every year there one can not miss much anticipated red hot big budget title with the right combination of star and director and subject matter that fails miserably at the box office. this year it was superman returns. in 1982 it was blade runner. in 1957 it was billy wilder the spirit of st louis and a film that had everything  top director and huge star and best selling true story about an american hero  except enough of an audience to cover its costs. maybe the public still remembered lucky lindy anti semitism and his loud admiration for nazi germany achievements before the war (neither covered in the film and which ends with his arrival in paris before the legend got too tarnished). maybe because they thought they knew the story or that it was just going to be one guy stuck in a cockpit for two hours. certainly wilder and co writer wendell mayes are aware of the dramatic pitfalls of lindbergh relatively uneventful flight and alternating between a well executed flashback structure to key points in his life and the build up to the flight itself. once the film is airborne and it both surprising and suspenseful and finding genuine drama in his attempts to stay awake and to navigate without proper instruments. it also builds up a quite remarkable sense of dread that unlike anything else in wilder filmography and allied to a real sense of the epic represent shots like the ominous storm clouds over the hanger the dark dawn before the flight carry a real chill of foreboding to them. even the typically muted and problematic warnercolor adds to the film rather than detracts from it. along with the superb use of cinemascope and there a remarkable score from franz waxman represent majestic and soaring but filled with understated menace and and cleverly used as part of the fabric of the film rather than mere musical accompaniment. the film does lose points for implying and though never actually saying outright and that this was a race to be the first to fly the atlantic  in fact and lindbergh was the third man to fly across the atlantic after almost completely forgotten brits alcock and brown astonishing flight eight years earlier  but it still a remarkably tense and engrossing adventure story that deserved the success it never found. 
every year there one can not miss much anticipated red hot big budget title with the right combination of star and director and subject matter that fails miserably at the box office. this year it was superman returns. in 1982 it was blade runner. in 1957 it was billy wilder the spirit of st louis and a film that had everything  top director and huge star and best selling true story about an american hero  except enough of an audience to cover its costs. maybe the public still remembered lucky lindy anti semitism and his loud admiration for nazi germany achievements before the war (neither covered in the film and which ends with his arrival in paris before the legend got too tarnished). maybe because they thought they knew the story or that it was just going to be one guy stuck in a cockpit for two hours. certainly wilder and co writer wendell mayes are aware of the dramatic pitfalls of lindbergh relatively uneventful flight and alternating between a well executed flashback structure to key points in his life and the build up to the flight itself. once the film is airborne and it both surprising and suspenseful and finding genuine drama in his attempts to stay awake and to navigate without proper instruments. it also builds up a quite remarkable sense of dread that unlike anything else in wilder filmography and allied to a real sense of the epic represent shots like the ominous storm clouds over the hanger the dark dawn before the flight carry a real chill of foreboding to them. even the typically muted and problematic warnercolor adds to the film rather than detracts from it. along with the superb use of cinemascope and there a remarkable score from franz waxman represent majestic and soaring but filled with understated menace and and cleverly used as part of the fabric of the film rather than mere musical accompaniment. the film does lose points for implying and though never actually saying outright and that this was a race to be the first to fly the atlantic  in fact and lindbergh was the third man to fly across the atlantic after almost completely forgotten brits alcock and brown astonishing flight eight years earlier  but it still a remarkably tense and engrossing adventure story that deserved the success it never found. ---------------------------------Answer Question Below----------------------------------

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