--- title: "Twelve O'Clock High" year: 1949 kind: "film" canonical: "https://film.one/film/twelve-oclock-high" fi1m_id: "twelve-oclock-high" imdb_id: "tt0041996" tmdb_id: 15497 wikidata_id: "Q1194888" fi1m_score: 83 critics_score: 80 critics_reviews: 6 published: "2026-09-20" updated: "2026-09-20T02:06:23.080975+00:00" region: "IS" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Twelve O'Clock High (1949) Directed by Henry King · 2h 12m · War, Action, Drama ## Identity Twelve O'Clock High - **Canonical:** https://film.one/film/twelve-oclock-high - **Type:** Film - **Fi1m ID:** twelve-oclock-high - **IMDb ID:** tt0041996 - **TMDB ID:** 15497 - **Wikidata ID:** Q1194888 - **Same entity:** https://www.imdb.com/title/tt0041996/, https://www.themoviedb.org/movie/15497, https://www.wikidata.org/wiki/Q1194888 **Fi1m score: 83** · Critics 80 from 6 reviews *In a sentence:* Everyone on the base hates the new general by lunchtime, and the film thinks that is roughly the point > Henry King’s account of a bomber group and the man sent to break and remake it is hard, talkative and mostly right. Gregory Peck plays command as a job that eats the person doing it; the combat footage is real, grainy and often does not match. ## Synopsis England, 1949. Harvey Stovall (Dean Jagger), an American lawyer, finds a Toby jug in a London antique shop, buys it and cycles out to the airfield at Archbury, where it once sat on a mess-hall shelf. The film goes back to 1942, when the 918th Bomb Group is flying daylight raids over Europe in B-17s and losing more men than any other unit. Its commander, Colonel Keith Davenport (Gary Merrill), has grown too fond of his crews to push them. Major General Pritchard (Millard Mitchell) relieves him and sends in Brigadier General Frank Savage (Gregory Peck), who stops his car outside the gate for a cigarette and then drives in to make himself hated: guards reprimanded, passes cancelled, the group’s worst men herded into one aircraft he names the Leper Colony. ## Review Henry King made *Twelve O’Clock High* in 1949, four years after the war it describes, from a novel by Beirne Lay Jr. and Sy Bartlett, who also wrote the screenplay. It is a war film in which nobody fires a shot for most of the first hour. The 918th Bomb Group, flying B-17s out of an English field called Archbury in 1942, has become what headquarters calls a hard-luck outfit. Its colonel, Keith Davenport (Gary Merrill), loves his men and is losing them anyway. Brigadier General Frank Savage (Gregory Peck) is sent to take his place, and the film is about what that costs everyone, Savage most of all. We recommend it, with one caveat we will come to. Peck plays Savage as a man who has decided to be hated and has to keep on deciding it. He does not shout much. He stands still, hands behind his back, and says the cruel thing in the voice he would use to order lunch. Early on, Savage has his driver stop the car short of the gate, gets out, smokes a cigarette and looks at the field for a long time. Then he gets back in and drives through as somebody else. It is the whole performance in one shot. What moved us more than we expected was the frame around all this. Harvey Stovall (Dean Jagger), the group’s adjutant, older than everyone and a lawyer in peacetime, walks the empty airfield in 1949 with a Toby jug under his arm, and Leon Shamroy holds on the grass and the cracked concrete while the soundtrack brings up engines that are not there. We were got at by an empty field, because nothing in the shot asks for it. Jagger is the film’s conscience, the man who slows the paperwork when every pilot on the base asks for a transfer, and he plays it with a lawyer’s patience. Alfred Newman writes a march for the titles and then, more or less, stops. For most of two hours the film sounds like doors, engines and men talking too quietly to be heard across a hut, and it is better for it; when the bombers are counted back in over the field, there is no music to tell us how to feel about the number. Shamroy shoots the base in flat daylight, wide and low, with the aircraft parked on the horizon like furniture. The caveat is the fighting. The raids, when they come, are cut by Barbara McLean from real combat footage, and the join shows every time. The grain changes, the light changes, and a Fortress coming apart in the sky is plainly not in the same film as the studio cockpit it is cut against. We minded less than we expected, because what is real is real, and the belly landing that opens the 