Where Eagles Dare (1968)
Scene: The General Rosemeyer's Helicopter arrives at Schloss Adler (00:28:38)
Location: Burg Hohenwerfen , Werfen, Austria. On the A10(E55) just south of Salzburg .
Approx Co-Ordinates: 47° 28' 58.87" N 13° 11' 07.17" E
Map: Freytag & Berndt Wanderkarte WK 392 1:50,000
Directions: Take exit 44 off A10(E55) and turn north following signs to Werfen. Burg Hohenwerfen is visible from the Autobahn from a great distance in both directions. The interior of Burg Hohenwerfen is usually closed from November to around mid-April. Check with Burg Hohenwerfen or the tourist office in Werfen or Salzburg by telephone before planning your journey.
In the above photograph, Burg Hohenwerfen from the South East almost at the level of the river.
The Schloss Adler is set at the great Schloss of Burg Hohenwerfen, which is situated on a huge boss of rock which blocks the valley of the Salzach at Werfen. Nearly all of the navigable Alpine valleys have a castle within them in order to control the strategic invasion routes through the Alps. Higher valleys sometimes have only a Watchtower. The most important routes have huge Schloss, such as Salzburg, Kufstein, Burg Hohenwerfen and the huge ruined Schloss Ehrenberg complex at Reutte.
Burg Hohenwerfen has a long history and but at the time of the filming of Where Eagles Dare it was being used as a police training school, after being used as a barracks during the war. Hohenwerfen was scheduled to be one of the outer bastions of the planned Nazi Alpenfestung in May 1945, but the Alpenfestung was never built. In a reversal or rôles, Otto Skorzeny the »German 007« was de-briefed in one of the large houses above Werfen by US Army OSS officers. The US Army would have briefly occupied Burg Hohenwerfen before moving on to Salzburg, Werfen being too small to occupy their attention.
Burg Hohenwerfen sits high over the valley but not nearly as high as the Schloss Adler of the film. When you see the Schloss Adler together with Cable-Car leading to it, it is a model back at MGM-British Studios at Borehamwood . The Cable-Car scenes using a real Cable-Car (but obviously without a Schloss) were filmed at Ebensee, an hour to the East of Werfen.
If Burg Hohenwerfen had been constructed on one of the cliffs which line the valley above it, then it would appear as it did in the movie. Prepare yourself for this. Burg Hohenwerfen is impressive and grand, but the movie raises expectations above this, expectations which need to be reduced before visiting if disappointment is to be avoided.
A large and deep set was constructed for the scene where Burton and Eastwood jump from the top of the Cable-Car onto the wooden canopy and for the lengthy scene where they begin their descent in the Cable-Car. Burg Hohenwerfen does not have a Cable-Car. It is high off the valley floor but not that high. There is in fact a small 'dumb waiter' Cable-Car which is used to bring supplies from the parking lot by the road, to the battlements of the Schloss. They must have installed this because otherwise they would be the least favorite stop of all delivery drivers for hundreds of kilometers around.
This is the model constructed by the studio (below). Whenever you see the »Schloss Adler« together with the Cable-Car, this is the model. When you see the »Schloss Adler« alone it is Burg Hohenwerfen.
Elizabeth Taylor and Richard Burton stayed at the Hôtel Erzherzog Eugen , 5450 Werfen, Markt 38, during filming in and around Werfen
The model of the »Schloss Adler«
In Burg Hohenwerfen (below) the Great Bell Tower (left) is included in the profile, and another tower has been added to the model (above) on the right hand side, to improve the profile. Below the line of the battlements, the model has rock mountainside, onto which the terminus of the Cable-Car has been grafted.
As Winston S. Churchill was fond of saying »If it is not true, then it should be, and more besides«. This applies to the mighty Schloss Adler of fiction.
In the real world, there is not need to build a Schloss high on the mountain, as it will not be protecting anything of importance. Armies would by-pass in the valley without knowing you were there.
Above is Burg Hohenwerfen from the East (South East). The village of Werfen is behind you, the Great Bell Tower nearest to you.
Above: The precipitous glaciated sides of the valley Salzach above Burg Hohenwerfen.
Burg Hohenwerfen from the South
As you ascend the very steep cobbled track to the entrance of the Schloss above you to your left is the tower (the uppermost tower) which is the location for the scenes where Smith and Schaffer ascend a rope into Mary Ure's room (the Great Bell Tower). The window is the small window underneath the level of the parapet and just next to the gallery on the curved section of the tower.
ENTRY INTO THE SCHLOSS ADLER (01:11:25)
Mary Ure throws down a string to bring up the rope.
The Stuntman struggles to find purchase with his boots on the nearly vertical but usefully rough rock walls upon which Burg Hohenwerfen is built.
The Stuntman now has to climb a vertical rope using only the grip of his hands. He grasps the rope between this legs to take the weight from this hands.
The Great Bell Tower from the approach to the Gatehouse.
In the above Plan, the location on the Great Bell Tower used for the Ascent by Rope into Burg Hohenwerfen.
ESCAPE FROM THE SCHLOSS ADLER (01:54:07)
The Stuntman rappels from the Embrasure. He wears a harness which ties around his waist under his clothing and on his side away from the Camera he uses a metal Rappelling loop which the rope runs through. The friction for the rope on the loop slows the speed of his descent to a manageable rate.
In the above frame, you can see the Stuntman hold the rope tight with his right hand to increase the friction on the metal Rappel loop. It is possible to descend a rope without a waist harness and a metal rappel loop by running the rope around your lower back and holding it at your hip with your right hand. You have to keep your feet on the rock face and move slowly because once you become removed from the rock, you spin to the right. This method is much more dangerous but would save the time of donning a harness and clipping into the rope. With German troops trying to kill you it would be quickest to just descend the rope hand over hand while grasping the rope between your legs to add friction and slow your descent.
In the above frame, you can see that the Stuntmen descend onto a wooden platform which is meant to be the wooden canopy of the Cable-Car dock. The location has been dressed as a set with the addition of the metal ladder rings inset into the rock to the left of the wooden canopy. The outer battlements of Burg Hohenwerfen intrude into frame right which must have annoyed the Editor.
In the above Plan, the descent by Rope from the Embrasure of the Guardroom.
Below, the view from this direction is from the south of the valley. Hohenwerfen is just to the North of the village of Werfen, and Werfen station is just to the south of the village of Werfen. If you were standing at the Station, this is roughly the profile of the Schloss which you would see. You can glimpse this view behind Burton and Eastwood's shoulder as they cross the bridge from the station.
This is the view Burton and Eastwood have when they observe the Schloss through binoculars. You are looking from the east bank of the valley, almost directly across the valley. Salzburg (north) is to your right, and Werfen (just to the south) is visible to your left. The Great Bell Tower is indicated by the arrow, showing the window to which Burton and Eastwood ascend the rope.
You can see from this plan of Burg Hohenwerfen that as you ascend (blue arrow) the Great Bell Tower appears on your left above the outer battlements.
In the above photograph, the Gatehouse at Burg Hohenwerfen, which appears just after the blue arrow on the above plan. The gate in the photograph below is just to the left of the square turret, in the shadow of the trees.
Continue higher into the castle and eventually you reach the central courtyard where the helicopter scene was filmed. The scene was shot with a real helicopter in the actual courtyard. There were some young trees growing the courtyard which had to be removed in order to give the helicopter space to land.
In the above photograph you can just see the parking area off the road to the left rim of the Great Bell Tower.
This is the actual Cable-Car at Burg Hohenwerfen, which is situated on western side of the Schloss where the road flows past it from Salzburg to Werfen. It is used to bring up supplies to the Schloss and does not carry passengers.
The production unit planned on building a full-size Cable-Car up to Burg Hohenwerfen for use in the film but the cost was prohibitive. In On Her Majesty's Secret Service (1969) EON Productions used the Cable-Car at the Schiltorn which was under construction but had been halted for lack of funds. EON Productions had scripted On Her Majesty's Secret Service to include a lengthy fight scene a-top the Cable-Car but upon hearing that Where Eagles Dare contained a fight scene atop a Cable-Car they changed the script to stage their fight scene upon the bob-sled run. The original fight-scene and denoument upon a Cable-Car was in Carol Reid's superb Night Train to Munich (1939).
At 00:30:51 after General Rosemeyer (wearing the uniform of a Field Marshall of the German General Staff) has inspected the Garrison he and his host Anton Diffring playing SS-Standartenführer Kramer continue down the (Eastern) cloister of the courtyard toward the exit from the upper Schloss which you are about to walk through as you ascend to the courtyard after having traversed the circumference of the Castle Battlements. The gatehouse is center of frame, closest the camera
In the above plan, the arrival of General Rosemeyer's Helicopter and his route through the Courtyard to his Quarters.
Courtyard interior viewed from the Funkraum
The crimson on the overcoat of the General is worn only by officers of the General Staff.
The Helicopter approaches from the north and the whole succession of scenes give a view of every aspect of the courtyard. You can see the Anti-Aircraft gun behind the helicopter to the right. The garrison line up for inspection behind the helicopter in front of the Anti-Aircraft gun and in succession, on each side. The officers of the garrison line up along the Southern wall in front of the helicopter, at the right-hand end of which (west) is the large tower (the Great Bell Tower), on the outer wall of which is the window to which Smith and Schaffer ascend.
Burghohenwerfen - The General Inspects
In the above Plan, the arrival of the Helicopter.
In the above photograph, the same camera position used to film the arrival of the Helicopter.
Take a moment to appreciate how well all the scenes within Burg Hohenwerfen have been lit by the lighting crew. There are several other scenes shot within Burg Hohenwerfen but most are in the studio at MGM-British studios (99% of all interior scenes in films are filmed in the studio).
If you descend the stairs visible in the photographs above and turn to your right, you will see this gatehouse, which is the gatehouse to the upper courtyard. Below the second gatehouse visible in the distance, the open grassed area.
Interior view of the courtyard. The Flak emplacement would have been positioned center frame in the corner. The helicopter approaches from mid-left for frame and lands in the foreground.
The view in the opposite direction. In the previous photograph, the camera was in front of the tree, center frame. The entrance to the Great Bell Tower is on the right. The Flak position would be out of frame behind the left shoulder of the camera.
The west wall. The Flak emplacement is out of frame to the right, behind the shoulder of the camera, and the Great Bell Tower is out of frame to the left. The Funkraum, where Clint Eastwood kills the radio operator is right in the corner. The upper gallery is visible above.
The eastern side of the courtyard, complete with south wall (Great Bell Tower) to the right and north wall to the left.
Clint Eastwood at Burg Hohenwerfen. He is standing in front of the archway visible center frame in the previous panorama.
COLONEL TURNER'S BRIEFING
Colonel Turner's briefing in the opening minutes of the film actually takes place in front of a map of Salzach valley showing Werfen which has been pinned over a much larger RAF »Topographic Tactical Chart« which is 1:500,000 in scale. The Peninsular of Istria at the Northern end of the Adriatic Sea can be seen just to the left of Colonel Turner's head in the frame below. Modern versions of these are produced by NATO and are called »Tactical Pilotage Charts« and are available through Cartographers. These TPC maps are very useful for planning and orientation.
