free and kills Korsh while Radek is killed outside the prison. Marshall takes control of the plane but it's badly damaged during a firefight. An Air Force Pararescue plane evacuates the remaining passengers. The Secret Service agent reveals himself but Marshall escapes and the agent goes down with the ship.
This is an exciting movie! Wolfgang Petersen directs from a script by first-time screenwriter (and future Castle creator) Andrew Marlowe. This might be Harrison Ford’s last great action movie and he’s right at home playing a tough-talking Commander in Chief. The supporting cast is populated by familiar character actors like Paul Guilfoyle and Philip Baker Hall, and they all do good work. This film is also a great opportunity to explore Air Force One itself, an aircraft to which most of us will never have access. Editing, sound, and cinematography are all first-rate – this was the pre-shaky-cam era. The visual effects are top-notch (with one exception) and Jerry Goldsmith’s music score is heavy on action and patriotism (my local critic labeled it “cheddary”).
On the other hand, I feel Glenn Close overacts as Bennett. The Secret Service agent’s motive is never explained. There’s a useless subplot where SecDef Walter Dean (Dean Stockwell, channeling Alexander Haig) insists he’s in charge, despite what the 25th Amendment says. William H. Macy is fine as Major Caldwell but he tells Marshall he doesn’t know how to fly a plane… except he has pilot wings on his uniform! The script is full of the usual clichés, including a wire-cutting scene and a cell phone losing reception, and some of the dialogue is cringe-inducing, especially the Situation Room material where the overacting doesn’t help. The CGI shots of Air Force One crashing into the Caspian Sea are some of the worst effects seen in a major motion picture!
Executive Decision features Kurt Russell as David Grant, a think tank nerd. We open with a team of Special Forces operatives led by LTC. Austin Travis (Steven Seagal) raiding a Chechen mafia safe house on the hunt for a stolen Soviet nerve gas, DZ-5… but it’s not there. Cut to: David Grant learning how to fly. I can’t help but admire this blatant setup. Grant is notified that El Sayed Jaffa (the late Andreas Katsulas), one of the world’s most notorious terrorist leaders, has been taken into U.S. custody. Some time later, Oceanic Airlines Flight 343 departs Athens on its way to Washington D.C. It’s hijacked by Jaffa’s deputy director, Nagi Hassan (David Suchet), and his men. The film never explains how their weapons are already stored aboard the plane.
Grant is summoned to the Pentagon where SecDef Charles White (Len Cariou) is running the show. (The president is never named; the VP isn’t mentioned at all.) They listen to a message from Hassan, who wants Jaffa released. Grant believes Hassan himself arranged for Jaffa’s capture and that Hassan has the DZ-5 aboard the plane and wishes to detonate it over D.C., but how will they prove it? Travis has them contact Dennis Cahill (Oliver Platt), an engineer who has developed an aircraft called the Remora, which will allow a team to transfer mid-air on board the hijacked airliner. Travis wants Grant to tag along, even though he's out of his element. They’re met at Andrews AFB by Cahill and Travis’ team: Louie (B.D. Wong), Baker (Whip Hubley), Rat (John Leguizamo), and Cappy (Joe Morton). Once docking begins, things get bumpy and Cappy is knocked unconscious. Grant climbs up the docking sleeve to help but the stress is too great. Travis sacrifices himself, closing the hatch as the sleeve is blown away. Hiding in the avionics bay, the team has no way of contacting D.C.
Louie discovers a bomb, with DZ-5 canisters and a barometric trigger. Bomb expert Cappy has been rendered immobile but Cahill assists in its dismantling. After Jaffa is released, Hassan kills his second-in-command after the man asks if they’ll be diverting the plane from its course now that their mission is complete. Grant determines that Hassan’s men can’t know about the bomb, but the bomb’s computer had run a diagnostic: there must be a separate trigger man on board. Rat and the men kill the lights and storm the cabin. The trigger man and all of the terrorists are killed but Hassan kills the pilot and co-pilot, so guess who has to land the plane? Rat kills Hassan and, with the assistance of flight attendant Jean (Halle Berry), Grant manages to land at Frederick Field.
I’ve always liked this movie and I believe it’s unfairly overlooked. First-time helmer Stuart Baird (an Oscar-nominated editor by trade) directs from a script by action vets Jim & John Thomas. Baird and his crew get the job done as efficiently as they can. It may sound backhanded but when it comes to the action genre, efficiency is a good thing. Like AF1, editing, sound, and cinematography are all first rate and we’re never confused. The actors mostly do a good job and we get a sense of the team’s camaraderie. Russell is his usual likable self and I like that the bookworm saves the day, not to mention the idea of all the heroes using their gifts: Grant, Cahill, Travis' team, and even the Air Marshal who gets the first shot at Hassan. The flying effects are excellent though the landing features some shoddy model work. Jerry Goldsmith is on autopilot, but that’s better than most composers on their best day!
Both films are a lot of fun and treat their subject matter seriously. However, while AF1 tries to ratchet up the tension with forced melodrama, ED has no time for such things. It’s nine minutes longer but it’s lean: there’s no traitor, no romantic subplot, no kids, no third act surprise. It’s inevitable that Harrison Ford would turn into, as one critic put it, “President Indiana Jones,” but again, I have to admire the scene in ED featuring Kurt Russell learning how to fly, as if the filmmakers are telling us, “Yeah, we know!” Neither script is Oscar-worthy but I would almost prefer no memorable dialogue to Ford’s hammy “Get off my plane!” (but it is satisfying!). The Pentagon scenes in ED are much better than the Situation Room scenes in AF1. Both films feature dependable character actors, but the ones in ED manage to exude the right amount of professionalism and grace under pressure; the ones in AF1, not so much.
While neither film is a masterpiece, ED comes across as slightly more authentic – perhaps because it’s aware of what it is – while AF1’s obliviousness causes it to come across as… almost too “cinematic” with plot developments that happen because we expect them to happen and characters spouting clichés: “Five more minutes!” “There’s no time!” I also find it interesting that one film is directed by a veteran director working with a first-time writer… while the other is directed by a first-time director (albeit a seasoned film professional) working with veteran writers. I guess this proves the old adage: if it ain’t on the page, it ain’t on the stage, even if the stage is a plane.
“These things almost land themselves, don’t they?”
There ain’t no such thing as the mob. But there are movies about the mob!
