Still phenomenal, riveting, powerful, beautifully scored, a knock out and sadly deserving of more than it got

Before the wonder of “Spider-Man” or the heroic sincerity of “Captain America” there was the phenomenal “The Rocketeer”, a comic book film that combined both, and so much more, into its propulsive hour and 40 minutes. Alas, 19991 did not deserve this movie; it died at the box office and became probably the most underrated film of all time. I, however, did get to see it in a theater, and i’ll treasure the experience always.


It focuses on 1930’s pilot Cliff Secord (Bill Campbell), who while testing a new plane runs into a mishap with the FBI chasing crooks. What he discovers, in the aftermath, is that a rocket jet pack has been hidden in an airplane hanger, a rocket he soon realizes a variety of different factions want for different reasons. One of those is Neville Sinclair (Timothy Dalton)- doing undercover work for the Nazis by masquerading as a Hollywood actor, and made all the more dangerous as Cliff’s up and coming actress girlfriend Jenny (Jennifer Connelly) hopes to get closer to him.


“The Rocketeer” was directed by Joe Johnston of “Honey, I Shrunk the Kids” and “Captain America” but there’s no doubt this is his masterpiece. It’s a marvel of production design and special effects wizardry, as well as nostalgia. Here’s a film where the sight of aviation, air shows, and men shooting off in flight interact with the glitzy glamor of Hollywood. Where a great looking greasy spoon diner shaped like a bulldog exists within the same place as an incredible looking nightclub where you might rub elbows with W.C Field or see a band emerge out of the water in a clam shell. It’s such a revelatory piece of 1930’s pop, and that’s to say nothing of the action sequences- which are heart in your throat believable and contain all the awe, pure wonder, and thrills Raimi brought to “Spider-Man” more than ten years later.


It also can’t be understated how invaluable composer James Horner was to this whole endeavor. There are not many scenes where his thunderously soaring, cheer-worthy score doesn’t emphasize the excitement, the nobility, and adventure here. This is music to fly to- the film’s moments are increased tenfold by this exhilarating, patriotic piece of work.


One of the tragedies of the film is that we did not get to see the main trio again. Campbell kinda got pigeon-holed as a stiff nice guy, which Cliff is, but he’s also compelling as a compulsive action junkie and dim bulb boyfriend and he has great scenes with Alan Arkin, playing mentor and rational friend (read: he gets the best lines) Peevy, and Jennifer Connelly, looking every bit the Hollywood starlet with piercing bedroom eyes, was a good foil for him. I would have loved to see where these characters go next.


But the MVP actor here is Dalton, a suave Erroll Flynn type who also happens to be dastardly and devious. The scariest thing about Sinclair is his charm- a man who makes you want to hang around his orbit until he suddenly becomes as ruthless as a serpent. He’s terrific villaIn work, while other character actors like Paul Sorvino, Jon Polito, Margo Martindale, and, especially Terry O’Quinn as Howard Highes, create such memorable supporting players.


And I can’t forget Lothar- the best and scariest James Bond henchman never to be in a Bond movie. With his muddled face and freakish strength, this was back when Disney didn’t really seem to care if something was thematically rougher than usual. Thankfully they didn’t and we have this wall to wall exciting and masterful ode to the old-fashioned serials of the 1930s, complete with an extraordinary finale on board a blimp. More than 30 years later, I couldn’t be more pleased with how much love, devotion and respect this movie has for every facet of its story. It’s one of the true gems that walked so that a lot of the comic book stuff we see today could run.