During the briefing, Colonel Turner states that General Carnaby will be taken to the Schloss Adler because
»The Schloss Adler is the headquarters of the German Secret Service in Southern Bavaria.«
In fact Himmler's own headquarters was not far away to the North, at Schloss Klessheim, just to the West of Salzburg (visible from the new ring road and now a Hotel and Casino).
However, SS Headquarters in this region of Austria was to the south west, just outside the ski resort of Zell am See in the village of Bruck at Schloss Fischorn. Schloss Fischorn is a private residence and cannot be visited but it can be glimpsed from the road. At the close of the war large quantities of gemstones and currency were unearthed in the grounds of Schloss Fischorn. which SS-Standartenführer Josef Spacil had hidden in the grounds after withdrawing the valuables from the Reichstag in Berlin. The story is told in the book Nazi Millionaires by Kenneth Alford and Theodore Savas.
NATO TPC (inset right) compared to wartime RAF Tactical Topographical Chart
Modern NATO TPC Tactical Pilotage Chart 1:500,000 showing the same region of Austria and the northern Adriatic. Werfen is just to the left of the most south-easterly corner of Germany.
Wartime Luftwaffe air chart section Switzerland and Austria showing relief and sector number. Werfen is sector number 38, far right middle.
NATO TPC 1:500,000 F2-D nothern Adriatic c1972
NATO ONC F2 Schweiz. The 1:1,000,000 ONC charts are split into four squares A , B , C, D, each of which makes one of the TPC charts F2-A, F2-B, F2-C, F2-D
Burton refers to the »Headquarters of the German Alpenkorps« during his conversation with Eastwood as they observe the Schloss from the trees, using the old word Alpenkorps , which is phonetically superior when enunciated in a script, especially by a master of diction, such as Burton.
In fact the headquarters of the German Alpine Corps, the Gebirgsjäger, were at Mittenwald, south from Garmish-Partenkirchen, only a few minutes from the Austrian border and an to the West of here. There was and is, however, a Gebirgsjäger barracks at Berchtesgaden just to the West of Salzburg. All of the original stone built Gebirgsjäger barracks (Mittenwald, Garmisch-Partenkirchen, Sonthofen, Berchtesgaden, Bad Reichenhall) are still in use by the Gebirgsjäger.
The anti-aircraft guns you see situated in the courtyard of Burg Hohenwerfen would not be sited there in real life as their field of fire is very restricted. If you watch closely during the escape scenes you can see that the ammunition stacked for the guns is from a caliber of around 90mm but the guns themselves are only of a 20mm caliber. In fact the anti-aircraft gun was a faux mock-up produced by the props department.
Wehrmacht Quad 20mm unit.
A scene from Battle of the Neretva (1969): German 20mm AA unit.
At 00:51:42 Mary Ure arrives at the Schloss Adler which is a mocked-up interior at MGM-British Borehamwood.
At 01:11:21 we begin the scene where Burton and Eastwood climb a rope secured within Mary Ure's room.
At 01:11:45 we re-rejoin Burg Hohenwerfen with a view of the tower which you can see up to your left as you climb the cobbled track to the entrance. The shots of Burton or Eastwood ascending the rope are taken at the studio. The window is the small window underneath the level of the parapet and just next to the gallery on the curved section of the tower.
At 01:13:08 you can see a second interior at the studio, which is horizontal, and Burton is actually crawling rather than climbing. If you look at the Matte backdrop used as the background of the scene the artist has had trouble painting trees from the plan view.
At 01:16:15 we rejoin Burg Hohenwerfen in the Gallery above the courtyard. The Helicopter has landed by approaching form the North and Burton and Eastwood walk along the upper gallery of the West then descend the brick stairs at the end.
Burton and Eastwood descend the stairs faced with old brick and enter the radio room at MGM-British Studios. Burton walks out to the Helicopter and sends the Luftwaffe officer into the same radio room.
Descending to the Funkraum
In the above plan, Burg Hohenwerfen, showing the situation of the »Funkraum« and the Gallery which Burton and Eastwood walk.
In the above frame, Clint Eastwood cleans his US Army M1 Bayonet ,
US Army M1 Bayonet was, in my opinion, the most likeable and usable of the Bayonets and Combat Knives available in the Second World War. The M1 Bayonet was shortened by a couple of inches mid-war, following a general trend in bayonet length to shorten now it was no longer used in the same manner as in the Great War. The M3 Knife was also shorter and issued to troops who carried an firearm which did not permit the mounting of a bayonet. Thus it is the M3 which is my favorite combat knife of the Second World War, the M3 having a good length and balance. Clint Eastwood is so large he can make objects around him look small.
Derren Nesbitt © cuts an impressive figure emerging from the Funkraum. Derren Nesbitt knew Richard Burton from working with him in theater during the 1950s.
At 01:18:56 we continue to the grand center piece of the film: The confrontation in the main hall with its magnificent Oriole Fireplace. This is a studio set at MGM-British studios.
Cast and Crew attend a party on the set of the Great Hall of the Schloss Adler.
Of course, it would not have been possible to build a real building with a hall of that width when Burg Hohenwerfen was originally built in the Eleventh Century. Most buildings were no wider than the length of the longest timber available: The length of a tree trunk. To build a wider span than that, such as in a cathedral or great hall, one had to use stone vaulting to make an arch or use hammer beams. This meant that a hall of the width seen here would be of terrific height.
During filming of the scene in which SS-Sturmbannführer von Hapen (Derren Nesbitt) enters the Great Hall with his pistol drawn, and is subsequently shot by Clint Eastwood, Brian Hutton was dissatisfied with the size of the burst of stage blood from Derren Nesbitt's fake blood pack. The scene had to be re-shot until Derren's last uniform tunic was all that was left. By now his trousers were awash with stage blood. This time the special effects man used an even larger charge to burst the blood pack. The charge went off on command and was so violent that Derren's tunic was shredded and he was blinded. He had to be taken to hospital in Denham still in his tattered and blood-soaked SS uniform.
At 01:26:15 we cut to another studio interior where SS-Sturmbannführer von Hapen (Derren Nesbitt) is entertaining Mary Ure in the 'Schloss Café' . The »Café« was actually modeled on the interior of one of the Gasthof which was being used by cast and crew, the Haus Egger, in Lofer , whose entrance, but not interior, doubles as the entrance to the Bierkeller »Zum Wilden Hirsche«.
Scene: 01:26:25 SS-Sturmbannführer von Hapen (Derren Nesbitt) is entertaining Mary Ure in the 'Schloss Café'
Location: Studio mock-up, modelled on Haus Egger Gasthof, in Lofer
»Zstrange, I zeem to remember, zhat ze cathedral vaz on ze ozer zide of ze square. «
Derren Nesbitt's medals where chosen by himself after a conversation with (in Derren's own description) a former Gestapo man who had served at Stalingrad. This story may have been garbled over the years because
(1) there was only a small unit of Waffen-SS in the Stalingrad pocket at the end
(2) Gestapo men were secret police who worked within the Reich itself. He would have had to have served in the Heer or the Waffen-SS to obtain the medals which he claimed were his. One of them was the Close Combat Clasp in gold (visible above Derren's medal bar, above), only awarded for 90 days in contact with the enemy.
It seems likely that the man who visited Derren in his hôtel in Salzburg was a former Waffen-SS man who had served on the Ostfront.
At 01:33:28 SS-Sturmbannführer von Hapen (Derren Nesbitt) crosses the main courtyard at Burg Hohenwerfen from the South East corner in front of the Chapel Tower (close to the entrance of the courtyard) diagonally to the North West corner wherein the »Funkraum« (»radio room«) is situated.
In the above plan, Burg Hohenwerfen, showing SS-Sturmbannführer von Hapen (Derren Nesbitt) crossing the courtyard as if heading for the »Funkraum«.
At 01:44:32 Eastwood throws a bundle of dynamite from a window into the anti-aircraft gun pit which is in the north-east corner of the courtyard.
In the above plan Burg Hohenwerfen, showing the position of the Anti-Aircraft Emplacement into which Clint Eastwood has just thrown a demolition charge.
At 01:51:58 there is the scene where Burton sends one of the spies (William Squire as »Captain Philip Thomas«) down the rope who is subsequently shot by a German officer as they break into the room. You can see that continuity suffers a little here as the dummy body which subsequently falls down the cliff is wearing a camouflage jacket.
At 01:54:00 fire breaks out around the »Schloss Adler« as Burton and Eastwood make their escape. The camera is located in the North West corner, above the »Funkraum«.
In the above frame, the burning Anti-Aircraft emplacement, filmed from above the »Funkraum«. (01:54:00).
At 01:55:35 we begin the scene where Burton, Eastwood and their companions rappel down the castle wall to the canopy of the Cable-Car station. This is filmed at the embrasure just below the window used in the rope ascent to Mary Ure's room.
At 01:56:31 we see Garrison troops trigger one of Eastwood's booby-traps. This is just to the right of the door to the Great Bell Tower, at which the troops are battering.
In the above plan of Burg Hohenwerfen, the door to the Great Bell Tower,
Nearest other film locations:
+ Cable-Car scenes at Ebensee, approx one hour to the East.
Scene: Junkers Ju 52 A-702 (HB-HOT) discharging paratroops (00:09:12)
Location: Glacier del Forno , South of the Majolapass, near San Moritz, Switzerland.
Approx Co-Ordinates: 46 19 10.20 N 9 41 45.50 E / 46 19 13.35 N 9 42 04.82 E
Directions: Out of St Moritz, head South West down the valley to the Majola Pass in the direction of Italy. At the Majola Pass the valley which the Forno Glacier flows down appears up to your left. From here you need the LDS topographic map.
This scene and other aerial camera work like it would have been difficult to find were it not for my being able to trace the only surviving member of the air crew, the radio operator, who flew the Junkers Ju 52 A-702 and review his Logbuch for 1968. The air crew were all Swiss but the paratroops were stuntmen. The radio operator thinks they were English stuntmen and probably, some of them were. The pilots of the aircraft were Gottfried Arnsler and Ruedi Ellenberger, the mechanik Ernst Boller. Ascent to this location is dangerous except for mountaineers. You can find the exact location by comparing the mountainside visible in the frames with the LDS 1:25000 topographic map. The Junkers Ju 52 A-702 is still in service under the registration HB-HOT. It is operated by Ju-Air out of Dübendorf near Zürich . Ju-Air operate sight-seeing flights in the Ju-52. I have seen them flying out of Samedan, which means you can take-off in a Ju-52 at one of the Where Eagles Dare (1968) airfields.
In the above Photographs, Junkers Ju 52 A-702 / HB-HOT over the Alps near Dübendorf in August of 1985. Aircraft sometimes keep their original paint for a very long time. It was still possible to see DC-3 with their World War II faded white invasion stripes on their Wings as late as the early Nineties.
In the above Frame, Junkers Ju 52 A-702 / HB-HOT in 1968
A-702 / HB-HOT is operated by Ju-Air out of Dübendorf as one of its fleet of three Ju 52 which perform flights over the Alps.
