The Sound Barrier

Synopsis: Tony successful fighter pilot during World War II marries into the family of a wealthy oil magnate who also designs airplanes. The movie traces the company's attempt to break the sound barrier, as well as tensions between father and daughter. Lots of footage of early 50s jet aviation in Great Britain as well as shots of the Comet airliner, world's first jet passenger plane.
Genre: Drama, Romance, War
Director(s): David Lean
Production: United Artists
  Won 1 Oscar. Another 8 wins & 5 nominations.
 
IMDB:
6.9
Rotten Tomatoes:
73%
Year:
1952
109 min
46 Views


# Daddy wouldn't buy

me a bow-wow, bow-wow

# I've got a little cat,

and I'm very fond of that

# But I'd rather have a

bow-wow-wow-wow-wow... #

Well, do you like it?

- What?

- Well, the parting, you clot.

- What's the matter with it?

- Well, it's on the other side.

Why?

I don't know, I... thought it gave

me a sort of intellectual look.

It conceals the incipient baldness.

- I thought Sue was on leave.

- No, she's due back this evening.

Hello. It looks like you've been

jumped on by a 20-plus flock of wolves.

- I tried to pull out of a flat-out

dive just now. - Oh, good show.

The damn stick needed Carnera to move it.

The harder I pulled, the

more the nose went down.

It felt for a moment as if

the controls were reversed.

- And were they?

- Of course not, you clot, or I wouldn't be here.

There was a lot of buffeting too. It was

almost as if I'd suddenly run into a...

a solid sheet of... water, or something.

Really?

Why don't you marry her?

You know, all prospective

father-in-laws are a bit frightening.

- After all, mine was.

- Yours wasn't the great John Ridgefield.

- What, because he makes a few aeroplanes?

- A few aeroplanes?

He owns a hundred ruddy acres of

factory, he's a millionaire twice over

and Sue's his only daughter.

Anyway, heiress of not, I'm meeting her train,

I shall take her for a quiet little drive

and ask her to marry me

simply, firmly and directly.

What's the matter?

Oh, I don't know, I just thought it

was a good place to stop for a breather.

Oh, how nice.

Sue, what do you think of me?

- As a driver?

- Er, no.

As a man.

Oh. Well, I...

I told you, I...

I think I prefer you with your

hair parted on the other side.

- Sue, I...

- Yes?

- Sue...

- Yes, Tony?

Tony, I've got my answer ready. In fact,

I've had it ready for an awful long time.

Oh, gosh.

Is that all you can say,

Tony? Just, "Oh, gosh"?

- You have looked at this from every angle?

- I haven't left an angle out, I promise you.

- I mean, you know the sort of chap I am.

- I know the sort of chap you are.

- Not on your level at all.

- Miles above.

Oh, gosh.

Please, Tony, stop saying "Oh, gosh".

Can't you think of anything else to say?

I love you so very much.

I shan't be a tick.

It's time this came off.

Give it to me, I'll keep it as a souvenir.

Mrs Garthwaite.

Mrs Garthwaite.

Mrs Garthwaite? Mrs Garthwaite. I suppose if

I say it often enough, I shall get used to it.

- Hello, Eddie.

- ? Tony, you old basket.

- Got anything going to Ridgefields?

- Sure, we're bound to have.

Why Ridgefields, though?

- Because I went and married a Ridgefield.

- You don't say? - I'm off to get

the once- over from her old man.

Well, I'll have to treat

you with respect from now on.

- Oh, congratulations.

- Thanks.

You're welcome.

An Anson here, takeoff 14:30.

- Fine.

- Sign here.

There you are, darling. Ridgefields.

- And it's all your

father's? - Mm-hm.

We're landing.

Hi. Susie!

Hi!

- Your father?

- No, Will Sparks, our chief designer.

- Oh, Will!

- I saw you from the office windows.

Susie, darling!

- How are you?

- Very well, thank you, Will.

- What have you done? You're thinner.

- Oh, I've gone on the wagon.

- Will, why?

- With all these Americans about, you can't get it.

I hate beer! Though I'll be

off it tonight in your honour.

- So this is the gent.

- This is the gent.

I've heard a lot about you.

I've heard a lot about you. I'm glad

you had the sense to pick a flyer.

For a moment, I thought

you were my father- in-law.

- Glad to meet you and welcome to Ridgefields.

- Thank you.

Oh, your dad's at a board meeting. I was asked

to tell you he won't see you before dinner.

- Are you coming to dinner?

- I haven't been asked.

- Oh.

- Well, I suppose he wants to keep it family.

But you are family, Will.

- Of course, I am coming to the do tonight.

- Oh dear, is there a do?

Slap-up. Champagne, the

whole board of directors.

- How are you, Mason?

- Very well, thank you, Miss Susan.

I'll come as far as the office block.

I wish I worked union hours.

- How many people work here?

- Twelve thousand.

- Twelve thousand?

- Yes, we've got another 8,000 over at Hillbank.

- What's that? -

Top-secret, sir.

Those are test-beds, aren't they?

- Is this top-secret going to win the war, Will?

- A good deal more than that, if you ask me.

- Hello, Factor, how are you?

- Very well, thank you, madam.

- This is my husband.

- Welcome, sir.

He called me madam. I realise now

I've been "Miss" for far too long.

I simply love being madam.

However hideous your threshold,

do you know what my duty is?

- No, what?

- I'll show you.

- Tony, no!

- Hang on to your hat.

- This could be quite a drop.

- Tony!

Tony, drop me. You're not strong enough.

- Not strong enough?

- No, you're not.

- Which way?

- This way, sir.

- Right, here we go.

- This way.

Take my cap off.

This way, sir.

Blimey.

Tony.

Oh!

Oh.

Oi.

Chris!

- How are you, darling?

- Hello, Sue.

- Meet your new brother-in-law. - How

do you do? I've heard a lot about you.

- I suppose it's too late to say congratulations.

- Not at all.

Congratulations.

- Oh, Chris, what is that?

- It's the RAF badge.

You get it when you pass the interview.

- Oh, I thought you were going into the navy.

- I've changed my mind.

- Did you get my present?

- Oh, darling, thank you so much.

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Terence Rattigan

Sir Terence Mervyn Rattigan, CBE (10 June 1911 – 30 November 1977) was a British dramatist. He was one of England's most popular mid twentieth century dramatists. His plays are typically set in an upper-middle-class background. He wrote The Winslow Boy (1946), The Browning Version (1948), The Deep Blue Sea (1952) and Separate Tables (1954), among many others. A troubled homosexual, who saw himself as an outsider, his plays centred on issues of sexual frustration, failed relationships, and a world of repression and reticence. more…

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Submitted on August 05, 2018

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