1942 section is worth a hundred models. The men around Peck are drawn quickly and played well. Merrill’s Davenport is relieved of his command in a scene we found hard to watch, because Merrill plays a decent man being told his decency is the problem, and he does not raise his voice either. Hugh Marlowe’s Gately, the lieutenant colonel Savage singles out and puts in charge of the Leper Colony, has the hardest part and gets the least help from the script. Robert Arthur’s Sergeant McIllhenny, the driver who keeps losing and regaining his stripes, is the only joke the film allows itself, and it is a good one. The second half is looser than the first. Briefing, take-off, count the planes, briefing again; the shape repeats, and the men stay the types they were introduced as. There is barely a woman in it, and nobody seems to notice. None of this stopped us. It is a film about a hard man that is honest about what the hardness does to him. It carries a U certificate, which tells you something about 1949. Nobody bleeds on screen. Everybody is being worn away. Watch it in the afternoon with the sound up; the quiet rooms are where it works. *Fi1m score 83, published 20 September 2026.* ## What the critics say The reviews are uniformly positive, and the praise gathers around Gregory Peck. Most critics single out his performance as the strict general sent to pull a demoralised bomber group back into shape, with several noting how much of the film’s weight rests on the toll the job takes on him. The realism draws the next most comment: the authentic feel of the base, the aerial footage, and a documentary-like plainness in how it is shot. Dean Jagger is the supporting player most often mentioned. The spread is narrow, and the reservations are mild. Time Out finds the tense first half the stronger stretch. The New Yorker rates it chiefly as the more interesting of two similar films about daylight bombing, valuing the action footage over the drama. The two coolest notices come from the original release; later critics see more depth in the human cost of command than their predecessors did. ## Straight answers **Is Twelve O'Clock High worth watching?** *Twelve O'Clock High* is worth watching, and we scored it 83. It is a war film in which nobody fires a shot for most of the first hour; Gregory Peck plays command as a job that wears away the man doing it, and the quiet rooms are where it works. The combat footage is real and often does not match, which we minded less than we expected. **How long is Twelve O'Clock High, and what is it rated?** *Twelve O'Clock High* runs 2h 12m. It is a war and action film. **Where can I watch Twelve O'Clock High in Iceland?** *Twelve O'Clock High* is not on any streaming or rental service in Iceland at the moment. It is available in 28 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is Twelve O'Clock High, and is it suitable for children?** *Twelve O'Clock High* carries a U certificate and nobody bleeds on screen. The violence is aerial combat cut from real wartime footage, plus a belly landing early on, and the harder material is emotional: a decent colonel relieved of his command, men asking for transfers. Children will not be frightened, but they may be bored; it is a talkative film for older viewers. **How does Twelve O'Clock High compare to Paths of Glory?** *Twelve O'Clock High* is the calmer of the two and [*Paths of Glory*](https://film.one/film/paths-of-glory) the angrier. Kubrick's film is furious at what generals ask of the men below them; King's film sits inside the general's head and counts what the asking costs him. Both are about command and its cruelties, but *Paths of Glory* is the more exact and the more moving, while *Twelve O'Clock High* is the more patient and the more forgiving. **Is Twelve O'Clock High based on a true story or a book?** *Twelve O'Clock High* is based on a novel by Beirne Lay Jr. and Sy Bartlett, who also wrote the screenplay, and the 918th Bomb Group and its airfield at Archbury are fictional. The film draws on the real daylight bombing campaign of 1942 and uses real combat footage for its raids. Knowing the book is not necessary; the film explains itself. **What should I watch after Twelve O'Clock High?