+ Photographs from aircraft spotters of A-702 / HB-HOT at www.airliners.net:
+ Forno Glacier
Luftwaffe Kalender 1943.
Topographic map of the Alps surrounding the Forno Glacier.
Map of the area Samedan - St Moritz - Majola Pass - Forno Glacier
Satellite image of the Forno Glacier taken in high summer, showing Drop Zone. The actual film footage was shot during winter.
The Forno Glacier in summer looking South toward the Italian border. The Majola Pass is behind you to your right.
View Larger Map
Google Maps - Forno Glacier
From the Logbuch of the Ju 52:
Scene: Smith and the paratroops descend are dropped into the mountains (00:09:36).
In the above photograph, the tree line at the lower edge of the Drop Zone meadow.
In the above panorama, the lower section of the Drop Zone
This location is covered in deep snow during winter and skis or snow shoes are required to reach it and traverse it as well as good physical fitness. This scene was the first to be filmed when filming started on 02-JAN-1968. Clint Eastwood had only flown into Salzburg the previous day. Note that the scenes with Paratroops actually in the air were not filmed until 29-MAR-1968.
At 00:10:05 we see paratroops nearing the ground with forest in the background. They are using Allied pattern parachute harnesses. German wartime harnesses were too dangerous and had been abandoned after the war. The descent rate of the German parachutes was high and injuries on landing were frequent, particularly if the descent rate had been accelerated by the weight of extra equipment. The parachute harnesses used here were made by French manufacturer EFA who supplied military parachutes and equipment to the French Armed Forces and probably the Swiss Armed Forces, in addition. Cinema Retro in its excellent special edition on Where Eagles Dare has original production stills of the stuntmen dropping into the snow-covered pasture and records that the stuntmen were French, which explains why the parachute equipment used by them was manufactured by EFA. Herr Hüppy, the radio operator on the Ju-52, confirms that the parachutists were stuntmen and not Swiss Army. The radio operator of the Ju-52 is the only surviving member of the crew of the aircraft, however, Ingrid Pitt states that some years back she had a conversation with the pilot of the Ju-52 who approached her at a movie convention in Germany.
Actual German Fallschirmjäger parachutes and equipment may be viewed here.
In the above frame you can see the EFA marking on the shoulder strap nearest the lens.
This is a wartime German Fallschirmjager parachute harness, for comparison.
See: World War II Troop Type Parachutes Axis: Germany, Italy, Japan: An Illustrated Study by Guy Richards published by Schiffer Military History 0764311107
Note that in the above frame, the two huts are concealed by fewer trees than in the next frame below.
In center of frame, in the middle of the pasture, is a small dense clump of trees. These trees were placed there especially for filming to conceal the two wooden huts which appear in the later scenes. The area was conducive to filming having both open space and background of trees. Camouflaging the two huts allowed the location to be used twice.
The scene in which Smith gathers his parachute is located toward the bottom of the pasture near the stream. The supply canisters have landed in the lower pasture by the stream bed toward the end of the pasture from which you appeared from the woods. At 00:11:11 you can see almost the entire lower pasture and stream bed. At 00:11:35 you are looking directly at the wooden huts. As the paratroops search for their missing comrade, they are traversing the area of pasture at the point where the track appears from the woods and are proceeding as if descending the mountainside across the line of the track.
The supply canisters are lying as of they have been dragged by the parachute after impact. However in a previous shot we see the canisters land and stop immediately.
The lower meadow on the Drop Zone. The stream bed visible in the frames is just below the foreground out of sight.
In the above photographs, a comparison of the canisters with actual wartime canisters used.
Luftwaffe Fallschirmjager with their drop canister. The canister held a radio set and the radio operator is attempting to use it. In the second canister behind the first, you can see a 7.92mm amunnition tin. The Fallschirmjager had ammunitions tins made from aluminum to save weight during the lifts.
An arrary of both square pattern and tubular pattern Luftwaffe drop canisters.
In the above Frame, the snow-covered rooves of the huts are visible rising above the line of the rise in the ground.
At 00:15:43 The paratroops descend from the tree-line above the pasture and this time the wooden huts are visible.
In the above photograph, the two huts which the paratroops use as shelter. The paratroops descend from the treeline visible.
Of the two wooden buildings, there is a small house, which is closest to camera and slightly further back up the slope from the second wooden building, which is a barn. If you look closely at the two buildings as the paratroops struggle through the deep snow, the nearest building to them, the house, has a small annex built onto the side closest to camera. Once the paratroops arrive at the hut and Burton exits to meet with Mary Ellison (Mary Ure) in the barn, he exits and enters through this door. The actual entrance to the Hütte is at the front, away from camera and this annex was added for the film. The entrance to the barn is as it appears in the film, under a small lean-to between the two buildings.
Richard Burton moves around the rear of the hutte to the barn to meet Mary Ure under an Alpine night sky without entering or leaving either.
This location doubles. First it is used for the initial drop, but the huts had pine trees placed over them to disguise the location. You can see this in the film once you know where the huts should be in relation to all the other items in the frame. The location is used again for its main purpose, that of the rendezvous at the hut, with the pine trees removed to reveal the actual huts.
In the above photograph the Drop Zone meadow. The paratroops would have descended from upper right of this frame, towards the huts.
In the above photographic panorama, you can see the Hutte (center frame) and the entire meadow.
Clint Eastwood snatches a few moments rest on location at the Drop Zone. Filming started at the Drop Zone the day he arrived by air from the United States 02-JAN-1968.
In the above frame, the actors descend from the wooded mountainside behind the Drop Zone.
In the above frame, the actors enter the meadow and descend toward the Hutte. The actors have already been using the meadow as the Drop Zone.
THE USE OF THE HUTTES IN BOTH SCENES
This location is used in two separate scenes. The first scene is when the paratroops drop into the Alps. The second scene is when they descend from the forest toward the Hutte. In the first scene, the Hutte have been disguised by white-washing them to make them blend into the background, and adding a screen of cut trees to shield the outline from the camera.
In the above frame, the Paratroops are descending into the meadow. The Hutte are obscured by a line of trees placed to obscure them from camera.
In the above frame, the paratroops descend into the same meadow they landed in, making their way toward the Hutte, which now have their screen of trees removed.
In the above map, the two mountain Huts in which the Paratroops take shelter. The plan shows the exit of Burton from the Hut and his transit to the Barn next to it.
In the above photograph the same scene. Note that the Lean-to on the right of the Hut as we view it, through which Burton exits has been removed and another Lean-to added on the left. The Barn remains the same.
Note that in the Film, Burton opens the outer door of the Hut outwards and yet enters the Studio Interior through a door which opens inwards. This is because we see Burton entering through the exterior door, into the Lean-to. He would enter through a second door into the actual interior. Both the interior of the Hut and the Barn are at the Studio. The cast never had to enter either of the wooden buildings.
Note that the small trees which are outside the door of the Hut when Burton leaves are missing from the long shot as the Paratroops descend from the Treeline. When Burton first leaves the doorway and looks up at the sky to check the Weather, he looks to his left in the direction of the treeline, from which the Paratroops descended toward the Huts, yet the footage of the mountainside inserted into the film is in fact way over to his right.
Note that when Burton leaves the Barn the falling and lying snow is being whipped by wind. A second later in the next shot, as he arounds the corner of the Hutte, the snow is falling gently.
In the above photograph, the mountainside which is shown on screen when Burton looks upward to check the Weather. This mountainside is to his right. The mountain backdrop from which the Paratroops descend is to the left of camera, and the streambed and meadow to the right.
In the lowermost photograph, what Burton would actually have seen if he was looking in the direction show in the motion picture. In the uppermost frame, a shot taken from much further back down the mountain, the reason being it was more impressive as a scene.
Scene: Burton and Schaffer view the Schloss through binoculars 00:26:21
Location: Werfen, on the East bank of the valley, opposite Burg Hohenwerfen.
Map: Freytag & Berndt Wanderkarte WK 392 1:50,000
At 00:26:21 Smith and Schaffer view Burg Hohenwerfen through binoculars.
The Cable-Car was a model, filmed on a mock-up of the Schloss against a Matte of tree-lined mountains.
At 00:27:26 Burton, Eastwood and the real Burg Hohenwerfen are all visible in the same frame.
Above is Burg Hohenwerfen from the North, coming from Salzburg. The village of Werfen is partially obscured behind the mountain upon which sits the Schloss.
Burton and Eastwood observe the Burg Hohenwerfen.
In the above Lobby Card, Burton and Eastwood observe Burg Hohenwerfen and enemy movement on the bridge below.
The bridge below Burg Hohenwerfen from the Burg Hohenwerfen side of the river.
Album cover of the Soundtrack
Burg Hohenwerfen upper Schloss from the section between the outer battlements.
The route into the Schloss ascends at the right of frame. and after a series of staircases brings you to the Schloss entrance under the line of the turret visible mid-right of frame above. It is this point where you can see a sentry stood at the foot of the stairs when General Rosemeyer descends the staircase en route for his quarters. The Hawks, Falcons and Eagles who reside at the Schloss live in enclosures behind the embrasures visible in the wall directly center of frame. There is indeed a Great Hall in Burg Hohenwerfen, which is most of the length of the wall with the windows facing you. This is the restaurant. It is a large room but not nearly as Gothic as the magnificent movie set.
Another view of Burg Hohenwerfen from the East.
The Schloss houses a falconry center and falconry displays are given daily during summer. There is a large updraft over the castle because the wind arrives strongly from the north (to the right of frame), strikes the side of the mountain and must ascend over the castle battlements. One of the birds of prey was a large vulture of some description, which lived in one of the embrasures you see in the wall below the main superstructure of the castle. The vulture would peer out of the embrasure, watch the handler offer food, then swoop down and over the battlements and into the updraft, where it hung without flapping its wings, like a barn door which had come loose in a tornado. To descend, it had to fold its wings into its body, to swoop down to grab the offering, then hurtle into the updraft again merely be spreading its wings a little more. If I was a falcon, I could not chose a better place to live than Burg Hohenwerfen.
In the above photograph you can gain an impression of the natural domination of the valley by the Hohenwerfen massif.
Should the studio have built an actual Cable-Car to use as a real set, the obstacle to Smith and Schaffer's mission would have been as formidable as »Schloss Adler«. The 'dumb waiter' small Cable-Car which serves the Schloss is situated on the other side of the mountain upon which Burg Hohenwerfen rests. The road from Salzburg into the village of Werfen runs down behind this mountain. You can see a small light-colored section of the road just where the mountain meets the clear cut in the tree-line.
Burg Hohenwefen from the north east
Scene: Smith and his paratroops descend the embankment into Werfen Station (00:31:11)
Location: Werfen Station
Approx Co-Ordinates: 47 28 21.61 N 13 11 41.50 E
Directions: As you arrive in Werfen from either South or North, the town is on the West side of the river and the the Station is on the East side of the river, as the southern end of the town.
The scene opens with a freight train pulling away from Werfen, but it does not show the locomotive. Doubtless the crew had been unable to source a period steam locomotive, which would have been a wartime Kriegslok Class 52 locomotive, produced in thousands by all of the German manufacturers during the war. Kriegslok were still in service on the Deutsche Reichsbahn at the time of filming and still in service behind the Iron Curtain, until the 1990s. There are a number still in running order in preservation.
