Let's be realistic.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

Mostly, the movie is committed to the value of a good time.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

A solidly engaging WW2 thriller from the Powell/Pressburger team. This one's a straightforward story about a bomber crew who go on a bombing raid over Stuttgart but who are forced to parachute out of their plane when it's hit by anti-aircraft fire. They land in Nazi-occupied Holland and are forced to put themselves at the mercy of local resistance members in order to escape.A premise like this is ripe for suspense and ONE OF OUR AIRCRAFT IS MISSING doesn't disappoint in this respect. The story has a ring of authenticity to it and is enlivened by the stalwart efforts of the cast members who include Eric Portman, Bernard Miles, and Hugh Burden among their number. I thought that the special effects for the era - let us not forget this was made while the war was still going on - were very good. The bits in Holland tone it down a notch but the story picks back up towards the climax, leading to a thrilling ending. There's very little to dislike here.

Once again the Archers come through with a very entertaining picture. I think the film would be much more pertinent to, and was probably aimed at, WWII British audiences, but it is nevertheless top quality motion picture entertainment for either side of the Atlantic.Although it starts out in a different vein than most - A British bomber flying unmanned until it crashes - there is surprisingly little action for a war picture and is mainly a character study about the airmen who bailed out of her. All parts are professionally done, especially Bernard Miles' and Godfrey Tearle's, and special mention must go to Googie Withers who labored in movies all those years with a funny name. It is she who takes acting honors in this one as the 'contact' posing as a Nazi sympathizer.The World War II conflict in the European theater has provided an endless supply of thrilling and exciting movies with the Nazis as the natural 'bad guys', and here is another. Although they were not all as dim-witted as portrayed in movies, it is always fun to watch them come out on the short end. This film is well worth your time whether you are a war movie buff or not.

While not as well-known, nor as highly regarded, as their other later works this is every bit as good as one would expect from the team of Michael Powell and Emeric Pressburger. It's fairly predictable, flag-waving stuff following the fortunes of six British airmen shot down over Holland as they try to make their way to the coast and back to England.They are all well played by a stock company of British army types, though some of the 'Dutch' people they meet on the way, (Peter Ustinov, Robert Helpman, Googie Withers, Joyce Redman), leave something to be desired. The editor was David Lean and the photography was by Ronald Neame and they do a splendid job; it looks great and much of the airborne stuff has a documentary feel to it. It is also consistently tense and is actually better than the better known "49th Parallel".

It's pretty good, and it ought to be. Powell and Pressburger produced, wrote and directed it. It was shot by Ronald Neame and edited by David Lean. And the cast includes some well-known faces -- Pamela Brown, Godfrey Tearle, Bernard Miles -- as well as some, uncredited, who were to become familiar over the next few years -- James Donald, Gordon Jackson, Peter Ustinov.The script is literate, though it includes some incidents that are now staples, and the flight of the Wellington into Germany and its being damaged on the return over Holland are eminently realistic and filled with tension, given the period.It strikes a viewer as especially well thought out. The behavior and conversation of the men huddled in the bomber are believable. None of the boyish exuberance of, say, Howard Hawks' "Air Force." Nobody shouts, "That'll teach the Nazi miscreants" or anything like that. It's all business, made a little less heavy by some light humor.When the half dozen men land in Holland and are discovered by the locals, they aren't kissed by the girls, they don't have roses thrown at them, and nobody gives them bottles of wine. The Dutch have been living with the Nazi occupation for years and they know better than that. Pamela Brown, as a leader of the interrogation team, takes her time in making sure that she's not dealing with German ringers before she organizes help.Some of the incidents may be real but are a little hard to believe. The men are to be taken, disguised as farmers, to the Catholic church for safety's sake and two of them balk because they are Methodist and Baptist. Huh? Seriously. It's somewhat surprising to find a Catholic church in a Duth village to begin with, and even more queer to find the congregation singing hymns. But, okay.That's nothing compared to the film's many virtues, which include an exciting rescue at sea from a wobbling buoy.See it. Audrey Hepburn was a teenager who saw it up close because she lived through it. Anything Audrey Hepburn (nee van Heemstra) did as a teen-aged girl is all right with me.