Where Eagles Dare 1968 (2027)

The film’s title comes from a line in Shakespeare’s Richard III : “The world is grown so bad / That wrens make prey where eagles dare not perch.” In 1968, Hollywood dared to perch on the highest, most ridiculous cliff. And we are all better for it.

Critics in 1968 were mixed. They called it “overlong” and “ludicrous.” They weren’t wrong. The plot is a Gordian knot of code names (Broadsword to Danny Boy, anyone?). The German soldiers have the aim of stormtroopers from Star Wars . And the ending, where the heroes casually fly away in a captured Nazi plane, defies all physics. where eagles dare 1968

A flawless piece of winter pulp. Pour a Scotch, turn up the volume, and don’t ask where they got all those extra magazines. ★★★★☆ (4/5) "Broadsword calling Danny Boy... this article is complete." The film’s title comes from a line in

But is Where Eagles Dare a great film? Or is it simply the greatest good bad film ever made? The answer, much like the film’s plot, is a delightful double-cross. The premise is deceptively simple, then gloriously convoluted. A US Army General (Robert Beatty) has been captured by the Nazis and is being held in the Schloss Adler—the Castle of the Eagles—a fortress perched on an impossible peak in the Bavarian Alps. The catch? The General knows the full scope of Operation Overlord (the D-Day invasion). If he talks, the war is lost. They called it “overlong” and “ludicrous

On paper, Burton as an action hero is absurd. He looks like a Shakespearean scholar who wandered onto a battlefield. Yet, he is the film’s secret weapon. As Major Smith, Burton doesn’t run; he prowls. He doesn’t yell orders; he murmurs them with a smirk. He is the smartest man in the room, playing a game of 4D chess while everyone else is playing checkers. His climactic speech on the castle’s ramparts—where he unravels the film’s three (!) separate double-crosses—is a masterclass in exposition. He makes treachery sound like poetry. And then there is Clint Eastwood. Fresh off The Good, the Bad and the Ugly , Eastwood was already a star. But here, he plays the ultimate supporting role: the muscle. Schaffer doesn’t have a character arc. He has a machine gun. For the first hour, Eastwood has approximately twelve lines. Most of them are “Yes” or “No.”