Note the sign »LSR« on the side of the station building, which means »Air Raid Shelter«. Smith and the paratroops cross the station yard to a small wooden building which is to the right of the bridge in the direction they are traveling 00:31:45. At 00:33:12 Smith and Schaffer exit from the wooden building and one of the turrets of Burg Hohenwerfen, the »Schloss Adler« is visible over Smith's left shoulder. Smith, Schaffer and the Paratroops continue away from the station yard over the bridge toward what is the town of Werfen. One of the walls of Burg Hohenwerfen is visible just to the top of frame. Again at 00:34:45 there is a distant view of Burg Hohenwerfen over the top of Smith's hat.
In the above photograph, Werfen Station during filming. The bridge over the river is to the rear right and Burg Hohenwerfen is to your rear left. The wooden hut where Smith and Schaffer stow their demolition equipment is directly behind you. The platform is on the other side of the building.
Werfen Station building. Railway tracks are behind the building. To your rear left is the bridge over the river. The windows have been re-formed. Alterations to buildings are a great hazard to the location hunter. On one occasion, the only item in a scene which remained was the outline of the mountains in the background. With this, I knew I was in the correct place, even though the building told me I was not.
Werfen Station platform showing the wooded bank from which the Paratroops appear.
In the above photograph, Werfen Bahnhof viewed from the Southern most end of the platform. The Paratroops descend from the woods to the right of camera.
Burg Hohenwerfen and Werfen Bahnhof from the south.
In the above photograph, Werfen Station from the North. Burg Hohenwerfen is behind you and that Station House is far right of frame. The Paratroops descend from the woods directly opposite the Station.
In the above Map, the descent of the Paratroops from the Woods onto Werfen Station.
In the above frame, Burton and Eastwood, now disguised as Heer Officers, leave the Station building. Burg Hohenwerfen. appears over Burton's left shoulder, just under the eaves of the building. This building was constructed especially for the film.
In the above frame, Burton and Eastwood walk toward the Bridge from the Station Yard.
In the above frame, Burton and Eastwood cross the Bridge. You can see the old wooden balustrade which has now been replaced with a steel version.
In the above photograph, the Bridge with the Station behind it.
In the above photograph, Werfen Station Bridge. Burton and Eastwood would be walking toward the Camera. Note the new Balustrade on the Bridge. The Balustrade at time of filming was more substantial and constructed of timber.
Notice that in the intervals between the photographs, fruit trees have grown, matured and finally fallen to the same man with a the buzz-saw who keeps chopping down the woodsheds throughout the region.
Note in the above photograph that the large house far left of frame in 1968 has been demolished during the road widening.
This Location is just before the Bridge to the Werfen Station when moving from Werfen to the Station. Turn to your left to see the view of Burg Hohenwerfen behind Ingrid Pitt's left shoulder.
In this promotional still photograph, Burg Hohenwerfen can be seen to the upper right of frame. This photograph was taken on the Werfen village side of the bridge, the bridge being to the right of frame.
A splendidly grave and moody photograph of the superbly coiffed Ingrid Pitt.
Ingrid Pitt and Clint Eastwood at Werfen Bahnhof Bridge.
Ingrid Pitt and Clint Eastwood at Werfen Bahnhof Bridge.
Burton and Eastwood cross the river on the Bridge, walking back toward the Station for another take.
Burton and Eastwood on the bridge at Werfen Bahnhof.
At 00:57:32 Smith and Schaffer climb out of the back window of the shed onto the river bank. They descend under the bridge and into the bushes on the other side of the bridge. Once the explosions and fires have taken hold, they continue further along the embankment away from the bridge. Above the embankment is a track along which the Motorcycle-Sidecar unit are moving. Smith and Schaffer take the motorcycle and sidecar and head back along the track to the station yard, where they turn across the bridge away from the station and toward the town. They take a left (turning South). As the camera angle shifts to (back-projection) to show Smith and Schaffer from the front, you can see the outline of Burg Hohenwerfen at the top of frame.
Environs of Werfen Station, South of the Station, filming the escape by Motorcycle-Sidecar.
Werfen station yard looking South. Bridge to the right. Station building to the left. Filming the escape by Motorcycle-Sidecar.
Ingrid Pitt at Werfen Bahnhof Bridge.
Clint Eastwood at Burghohenwerfen.
Model of womanhood Ingrid Pitt at Werfen Bahnhof Bridge. Schloss Hohenwerfen rises behind her left shoulder.
In the above photograph, taken from the battlements of Hohenwerfen looking south down the valley of the Salzach, you can see Werfen station and its bridge to the mid right, just left of the bridge. The village of Werfen is out of frame to the right.
Scene: Smith and his Paratroops return to the Wooden Station Building to retrieve their equipment.
Location: Werfen Station, Werfen, Austria
When you cross the bridge to Werfen station, the wooden building in which Smith and the paratroops have stored their rucksacks would be just to your left as you step off the bridge. The reason it is not there now is because it was blown up in the film. Burton and Eastwood exit the building via the rear window, which faces the embankment of the river. They descend the embankment toward the Bridge pillar and cross underneath the bridge. They appear the other side and hide in the bushes before killing a guard and taking the motorcycle-sidecar. In the motorcycle-sidecar unit, they drive back toward the bridge and, avoiding the flaming wreckage, turn onto the Bridge and ride across it, turning left at the end of bridge. The editor then cuts to footage shot in the village of Lofer.
The wood building was built for the movie.
In the above photograph, the camera is looking from the Werfen bank of the river across to the Bahnhof, which you can see above the Bridge. Burton and Eastwood descend down to the left of the Bridge as we view it, under the Bridge and up the right hand side where they wait in cover to attack the Motorcycle rider.
In the above map, the escape of Burton and Eastwood from the burning Station.
Eastwood and Burton descend under the bridge pier at Werfen Bahnhof
Burton and Eastwood hide under the bridge pier at Werfen Bahnhof
Burton and Eastwood hide under the bridge pier at Werfen Bahnhof.
The escape by Motorcycle-Sidecar was filmed during daylight but in a manner which made the scenes look like night. In the days of monochrome film this could be done by setting the aperture two stops under during daylight. With polychrome other methods had to be invented, including the use of blue filters over the lens. In the above frames you can see the strong shadow cast by the electricity pylon and in the lower frame the sun itself. The still photograph of the filming (inset) shows that the filming took place in daylight.
In the above frame, Burton and Eastwood peer out from cover at the heels of the Motorcycle rider.
In the above frame, Burton and Eastwood run from under the Bridge across the open ground into the cover next to the road. The Pylon visible in the frame is no longer there.
Burton and Eastwood mount their commandeered motorcycle-sidecar. Note the dead film extra is wearing the wrong boots. Those boots he is wearing were just ordinary 'walking' boots almost universally available in European countries up until the 1960s. Like all leather boots, they let in water. Cinema Retro report that Burton was too drunk to ride the motorcycle for this scene and Eastwood took over.
In the above frame, Burton and Eastwood ride the Motorcycle over the Bridge toward Werfen.
In the above frame (back projection), through the checkpoint with the fires raging behind them.
In the above frame, Burton and Eastwood approach the main Valley road and prepare to turn to their Left to ride down the main Valley road to the South.
In the above photograph, the same junction. It seems that the original house on the corner in the film has been destroyed as part of the road widening and we are now looking at the house built on the same plot but further away from the road.
Observe to left of frame a Wooden Barn which somehow seems to have escaped the Great Woodshed Destruction Pogrom of '06.
In the above frame (back projection), Burton and Eastwood have turned onto the main valley road and are heading South. Burg Hohenwerfen is just visible to the top center of the frame. There cannot be many activities which are more fun than speeding down a small Austrian road in the snow on a BMW Motorcycle-Sidecar armed with an MP40 and an MG34. While filming studio scenes in England, Clint Eastwood purchased a Norton Ranger motorcyle and had it delivered to his hotel then took himself racing at Brands Hatch circuit.
In the above photograph, the Bridge leading to the Station is just to the right for frame. The Motorcycle-Sidecar would come from close to right of frame and exit close left of frame, to behind camera. The entrance to Werfen village is center frame. The valley road disappears North under Burg Hohenwerfen center right of frame.
Scene: Eastwood, Burton and the Paratroops approach the Bierkeller »Zum Wilden Hirsche« (00:34:45).
Location: Lofer , Pinzgau region, South East of Salzburg, Austria.
Approx Co-Ordinates: 47 35 13.51 N 12 41 35.10 E
Map: Freytag & Berndt Wander WK104 (Chiemgauer Alpen, Lofer, Leogang, Steinberge)
Directions: Tourist information office and parking area are fifty meters from the Church. The square is just behind the Church in the direction you walk from the Parking Area..
The building used for the »Zum Wilden Hirsche« is in the town square of Lofer, very close to the church, and is called the Haus Egger Gasthof. Burton and Eastwood approach the square past the building Café Konditerei Schopper, which also abuts the square. You can see the 'Ca' in Café to the right of frame on the wall facing the camera as Burton and Eastwood begin their journey to the »Zum Wilden Hirsche«.
Above map shows steps taken by Burton and Eastwood (black arrow) as the walk across the village square past the war memorial. The image below was taken from the position marked by the 'Club' symbol. The image below that was taken from the position marked by the 'Spade' symbol.
The camera was mounted on a crane within the square for this shot. The Haus Egger stands directly behind the back of the cameraman. Since filming, the Café Konditerei Schopper has changed the small sign which protrudes from its wall (although it is the same shape) and the small building in center frame has had wooden beam cladding installed over its blockwork walls.
In the above photograph, the path of the actors is marked by the black arrow. To reach the parking lot, walk between the war memorial and the front of Haus Egger and continue in that direction. The church is behind Kaufhaus Färbinger. The camera position is marked on the map as a »Spade« symbol.
In the above frame, Truck and Armored Vehicle are halted under the Café Konditorei Schopper, which is on the right of frame.
Lofer: A Marder AFV
In the above photograph, the Café Konditorei Schopper, viewed from the opposite direction to the movie frame above.
In the above photograph of Kaufhaus Färbinger, the war memorial and Haus Egger (»Zum Wilden Hirsche«) are outside frame to the left. The camera position is marked on the map by a »Spade« symbol.
Burton and Eastwood's approach to the »Zum Wilden Hirsche«, played by Haus Egger. Inside the real Haus Egger, the breakfast room is behind the two windows to the left of the door. Richard Burton and Elizabeth Taylor would seat themselves for breakfast at the table behind the window nearest to the door.
In the above photograph, the Square in which the Haus Egger resides.
A couple of children have introduced an error into the crew's carefully prepared set by wearing 1960s era injection-molded plastic skiing goggles.
Burton and Eastwood approach the war memorial in Lofer. The AFV you can see frame right is a post-war Bundeswehr Marder. One of the shopkeepers has monochrome photographs of the Marder and other vehicles assembled in the square on the day of filming.