** After *Twelve O'Clock High*, try [*Paths of Glory*](https://film.one/film/paths-of-glory) (1957, Fi1m 93): Kubrick on what generals ask of the men below them, and what they get. Then [*Das Boot*](https://film.one/film/das-boot) (1981, Fi1m 89): A captain holding a crew together from the other side of the same war; and [*Masters of the Air*](https://film.one/tv/masters-of-the-air) (2024, Fi1m 66): The Eighth Air Force again, at series length, with the cost counted crew by crew. ### Reviews we read (6) - **The New York Times**, Bosley Crowther (90/100, inferred): The film is a top-flight drama of rugged realism and punch about a young general turning around a bomber group in 1942 England. It has dramatic integrity, genuine emotional appeal, and strong performances, especially from Gregory Peck. [Read](https://www.nytimes.com/1950/01/28/archives/the-screen-in-review-twelve-oclock-high-realistic-saga-of-the.html) - **Empire** (85/100, inferred): The film is a masterful World War II aviation picture that gains real depth by showing the terrible toll on the commanding officer. It excites and enthralls while offering deep, rounded characters. [Read](https://www.empireonline.com/movies/reviews/twelve-oclock-high-review/) - **Time Out**, TM (80/100, inferred): Peck delivers one of his strongest performances as a strict commander taking over a demoralized WWII bomber group. The film excels in its tense first half depicting the unit's struggles and the director's firm control throughout. [Read](https://www.timeout.com/movies/twelve-oclock-high) - **The New Yorker**, John McCarten (70/100, inferred): Twelve O'Clock High is the more interesting of two similar films on daylight bombing, thanks to its aerial action footage and authentic air. Gregory Peck gives a mature performance as the disciplinarian general, supported by capable actors like Dean Jagger. [Read](https://www.newyorker.com/magazine/1950/02/04/1950-02-04-065-tny-cards-000034516) - **Variety**, Variety Staff (70/100, inferred): The picture deals soundly and interestingly with its high-brass story of morale and daylight bombing raids, approaching it expertly from a flashback angle for sharpened emotional pull. Gregory Peck credibly suffers with his men, with standout support from Dean Jagger. [Read](https://variety.com/1948/film/reviews/twelve-o-clock-high-1200416085/) - **Collider**, Namwene Mukabwa (85/100, inferred): The critic praises Gregory Peck's complex portrayal of a tough leader grappling with the psychological toll of war in this realistic WWII drama directed by Henry King. They highlight the film's documentary-like style and focus on the human cost of command. [Read](https://collider.com/gregory-peck-twelve-oclock-high/) ## Details - **Director:** Henry King - **Director:** Henry King - **Screenplay:** Sy Bartlett, Beirne Lay Jr. - **Novel:** Beirne Lay Jr., Sy Bartlett - **Cinematography:** Leon Shamroy - **Editor:** Barbara McLean - **Music:** Alfred Newman - **Producer:** Darryl F. Zanuck - **Cast:** Gregory Peck as Brigadier General Frank Savage; Hugh Marlowe as Lieutenant Colonel Ben Gately; Gary Merrill as Colonel Keith Davenport; Millard Mitchell as Major General Patrick Pritchard; Dean Jagger as Major / Lieutenant Colonel Harvey Stovall; Robert Arthur as Sergeant McIllhenny; Paul Stewart as Major "Doc" Kaiser (flight surgeon); John Kellogg as Major Cobb - **Runtime:** 2h 12m - **First release (Belgium):** 21 December 1949 - **Genres:** War, Action, Drama - **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 1949) - **Box office:** $3 million - **Trailer:** https://www.youtube.com/watch?v=AGEekUoEQUM ## Where to watch in Iceland Not streaming, renting or buying in Iceland at the last check. Also available in: AE, AT, AU, BE, CA, CH, CZ, DK, EE, ES, FI, FR, GB, GR, HU, IE, IL, IT, JP, LT, NL, NO, NZ, PL, PT, SE, UA, US. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 1950: Best Actor (nominated); Best Picture (nominated); Best Sound (won); Best Supporting Actor (won) ## If you liked this - *The Cruel Sea* (1953): The same argument about command, at sea, with Jack Hawkins doing the deciding - *Command Decision* (1948): The other daylight-bombing picture of the period, made almost entirely of men in offices - *Paths of Glory* (1957), Fi1m 93: Kubrick on what generals ask of the men below them, and what they get — [Fi1m page](https://film.one/film/paths-of-glory.md) - *Das Boot* (1981), Fi1m 89: A captain holding a crew together from the other side of the same war — [Fi1m page](https://film.one/film/das-boot.md) - *Masters of the Air* (2024), Fi1m 66: The Eighth Air Force again, at series length, with the cost counted crew by crew — [Fi1m page](https://film.one/tv/masters-of-the-air.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/twelve-oclock-high