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Tuesday 18 September 2018 photo 4/8
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The Blue Thunder Download
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DOWNLOAD: http://urllio.com/r0hpt
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The cop test pilot for an experimental police helicopter learns the sinister implications of the new vehicle.
Blue Thunder is a specially modified helicopter. It is for police work, but is armed and designed to counter street insurgencies. Its makers want to show what it will do, but have to train Los Angeles Police pilot Frank Murphy to fly and use it in order to allow it to operate in the city. Murphy and the project pilot have differences going back to Vietnam. The conflict between them continues to heat up as Murphy begins to suspect that Blue Thunder is more than has been disclosed.
When I saw this One in 1983 on the BIG screen it was a fantastic experience. The final encounter between Murphy and Cochran is simply the best helicopter chase ever! Roy Scheider is brilliant in his role as a broken pilot who becomes a random witness of a great conspiracy. Bonus points also for his sidekick Daniel Stern and the evil opponent Malcolm McDowell. Perfect air photography by John A. Alonzo and superb cutting by Frank Morriss. A winner!!!
When it came out in the spring of 1983, "Blue Thunder" was a cutting- edge techno-thriller that amazed a lot of folks. Thirty years later, the technology may need revisiting but the film still grabs you as a riveting thrill ride with a solid human-interest angle.
Frank Murphy (Roy Scheider) is a seasoned helicopter pilot who patrols Los Angeles for the local police. Tormented by Vietnam flashbacks and a free spirit by nature, he's probably the worst guy to hand a prototype for the government's latest secret weapon, a helicopter that can do everything from cut cop cars in half to overhear mouse excretions at 2,000 feet. But Murphy is assigned the copter, nicknamed "Blue Thunder," to the eventual regret of some highly-placed wrongdoers.
"A dozen of these copters and you could run the whole damn country," Murphy exclaims as he begins to piece together what's what.
However prescient "Blue Thunder" has proved in terms of technology and government intrusion using same, the film is still half-baked. Its core idea, of a government so keen on lethal ordinance it plots to instill inner-city rebellion in hopes of inflicting mass murder, is fortunately only drawn from at the corners of the film rather than given full focus. Instead, the story focuses on Murphy and his fancy copter, which is cool because both Scheider and his machine merit the attention.
Was Roy Scheider great or what? Watching him play Murphy is like a tutorial on film acting that is unobtrusive yet effective. He had a face that looked like it spent the prior decade soaking up every beam of sun that hit California, but his dancing eyes and gentle cackle were elastic wonders. Whether he's breaking in a rookie partner played by Daniel Stern ("Stop calling me 'sir,' you sound like David Copperfield") or having a confrontation with his spiky but caring boss (Warren Oates, in his last film role), Scheider has a way of making you care about his character without getting in the way of the story.
The story, like I said, has problems, but it's also quite exciting and full of impressive moments that stick. Like when Stern's character realizes what his nickname "JAFO" means, or how director John Badham and his team frame the entrance of Blue Thunder, silhouetted like an insect against the sun. As a Malcolm McDowell fan, I really enjoy the man's performance as chief bad guy F. E. Cochrane (what "F. E." stands for is another memorable one-liner of Murphy's). Despite what some others (including Leonard Maltin) have said, McDowell plays his character not as openly menacing but more of a smoothie, which makes him a fascinating foil for the not-completely-collected Murphy.
I want to second Woodyanders' observation in his August 2010 IMDb review, about "a totally preposterous, but witty and engrossing script by Dan O'Bannon and Don Jacoby." For all the rote car chase scenes, and buildings blowing up, I still find myself enjoying Murphy's wry exchanges with his long-suffering girlfriend (a winningly doughty Candy Clark), or the moment when she's confronted by a man who tells her: "The most dangerous thing in the world is a little man afraid for his job," which is a bit of irony if you like that kind of thing given who the speaker and what his situation is at that moment of the film.
The film's serious but not mortal weakness is watching Murphy aid and abet a lot of mayhem that would carry a high death toll if it weren't an '80s popcorn picture that expected us to merely enjoy the pyrotechnics and not ask questions. For the most part, I guess I wasn't. Watching Scheider and McDowell square off, using real images of the actors in helicopters and playing off John A. Alonzo's shots of the L. A. skyline, is to feel completely transported into a world where such things don't matter at all. Timeless, maybe not. Thrilling, you bet.
The opposition of good and evil is devoid of any subtle shading, so just sit back and enjoy the spectacular dogfight over downtown Los Angeles.
The DVD version differs in one scene compared to the tape version. The VHS is identical to the laserdisc and earlier TV broadcasts. a5c7b9f00b
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