»I bet you have a beautiful singing voice, Major !«
Immortal: The acme of dramatic images. Derren Nesbitt's obtained a real SS Officer's uniform from a real SS Officer to wear as his costume. Accomplished German actor Anton Diffring , famed for being type-cast as a Wehrmacht officer exclaimed that Derren Nesbitt had played more evil Nazis than even he had.
Costumes, uniforms were supplied to the production by Bermans . Cinema Retro report that both Clint Eastwood's tunic and Richard Burton's tunic still exist and have been sold at auction.
The cast on what appears to be the set of Zum Wilden Hirsche.
And now, only Clint Eastwood is left alive.
The set of Zum Wilden Hirsche. The cast have been issued with the correct earthenware beer tankards.
»Zum Wilden Hirsche«: Unfortunatly these are English beer glasses, which hold a measure of one pint. The beer glasses which would have been used would have been the Maßkrug , which holds one liter.
A young lady demonstrates correct use of the Maßkrug at the Oktoberfest
A beautifully dynamic photograph of the fabulous Ingrid Pitt.
Birthday of Elizabeth Taylor. She visits Richard Burton on the set of Where Eagles Dare at Borehamwood. We get a better view of Richard Burton's wristwatch which you can see on the set of the Schloss Adler as he attempts to climb a rope up to Heidi's room.
Richard Burton and Elizabeth Taylor on the set of Where Eagles Dare.
Richard Burton and Elizabeth Taylor attend an event during the film of Where Eagles Dare.
Cast and Crew attend a party on the set of the Great Hall of the Schloss Adler.
Scene: Meeting in the Woodshed
Location: Immediately east of Haus Egger , Lofer.
In the above photograph you can see the corner of the Haus Egger which Richard Burton must turn to reach the wooden barn, which as you can see is no longer there.
In the above photograph, the wooden barn, to the frame left of Haus Egger,and to the right of the church. Richard Burton meets Mary Ure in the barn. Clint Eastwood's dressing room was the two corner windows on the Haus Egger facing camera. The ground floor of Haus Egger is partially obscured by the level of snow. Note how the passage of time has added other buildings and boundary hedges between us and the Haus Egger.
In the above photograph you can see the original position of the Woodshed, now no longer. On the right hand side of the frame is the Kaufhaus Färbinger. Between the two buildings you can see the war memorial. In front of the building the left where the green station wagon automobile is parked was the location of the Woodshed.
A studio still: Richard Burton pauses over the dead body of MacPherson (Neil McCarthy).
In the above photograph, Herr Färbinger presents Clint Eastwood's dressing room within Haus Egger.
The Armored vehicle you can see driving up the street to the square is in fact a Marder which was a post-war Bundeswehr design, not wartime.
At 00:34:55 the camera shifts to the level of the square and you see the windows of the Café Konditerei Schopper disguised with sandbags.
Burton and Eastwood walk past the front of a Haberdashers shop, the Kaufhaus Färbinger, which also has sandbagged windows. The church appears behind Burton and Eastwood as they approach the war memorial.
At 00:35:18 Burton turns to address Schaffer in front of the war memorial in the square. You an see the dedication behind Schaffer's head to the right of frame. The building posing as »Zum Wilden Hirsche« is behind Burton's shoulder.
In fact Burton and his wife Elizabeth Taylor stayed in this Gasthof and breakfasted in the breakfast room, the window of which is visible in the movie over Burton's right shoulder. Clint Eastwood used one of the upstairs rooms (first on the right, head of the stairs) as his dressing room because his hotel was in Salzburg. The breakfast room was used as a model for the »Café« of the Schloss Adler where the SS-Sturmbannführer von Hapen takes Kaffee with Mary Ure. The cafe was constructed back at the Studios. You can see the distinctive Kachelofen (large brick and porcelain fire oven), present in many Alpine kitchens and living quarters.
Right photograph: Richard Burton and Elizabeth Taylor standing in front of the Western side of Haus Egger at Lofer.
Left photograph: 27-FEB-1968 Richard Burton and Elizabeth Taylor enjoy some cake on Elizabeth's birthday.
Richard Burton and Elizabeth Taylor outside the Haus Egger in Lofer.
In the above frame, the breakfast room within the Haus Egger . The entrance is located to the camera left of the left hand window. This is the entrance used as the entrance to the »Zum Wilden Hirsche«. Richard Burton and Elizabeth Taylor would breakfast seated at the table behind the Kachelofen , the large green ceramic stove.
Haus Egger breakfast room. Richard Burton and Elizabeth Taylor used to seated themselves at this table.
The breakfast room at Haus Egger looking toward the war memorial.
The table used by Richard Burton and Elizabeth Taylor
At the Gasthof where Richard Burton and Elizabeth Taylor stayed the proprietor remarked »He [Richard Burton] was such a gentleman«.
When I began to look for the Where Eagles Dare locations, only Burg Hohenwerfen was in the public domain. The locations at Lofer were identified by a Gendarme in Werfen who when shown an image from the movie recognized the shape of the windows in the Church. The location of the Cable-Car at Ebensee was told to me by a lady in the office at Burg Hohenwerfen. Location hunting was next to impossible before the advent of videotape. With videotape you made a sketch of the location you were looking for, or took a photograph (on a film camera) or the screen. Once DVD arrived, screen-shots could be printed off and bound into a book. What did not help was that the DVD of Where Eagles Dare (1968) was long delayed and I had to use a VHS rip that had been applied to a CD. The quality was miserable but by then most of the serious work had been completed.
As Burton, Eastwood and the paratroops begin to file into the »Zum Wilden Hirsche« you can see the wooden slats of the wood store just at the corner of the »Zum Wilden Hirsche« to far right of frame. The interior was shot at MGM-British Studios.
At 00:38:55 Burton leaves the »Zum Wilden Hirsche« and turns to the left and heads toward the wood store. You can see the War Memorial behind him as he walks. The building directly behind the war memorial forming one of the boundaries of the square has been converted into a Sparkasse (Bank). Burton is in fact walking in the direction of the tourist office parking area at this point.
The wooden hut he walks into is no longer there.
In this frame at ((00:45:44)) Mary Ure and Ingrid Pitt look out of the 'window' of their lodgings, their lodgings being a studio interior.
The editor has cut away from the studio to Lofer. In fact this was a mock-up platform built right outside Haus Egger onto which Ingrid Pitt and Mary Ure ascend to appear in the shot. Likely, this was because the real interior of Haus Egger was too cramped to use cameras and lights and the real interior did not give the angle and frame desired by the director. The yellow building to the upper right of frame is the Kaufhaus Färbinger, partly obscured by the war memorial. The lamp standard visible in the upper mid center of frame is on the building just to the left of the Haus Egger, between which Richard Burton passes to enter the wooden barn.
Scene: Burton and Eastwood visit the Garage where the Postbus is held (01:02:13).
Location: Next to the Gasthof zum Schweizer , Lofer, Pinzgau, near Salzburg, Austria.
Directions: Head away from the square which contains the »Zum Wilden Hirsche« in a Westerly direction on the road to Kitzbühel.
Approx Co-Ordinates: 47 35 13.51 N 12 41 35.10 E
In the above Map, the path of the Motorcycle-Sidecar to the Barn.
Lofer: The rear of the two barns at the Gasthof Zum Schweizer
Vood ! Glorious Vood ! Enough to last through the next Ice Age.
Lofer: Clint Eastwood's Bergmutz showing Edelweiss cap badge
Mary Ure at Lofer next to the barn which stored the Postbus. During thick falling snow an entire scene was shot which showed all the actors arrive at the barn. Cinema Retro have identified three scenes which were shot but not included in the final cut, being this scene at the barn in Lofer and Mary Ure's arrival by parachute in the high Alpine pasture, and Ingrid Pitt's meeting with Smith and Schaefer at the Cable-Car winding station. There is the possibility of a fourth scene involving Derren Nesbitt in Burg Hohenwerfen, exiting the 'funkraum'.
At 01:03:21 Burton peers out of a crack in the barn in which the bus is hidden. You can see the front of the Gasthof zum Schweizer to the left of frame.
At 02:15:12 The bus bursts from the barn and drives pass the Gasthof zum Schweizer and heads down the street in the direction of the town square and the Haus Egger / »Zum Wilden Hirsche«.
In the above photograph, the Gasthof zum Schweizer in Lofer. The barn where the Postbus was housed is to the left of frame, and the center of Lofer is to the right of frame.
In the above Map, the Gasthof zum Schweizer .
In the above Map, the scene where the Postbus collides with the row of Motorcycles.
In the above map, the final shot of the escaping Postbus is on the road to Kitzbühel. Under a second earlier the Postbus would be driving past the Barn at the Gasthof zum Schweizer, from where they have just escaped in the opposite direction , toward the Church in Lofer.
I found this location accidentally. I was checking the other grid-squares in Lofer and suddenly sensed something familiar (the front of the Gasthof zum Schweizer). I took some photographs for future reference. Sure enough, while reviewing the movie yet again, I thought I saw something familiar. Flicking through the photographs revealed what I was looking for. I had stood in front of the location and had not seen it.
The Postbus was an Austrian Saurer 5GF post-war model which was drawn from a Movie Prop company in England and driven all the way to Austria for the shoot. Sadly, it appears it was scrapped some years later. In the movie, the license plate of the Postbus is RP 234916. The original Cable-Car, however, was preserved, in-keeping with Alpine custom.
+ The Saurer Post Bus at the Internet Movie Car Database
- http://www.lofer.co.at/ - Lofer German Language
- http://www.skialm-lofer.com/ - Ski Lofer
- http://www.lofer.co.uk/ - Lofer English Langage
- http://www.lofer.com/ - Lofer English Language
Scene: Burton and Eastwood push the staff car over the cliff (00:49:24).
Location: In the gorge to the east of Hallein, between Seefeldmülhe and the Wiestalstausee.
Approx Co-Ordinates: 47 42 49.16 N 13 08 03.99 E
Directions: Continue up the gorge until past the first lake. The locations are between the first lake and the second lake, the Wiestalstausee.
The Second Unit at Hallein. The gorge is outside of frame to the left.
On the side of the road nearest the gorge there are small lay-bys with stone parapets built into the side of the road and you can see the edge of one of these parapets in the opening scene of the journey in the staff car. The other scenes are filmed either side of this first lay-by.
Exercise care when walking on this road as it is narrow and in these latter years it is busy with traffic at certain times of the day, as commuters use this road to cut from the Autobahn around Salzburg.
At ((00:48:44)) the staff car, heading down river toward Hallein, approaches the small parapeted lay-by set into the gorge side of the road, upon which the camera is located.
In the above photograph the lay-by with the parapet. Use by the cameraman of a very wide lens to film the staff car makes looking for these locations difficult.
In the above photograph, the camera looks down into the gorge.
Eastwood and Burton above the gorge at Hallein
Elizabeth Taylor, Richard Burton, Clint Eastwood and Elliot Kastner at Hallein.
Scene: Eastwood and Burton climb on top of the Cable-Car winding station and drop onto the roof of the Cable-Car (01:04:04).
Location: Ebensee , one hour East of Salzburg, at the lower end of the Traunsee (Lake Traun) on Route 145, at the Feuerkogel Cable-Car which climbs the Feuerkogel mountain.
