Blue Thunder the movie is not quite as sleek and sophisticated as Blue Thunder the ultra-helicopter, but it’s a well-organized hunk of action movie, with the requisite spectacular stunts, a healthy dose of creeping paranoia, and a passel of crooked government bad guys. It’s a film consisting entirely of surfaces—shiny glass, blue metal, white skies—but they’re hard, fast surfaces, and just flashy enough to keep your attention. Passing in front of and between these cool surfaces are some good actors: Roy Scheider as an ace LAPD chopper pilot who gets to test-fly the new supercopter; Daniel Stern (the tall guy in Diner) as his green partner, who is along for the ride when Scheider starts to get wise to some very unusual idiosyncrasies of Blue Thunder; Candy Clark as Scheider’s patient woman friend; Warren Oates heading the police air division (the film is dedicated to the late actor); and Malcolm McDowell as Scheider’s irredeemably loathsome nemesis.
Director John Badham has taken great pains to make sure we know what’s going on, and he also takes care to set up a number of maneuvers that are going to become relevant in the final cat-and-mouse sequence (i.e., Scheider’s proficiency at slaloming around obstacles, and Clark’s skillfully exuberant driving). He’s aided by John Alonzo’s sharp cinematography; as a matter of fact, Blue Thunder is so thoroughly okay that almost nothing leaps out as being particularly praiseworthy.
But there is a weird aspect to it unlike anything I’ve seen in any other slam-bang action movie, and that’s the almost obsessive attention to the safety of innocent bystanders. Everybody who gets in the way of Scheider and his pursuers—and I’m talking about the faceless people on the street now, the kind that get eaten by the dozens in Japanese horror movies—is accounted for by news or police reports; as, “Two helicopters, a police car, and an office building were destroyed, but everybody’s all right.” Scheider even gets caught off his guard because he’s watching one of his attackers parachute to safety in the city streets. This is a new wrinkle in the bust-’em-ups; generally, the extras from central casting who signed on as passers-by also get to double as cannon fodder.
This more humanitarian method is being employed so that Scheider’s final mission won’t be causing a lot of innocent people’s deaths, a situation that might blur the clearly-defined fact that Scheider is the good guy, as indeed he is (earlier, one of the top brass had said that one civilian dead per ten terrorists was an acceptable ratio, but Roy doesn’t think so). I don’t mind this sort of accounting, but it is strange to see a helicopter crash full speed into a solid cement column and then watch all the crew members hop out. And it’s a different sort of summer blockbuster that you can call violent and considerate.
First published in The Informer, May 1983
A mechanical summer hit, as indicated.