Approx Co-Ordinates: °47 48 48.21 N °13 45 32.29 E
Map: Freytag & Berndt Wandekarte WK 392 1:50,000
Directions: From the Salzburg to Linz Autobahn E55-60, take exit 224 on Route 145 and continue south along the Lake Traun to Ebensee, which lies at the southernmost tip of the lake. Once at Ebensee follow signs to the Feuerkogel Cable-Car or the Langbathsee, along Langbathstrasse, which is right (West) just as you reach Ebensee. The cables of the cable car running up the Feuerkogel mountain become visible quickly after a few hundred meters. You can view the location of the Cable-Car with respect to the lake in scene 01:08:41.
Ebensee itself has a large Nazi-era bunker complex under the mountainside.
Above is a topographic relief by Herr Berann, the King of Map Artists, showing the position of the Feuerkogel Cable-Car in relation to the village of Ebensee, which it serves.
On the map, above, you can see the route of the Feuerkogel Cable-Car from the valley outside Ebensee up the mountainside to the top of the Feuerkogel mountain. When traveling from Gmunden to the north, as soon as you reach Ebensee, hug the mountainside to your right and it will take you to the Cable-Car station. If traveling from the west, turn left into Ebensee and then turn right, visually aiming for the valley. It is difficult to go wrong because the roads are restricted to the narrow valleys.
The above image is a model foreground with a matte background. The tiny lights used to illuminate the windows in the Schloss Adler offer great realism. Note on the wall at the left of frame the powerful curvature of the wide angle lens used to make the scene look as large as possible. The model maker could have anticipated this and introduced an »optical correction« and bent the wall the wrong way.
In this shot of Schloss Adler we seem to have had a change of surrounding terrain.
In the above frame, a composition of many frames from the Camera which films the stuntmen for Burton and Eastwood mounting the Cable-Car from the Wooden Canopy on the front of the Winding Station. Note the Anti-Aircraft Gunpit just to the left of the Bridge as you approach the Winding Station. Although the crew have carefully paid attention to this detail their work never comes into frame. Cinema Retro have identified a scene which was shot but not included in the final cut. This scene involved a meeting with Ingrid Pitt, Smith and Schaefer at the Cable-Car valley station. Several still images exist from the making of this scene. It seems likely that the set-dressing performed by the crew in this instance was in order to facilite the filming of this scene.
Note that Cable-Cars always use two Cables or more per car. The larger of the two Cables is the » rail«. This is the Cable on which the wheels of the Cable-Car run. This Cable is static and supports the weight of the Cable-Car. The second Cable is the Tractor Cable. This cable moves and pulls the Cable-Car up the Mountain while the car rests on the »rail« . The »tractor« cable is the thinner of the two Cables. It is wound-in by machinery at the top Station, or at the Valley Station or both. Some Cable-Cars have a pair of »Rails« and a pair of Tractor Cables. The »Tractor« Cable is frequently a loop which is returned either next to the the »up« Tractor Cable or via another set of Pylons some meters away from the main set. This avoids having to wind in several kilometers of cable on a huge drum. Cable-Cars are limited to operation in calm weather due to the danger of the Cable-Car jumping off the rail during strong winds.
In the above Panorama, the path of Burton and Eastwood to the back door of the Winding Station.
The Feuerkogel Seilbahn, Ebensee, showing the modern two-lane bridge and the remodelled winding station.
There are no complete shots of the Winding Station in the film, and this frontal elevation (below) is as complete an image as can be made. The Wooden Canopy was added to the top of the building to enable the Stuntmen posing as Burton and Eastwood to stand close enough to the Cable-Car to jump onto it. The hand rail was added at the same time. For the filming of the scene where Heer Troops machine-gun the empty Cable-Car before it explodes, a scaffold and wooden platform was added at the foot of the building. You can see the stairs up this scaffold just to the right of the Cable-Car.
In the above Montage, the original Winding House compared to how it was dressed as a Set.
In the above photograph, the original Winding House compared with its replacement. Sadly, the original Nineteen Fifties Cable-Car and Winding Station was replaced in the Eighties, but there are few Cable-Cars left which date from this period, mainly in Italy.
The position of Pik Traunstein 1691m above the Traunsee lake.
Richard Burton poses on the top of the Valley station of the Feuerkogel Cable-Car. This is one of a series of images, some of which show a lot more detail in the background at Ebensee.
Ingrid Pitt at the Feuerkogel Winding Station. The river is just behind her and the cable-car dock is to the right of frame. It is likely that Ingrid Pitt was acting in the unused scene shot at the Cable-Car station, where she meets Smith and Schaefer.
In the above photographs, the roof of the old Winding House as it appeared in Where Eagles Dare.
In the above photographs, the opposite side of the road to the Winding Station. The Austrian penchant for road widening has destroyed the buildings visible in the movie footage from the bridge up as far as, but not including the White Chapel. The section of Panorama from the Movie has been cut just before the White Chapel. All these buildings have gone.
In the above, photograph, you can see that the original single track bridge has been replaced with a dual track bridge.
In the above Photographs, the section of road up from the White Chapel. Note that the Waterfall is opposite the third Wooden Hut from the White Chapel.
The view from just in front of the Talstation winding house.
The view from the modern replacement winding house at the Feuerkogel Seilbahn.
If you ride the Cable-Car to the top station on the Feuerkogel mountain you will find several mountain restaurants the oldest of which, the Feuerkogelhaus, has many pictures of the original Cable-Car used in the filming. Cast and crew would spend idle moments in the restaurant and there is a short entry in the hut visitors book for 1968 which reads:
The guestbook for 1968
During shooting of one of the fight scenes where Richard Burton and Donald Houston fight to the death, the director shouted »Action« before stuntman Alf Joint had his safety wire on. Instead of of halting the action, he continued to perform the scene without a wire. In the conversation subsequent to the director shouting »Cut«, the director was so horrified that he proposed that in future, the stuntman would call »Action« instead.
The stunt co-ordinator and Second Unit director on Where Eagles Dare was the Godfather of all Stuntmen, Yakima Canutt .
The actual explosion of the Cable-Car when viewed from the Winding Station by the troops was filmed on a model, which means that the present Cable-Car system has a different angle of approach to the one used in filming. This means that the Cable-Car does not repeat the angle of approach used when the German Troops fire on the it from the Winding House. There is, however, a Cable-Car at Courcheval in the French Alps called »Saulire« which has exactly the same geometry of approach. As it descends to the winding house this scene from the film replays powerfully in one's imagination.
I spoke with a few of the residents of Ebensee who helped out with filming and they remember a big barbeque party thrown by the film crew for every one who helped out. Richard Burton was drinking heavily throughout and one of the locals who was ferrying cast and crew by skidoo has a photograph of Burton riding on the back of one of the Skidoo and saluting the camera with a Whiskey bottle, then falling off the back of the skidoo as it accelerated away.
At 00:47:29 SS-Sturmbannführer von Hapen (Derren Nesbitt) escorting Mary Ure up to the Schloss Adler arrives at the lower station at the Feuerkogel. At 00:51:31 they arrive in an interior at the studios.
At 01:04:04 the trucks carrying the Paratroops captured in the »Zum Wilden Hirsche« Bierkeller arrives at the winding house at the Feuerkogel Cable-Car.
If you watch carefully as Burton and Eastwood have just climbed onto the top of the Cable-Car you will see the dammed-up river next to the winding house into which they will eventually jump.
The following minutes are cut between studio shots of Burton and Eastwood on the mock-up and real shots of two Stuntmen on the Cable-Car.
At 01:08:41 we glimpse the town of Ebensee and Lake Traun in the background over the heads of the two Stuntmen .
The River Traun which feeds the lake once flowed with English Five Pound notes. In the closing days of World War Two some trucks loaded with equipment used in the German counterfeiting program Unternehmen Bernhard had been attempting to escape the Allied encirclement and had been trapped on the road between Ebensee and Bad Ischl . They decided to ditch their load and run for it, and threw all the cases of counterfeit notes into the river. For weeks the river flowed with money, with the locals and many G.I.s wading around gathering bundles of money.
Bad Ischl is full of splendid tea rooms, being an Austro-Hungarian Imperial favorite, and is a useful stop for refreshment lying between the two Where Eagles Dare locations of Werfen and Ebensee.
At 01:09:27 we approach the studio mock-up of the top-station at the Schloss Adler with its wooden canopy onto which Burton and Eastwood leap.
At 02:02:47 we return to the Cable-Car at the Feuerkogel as Burton begins his fight with the two escaping spies. The fight is spliced together from footage of the Stuntmen on the Cable-Car and footage of the actors in the studio mock-up.
At 02:10:47 we seen German reinforcements arriving at the lower Cable-Car station in Ebensee.
At 02:12:04 we see a model of the river into which the escapees will jump, backed by a Matte painting and a model of the Cable-Car. The following view from the Cable-Car of the river is a model.
At 02:12:43 we return to the actual Cable-Car and river, with Stuntmen jumping into the water.
In the above montage, both Cable-Cars used in the film and the preserved cable-car at the Feuerkogel. The preserved cable-car in the photograph is the Number 1 Car, which was the right hand car (looking up the mountain) into which the paratroops were taken as prisoners and onto which the two stuntmen climb while posing as Smith and Schaffer. It is preserved located on the west side of the Berggasthof Edelweiß at the Feuerkogel.
Position of the Cable-Car used in Where Eagles Dare at the Edelweiss Hutte, Feuerkogel, Ebensee
The wall of the Feuerkogelhaus showing photographs of the the Seilbahn cabin in use during the filming of Where Eagles Dare.
Interior of the Feuerkogelhaus
The Feuerkogelhaus. The Bergstation and the Seilbahn is to the right out of frame.
View away South from the Feuerkogel
View away South from the Feuerkogel to the Dachstein through a 200mm lens. Otto Skorzeny spent May and June of 1945 hiding out at the Dachstein Hutte while the tide of Allied armies swept in around them into Austria.
Bergstation Feuerkogel Seilbahn
The town of Ebensee and the Traunsee lake from the Feuerkogel Bergstation.
Ebensee from the Feurkogel Bergstation.
- History of the Feuerkogel
In the above frame, Smith plans his Escape on a Map of Burg Hohenwerfen.
Studio Set of Schloss Adler.
Ebensee. The steel cowlings over the running gear of the telecabine were added for filming, in order to give the stuntmen something to clamber onto when they stepped off the roof of the Talstation. Normally just the chassis with the pulleys is present, with no-where to large enough to step onto and barely enough for a bird to perch.
Up..up...into the Heavens of Motion Picture Immortality, the Number One Cable-Car at the Feuerkogel Seilbahn.
Pik Traunstein 1691m above the Traunsee Lake. Oberösterreich, Linz, the Danube and the road to Vienna and a host of other adventures lie way beyond in the mists.
Model with Matte Paintings.
The Cable-Car at Ebensee circa 2000s.
The line of two large buildings to the right of the winding station of the Feurkogelseilbahn is still extant in this photograph I took in 2002. They can be seen in the original movie frames but were demolished in the mid 2000s.
In the above montage, the Bridge visible on the river above the Winding Station.
In the above montage, the approach to the Winding Station. The buildings to the right of the Winding Station were destroyed in the mid 2000s to make space for the parking Area. Austrians ! Have you no respect !
The original pylons used in the first Feuerkogel Seilbahn.
In the above frames, the Model and Matte painting as it matches the real location at Ebensee. This is the pool of water into which the escapees will jump.
In the above frames, the second model which is shown in plan view. This second model is meant to be the pool of water above the pool of water into which the Escapees will jump. You can see that there is a lot more snow on the road in the model, and that the river in the model is much deeper than at Ebensee.
In the above sequence of frames., the combination of Studio Set, Model and Location used by the Editor to produce the scene where the Escapees jump from the Cable-Car into the River.
In the comparison above, the left hand frame displays Stuntmen jumping into the River, shot from a camera hanging from a crane. In the first frame, you can see the trees overhanging the River bank closest to the Winding Station. In the second frame you can see the stone embanking of the River bank closest to the road.
In the second comparison you can see Stuntmen swimming toward the Road from a Camera mounted on the Winding Station Bank. These are the only two shots which use the actual location at Ebensee. All others are either long shots using Models and Matte Paintings or close shots of the actors on Studio sets.
In the comparison above you can see a Studio set with Actors climbing out of a tank. Note that on the Studio set the snow is close to the water and the grass at the top. In the real location, the snow is on the top of the bank and the grass still visible close to the water. Note that the grass in the real location is brown, as it would be in January, not green like the 'grass' in the studio set. Note the gleam of the lights on the water on Studio Set. This is not indicative in itself, as many exterior locations must be lit.
In the above photographs, Aigen Airfield shows us Austrian grass in Summer and Winter. You can see that the grass visible in Winter at Ebensee is brown but the Studio set dressers used Green Grass for the Set which the Cast are seen to use.
In the fourth comparison, you can see the green studio 'grass' and a newly constructed guardrail. In the studio set there is only one Woodpile but at the location, two Woodpiles. Wood is consumed during winter and so this could account for the difference but not when placed together with all the other indicators. If you watch closely during this shot, you can see that there is a not very large fan off camera to the right of frame which is blowing the grass closest to it to simulate wind. The grass furthest away to left of frame is hardly moving at all. The same fan is used to ruffle Clint Eastwood's hair while he is placing the demolition charges on the Studio Set mock-up of the Bridge in the Bridge-blowing scene.
Take a moment to appreciate the trouble the crew have gone to in order to match the detail in a series of Models and Mattes. None of this was evident until I began to examine each frame closely in preparation of this webpage, which shows you how detailed was the preparation of the models and mattes. Magnificent work.
Model with Matte Paintings. Note that although the Waterfall (furthest from the Camera) is in the correct place - opposite the Third Hut from the White Chapel - the form of the Waterfall in the model is not an accurate reflection of the Waterfall at Ebensee, which is at a shallow angle.
Model with Matte Painting.
Stuntmen at Ebensee
Stuntmen at Ebensee
Richard Burton on set in the tank which was used to film the sequence at Ebensee.
Stuntmen at Ebensee
A Gebirgsjäger Officer about to receive and burst eardrum.
Firearms used in Movies used blank cartridges load with Black Powder and sometimes other additives in order to give an impressive and easily filmable muzzle-flash.
In this frame, to the right of the winding station, you can see the one of the three buildings demolished during the Eighties to make the parking lot for the Feuerkogel Seilbahn.
- EXTERNAL LINKS
- History of the Feuerkogel
- Ebensee in the news
- High wire act at Ebensee - And I thought that Alf Joint was daring.
- Other movies filmed at Ebensee
+ Nearest other film locations:
- Werfen, Burg Hohenwerfen, two hours East.
- »Oberhausen Airfield« at Aigen im Ennstal, two hours South.
Scene: Clint Eastwood notices that the Postbus is being pursued by Heer Wagons (01:16:27).
In the above photograph, the road visible Center Left of Frame is the start of the pursuit of the Postbus by the Heer convoy.
Scene: Eastwood and Burton blow the bridge in front of their pursuers (02:19:22).
I burned a lot of gasoline and bootleather looking for this location and must have looked at more bridges in Austria and Switzerland than the Surveyor-General of all Austria.
Waiting for photographs.
The bridge was a real wooden bridge which was destroyed in the movie. The production paid for a replacement steel bridge. The shots you see of Burton and Eastwood under the Bridge were arranged in the studio. You can see Clint Eastwood's hair being moved by a not very large fan which is being used to simulate wind at the location. The same fan must have been used to move the green grass 'growing' on the bank of the river in the scene where the escapees climb out of the water. You can see the grass moving in turbulent air close to the fan and the grass furthest from the fan not moving very much at all. Clint Eastwood referred to Where Eagles Dare as »Where Doubles Dare« because of the number of times doubles were used at the actual locations and the actors had to make do with studio shots. The shots you see of Smith at the bridge are actually stuntman Alf Joint.
There is a minor continuity error during the bridge scene which is one of the hazards of shooting a film using doubles for actors. When Mary Ure is shooting her MP40, the scene is at the studio and she is holding the MP40 with a bent left elbow. The double, who is shown when the camera position is behind, within the postbus looking out, is shooting with a straight left arm.
Clint Eastwood and director Elliot Kastner at the bridge. Behind them is a powerful Mole-Richardson. »Brute« arc light. Clint Eastwood was the only principal actor on location at the bridge. The rest were doubles.
The real location, the real bus and real broken glass.
The studio, with Mary Ure, and the rear windshield replaced with plexiglas.
Scene: Arrival of the postbus at »Oberhausen Airfield« (02:22:34)
Location: The military airfield of Aigen im Ennstal , just West of the town of Liezen , Styria , Austria. South-East of Salzburg. The airfield is still in use by the Austrian Air Force (ICAO Code: LOXA)
Approx Co-Ordinates: N 47° 31' 44.31" E 14° 7' 34.13"
Directions: Aigen lies just off Route 146 (E561) in the Ennstal valley. The airfield lies along the southern edge of Route 146 for quite some distance when approaching from the East. Turn off to the South at the village of Worschach and you will find yourself along the Eastern perimeter of the airfield within a minute. You reach the main entrance and the guard house first on the perimeter but this does not feature in the film. Continue onwards taking the first turning right to continue around the perimeter of the airfield as closely as you can. You continue past small houses and farms and turn right up a track which draws you nearer the perimeter of the airfield again. The track is uphill as it joins the airfield perimeter fence once again and then starts to descend. As it does so, the airfield buildings appear below you on your right, over the fence. The bus halts on this section of track while it awaits the arrival of the Junkers Ju 52 . When the bus restarts, it breaks through this section of fence and careers onto the airfield. The rear gate of the airfield is just at the end of this perimeter fence. You can park here without fear of interference. The locals bring their dogs to walk them here.
Layout of Aigen Airfield LOXA
In the above photograph, you can see the perimeter road down which the Postbus descends in the right of the frame center.
Junkers Ju 52 A-702 / HB-HOT
In the above photograph, Ju 52 A-702 Starboard side 1968 and 1985 showing the original color Scheme. The Swiss Flag was re-painted over the Tail for the return to service as well as the Tail-number being repainted over the Iron Cross.
In the above Photographs you can see that the Props Department have failed to paint over the original A-702 number for filming and have painted out the "702" in a lighter shade of White, leaving it still visible under the Nazi era Tail-code.
In the above photograph, the section of perimeter road where the Postbus halts while waiting for the Ju 52 to arrive. The Airfield buildings are just visible to the far left middle of frame.
The Pilot of the Ju 52 wears RAF C type helmet and Mk VIII goggles.
The Grimming Mountain in summer, as it appears from the Runway Centerline at Aigen Airfield.
The Grimming taken from the junction of the road from Bad Aussee joins the Valley road to Aigen, West of the Airfield.
Ju 52 A-702 turns to commence take-off Roll.
»Firewall those Throttles, Boys !«
Note the black streaks on the wing outboard of the BMW radial engines from the lubricating oil going out with the exhaust gases. Similar to the oil-smoke blackened faces of inter-war racing drivers, or the blackened gun-ports of the fighter aircraft of World War II and beyond, it signals that real men have been involved in Daring-Doo.
In the above photograph, the airfield buildings from the direction of the main road. The Postbus stopped just to the upper right of the buildings.
In the above photograph, the airfield buildings and apron where the action takes place.
In the above photograph, the gatehouse of Aigen Airfield, which does not appear in the film. The camera is looking down the Airfield toward the Grimming Mountain in the direction the Ju 52 leaves in the Film.
In the above photograph, the stone in front of the Guardhouse at the Aigen Airfield, which reads, »Fliegerhorst Fiala Fernbrugg Aigen , Erbaut 1937 , HPTM Benno Fiala Fernbrugg 1890 - 1964 , Jagdflieger im I. Weltkrieg, 29 Luftsiege«.
In the above photograph, the airfield viewed from the same direction as the camera used to shoot the opening sequence of the credits, where the Ju 52 approaches over the airfield.
Ju 52 climbs away to the West and into movie immortality, the Grimming Mountain in the background.
At the eastern end of the runway axis you can see the backdrop which is used to in the first seconds of the credits as the Junkers Ju 52 approaches the camera (00:00:00)
The Junkers Ju 52 shown was based at Aigen for a period during filming but a build-up of mud forced it to re-locate to another airfield while it could still take-off.
At 02:22:34 we start filming at 'Oberhausen Airfield' at Aigen im Ennstal. This shot was taken with one of the cameras on the roof of the hanger and pans from a direction looking over the airfield toward the main road through to the small access road down which the bus is descending. In the next shot you can see the secondary entrance through which a truck is arriving at the airfield. In the background is the great broken tooth of the Grimming mountain.
Finally at 02:27:54 the Junkers Ju 52 shoots a magnificent arc into the sky in front of the Grimming, which was shot from a fly-by as the Ju 52 cannot climb that steeply on take-off, even when empty.
+ Where Eagles Dare - Final scenes on www.youtube.com
+ Ju 52 cockpit view over the Alps at www.youtube.com
+ Ju 52 passenger view over the Alps at www.youtube.com
|02-JAN-1968||Cast and Stuntmen at Drop Zone above Werfen|
|30-JAN-1968||Cast at Ebensee|
|27-FEB-1968||Cast at Studios|
|07-MAR-1968||Aigen - Junkers taxi and take-off Scenes|
|30-MAR-1968||Ju 52 at Aigen|
|10-APR-1968||Stuntmen and Ju 52 at the Forno Glacier - Paratroop drop scenes|
Sensibly, the crew shot the Drop Zone scenes above Werfen when the temperatures would be lowest in early January. When snow falls and how much changes with each decade and thick snow on the ground might not be until late February. 1967 obviously had plenty of snow in December. The weather again blessed the production in March when at Aigen, on the valley floor and the first to lose its snow cover in spring, there was snow lying on the airfield. The paratroop drops on the Forno Glacier could be left until last because the high altitude and low temperatures of the glacier means that it will retain snow until late in the year.
From The Richard Burton Diaries by Chris Williams:
Richard ceased making entries in his 1967 diary in early November, and did not start his 1968 diary until late July. During this period he played the part of Mephisto in Candy, filmed in Rome at the end of 1967. He then travelled to Austria and back to the United Kingdom, working on the adventure movie Where Eagles Dare. During studio shooting in London Burton and Taylor stayed on a yacht, the Beatriz of Bolivia, moored at Tower Pier, which they were renting while the Kalizma was being refitted.
From The Richard Burton Diaries by Chris Williams: Richard Burton mentions Where Eagles Dare once in his diary for 1968 when he writes:
However, there was some good news even if it was only professional. It appears 'Where Eagles Dare', a film I made earlier this year is a thrilling film and is likely to be a huge grosser. The few people who've seen it are enraptured. It's a Boy's Own Paper fantasy with a vengeance. I kill half the German Army.
Thursday 17th We hear news that, despite silly notices where they don't recognize the genre of the picture, Where Eagles Dare is making a big gross. [...]
Friday 4th We worked inside in the morning and went out in the afternoon. I did only 4 shots all day. The rest of the time I read L'Express to improve my French which latter could do with. [...] Elliott Kastner came to see me with a carte blanche offer of about ten properties.36 [...] He says that I will realize $7 million from Eagles.
From The Richard Burton Diaries by Chris Williams: Burton is staying at the Paris Ritz 1971-NOV Thursday 02nd
»Brian Hutton and his girlfriend Tamara something came to dinner with us. Nice girl and surprisingly unflashy and that rare thing to me a native Californian. I know only one other and that's Val Douglas. Ah yes, Budd Schulberg too but I don't count him as he has lived away from there so long. 350 Tamara who inevitably in this literate family creeps in with petty pace from day to day is that thoroughly nice thing a well-educated clean looking intelligent middle-class girl finished educationally in Paris. 351 Almost old-fashioned. I would have thought that Brian would have more sultry ladies around, more obviously sexy and faintly dirty looking. I suspect though that underneath his talk of pot and taking trips etc. that he is as square as a board. He says that the teaching system in his school in NY was so abominable that he was more or less illiterate until he was about 17 and didn't read his first book until he was 18. For somebody of his obvious intelligence it seems incredible to me. By that age I'd read and sometimes learned by heart half the world's classics. Perhaps he exaggerates a bit but he also averred that he was given an IQ test when he was about 15 and got a score of 5 points below Moron. That I find hard to believe too. He may be over-compensating for slightly below average marks in exams by pretending he was an idiot. He failed to get his first job because he could not spell the opening words of an application To whom it may concern. He got through whom all right but couldn't be certain of may. Was it mae like Mae West or may like the month or was it sneaky and neither of those but mai. He gave up and left. [...]«
- For those of you not old enough to remember, international communications in the late 1960s were by telephone and telegraph. Richard Burton describes in his diary trans-Atlantic telephone calls as 'an Olympic shouting match'. This would have been via the old undersea cable. In the 1970s this was supplemented by satellite communications, which introduced a long delay like an echo while the signal reached your interlocutor. Telegrams were the only sure way of timely communication. Telegrams, pioneered by the British and Americans were called 'cables' when they went across the Atlantic for the first time in the 1850s, because they went under the Atlantic via the 'cable'. The cable is still there and contains about three quarters of a million dollars of copper, but would take about twice that to recover it. Personally I found telegrams to be the best form of communication and are unsurpassed, in my opinion, by subsequent developments.
- Automobile Dealers Goodman-Reed of Santa Barbara have obtained the Mercedes-Benz W111 Cabriolet given to Clint Eastwood by Elliot Kastner after the close of principal photography on Where Eagles Dare (1968). Kastner took a villa on the French Riviera at Cap Ferrat every summer and had invited many of the cast and crew to stay with him after they had finished Where Eagles Dare. Kastner kept the Mercedes-Benz Cabriolet at Cap Ferrat and Clint Eastwood so admired the car that Kastner gave it to him and had it shipped to California
Where Eagles Dare (1968)
LIST OF LOCATION SCENES
Scene: Junkers Ju 52 in flight over the Alps
Location: Aigen Im Ennstal airfield. Approach from East.
Scene: Junkers Ju 52 discharging paratroops
Location: Forno Glacier
Scene: Paratroops landing in the Alps
Scene: Paratroops re-group
Scene: Paratroops arrive at the mountain huts
Scene: Paratroops en route through Alps
Scene: Burton and Eastwood view the Schloss Adler through binoculars
Location: East bank of the valley from Burg Hohenwerfen.
Scene: General Rosemeyer's helicopter arrives at the Schloss Adler
Location: Burg Hohenwerfen, Werfen, Austria
Scene: The Paratroops Arrive at the station
Location: East bank of the valley at Werfen station.
Scene: Eastwood, Burton and the Paratroops approach the Bierkeller »Zum Wilden Hirsche«.
Scene: SS-Sturmbannführer von Hapen (Derren Nesbitt) escorts Mary Elison (Mary Ure) and Heidi (Ingrid Pitt).
Location: Feuerkogel Cable-Car, Ebensee, Austria.
Scene: Burton and Eastwood are transported in a staff car.
Location: Hallein, East bank of the valley, on the road to Seefeldmühle.
Scene: Burton and Eastwood regroup at their depot
Location: Werfen station yard.
Scene: Burton and Eastwood plant explosive charges along their escape route
Scene: Heidi returns from the Schloss Adler
Location: Feuerkogel Cable-Car bottom station, Ebensee
Scene: Burton and Eastwood visit the garage where the bus is held.
Scene: The captured paratroops arrive at the Cable-Car station.
Location: Feuerkogel Cable-Car, Ebensee, Austria.
Scene: Burton and Eastwood start their climb to the window of Mary Ure's room
Location: Burg Hohenwerfen, Werfen.
Scene: Burton and Eastwood continue into the Schloss Adler
Location: Burg Hohenwerfen, Werfen.
Scene: SS-Sturmbannführer von Hapen (Derren Nesbitt) crosses the main courtyard at the Schloss Adler
Location: Burg Hohenwerfen, from Chapel Tower toward North West corner.
Scene: Eastwood throws a bundle of dynamite into the Anti-Aircraft gun pit.
Location: Burg Hohenwerfen, North East corner main courtyard.
Scene: Burton sends one of the spies (William Squire as 'Captain Philip Thomas') down the rope who is subsequently shot by a German officer as they break into the room
Location: Burg Hohenwerfen, the Great Bell Tower outer wall.
Scene: Fire breaks out around the Schloss Adler as Burton and Eastwood make their escape
Location: Burg Hohenwerfen. Camera from North West corner, above »Funkraum«.
Scene: Burton and Eastwood start their descent from the Schloss Adler by rappelling onto the canopy of the Cable-Car station.
Location: Burg Hohenwerfen, the embrasure just below the window used in the rope ascent to Mary Ure's room.
Scene: Garrison troops trigger one of Eastwood's booby-traps.
Location: Burg Hohenwerfen, to the right of the door to the Great Bell Tower.
Scene: Eastwood sneaks a look out into the courtyard to see the fire-fighting going on.
Location: Burg Hohenwerfen, door of the Great Bell Tower.
Scene: Burton climbs on top of the Cable-Car descending with the spies within it.
Location: Ebensee, Feuerkogel Cable-Car top-station.
Scene: Garrison troops batter at the door which Eastwood has looked.
Location: Burg Hohenwerfen, the door of the Great Bell Tower
Scene: German troops arrive at the foot of the Cable-Car.
Location: Ebensee, Feuerkogel Cable-Car Valley-station.
Scene: Burton, Eastwood and companions jump from the Cable-Car into the river at the side of the lower station.
Location: Ebensee, Feuerkogel Cable-Car Valley-station.
Scene: Junker Ju 52 over the Alps en route 'Oberhausen Airfield'
Scene: The bus bursts from its hideout.
Scene: Bus escapes past the guard house
Scene: Bus escapes
Scene: German troops re-group after bus has escaped
Scene: German trucks give chase
Scene: Bus in the mountains
Scene: Bus in the mountains
Scene: Bus triggers first booby-trap
Scene: Bus triggers more booby traps
Scene: Bus triggers more booby-traps
Scene: Telegraph pole blocks the road
Scene: Front of German column continue
Scene: Bus appears in long shot before tree falls down.
Scene: Bus on road
Scene: Bus approaches bridge
Scene: 'Oberhausen Airfield'
Where Doubles Dare (2008)
During the production of Where Eagles Dare the number of scenes where doubles replaced the actors on the Locations caused Clint Eastwood to name the film Where Doubles Dare. Examining the film scene by scene, frame by frame, it is evident how few times the actors actually appear on Location shots and not at the Studio.
THE DROP ZONE
Clint Eastwood and Richard Burton wade through deep snow in a Meadow. Richard Burton walks from a Hutte to a Barn and back. Long shots could well be Stuntmen. In most other scenes, the long shots are stuntmen/doubles.
Clint Eastwood and Richard Burton walk through some snow covered Woodland on a Mountainside overlooking the Schloss Adler.
Clint Eastwood and Richard Burton cross a Railway Line, and walk over a Bridge
Clint Eastwood and Richard Burton walk to the door of Haus Egger
Richard Burton walks to and from the Woodshed.
(Cafe Zum Wilden Hirsche and the Interior of the Woodshed is a studio set)
Clint Eastwood and Richard Burton push an automobile over a Cliff.
(Scenes inside the Automobile are all shot with backprojection)
Clint Eastwood and Richard Burton hide under a bridge, steal a Motorcyle-sidecar.
(Motorcyle-sidecar escape scenes are backprojection at the studio)
They then ride along snow covered roads planting booby-traps.
Clint Eastwood and Richard Burton ride along a snow covered road to the Barn where the Postbus is held.
(Interior of the Barn is a studio set).
Clint Eastwood and Richard Burton walk across the Bridge to the back door of the Winding Station. Note that we never see Burton and Eastwood inside or upon the Winding Station or inside a real Cable-car in the Film itself.
Clint Eastwood and Richard Burton walk along the top gallery of the Schloss and Richard Burton walks across the Courtyard.
They never appear on Location during the escape scene and there are only two Location shots for the Smith and Schaffer characters (not the actors themselves) during the escape scene: The first is of Stuntmen rappelling from the Embrasure of the Great Bell Tower at Burg Hohenwerfen and the second is a shot of Stuntmen dropping into the river from a crane at Ebensee.
During the bus chase scene, all of Clint Eastwood's and Richard Burton's scenes are Studio or in Back-Projection.
Only one of Clint Eastwood's shots during the Bridge scene is on location: Where he runs from the Bridge to the backdoor of the Postbus. The shots under the bridge are all at the Studio.
AIGAN IN ENNSTAL
The actors do not appear at the location itself. Shots of the actors in the Postbus are done with Backprojection. The characters running from the Postbus to the Ju-52 are doubles and all men.
In short, a masterwork of editing, Matte work, Model-making.
Clint Eastwood and Mary Ure on Clint Eastwood's Norton Ranger license plate ULE 77 F at MGM British Studios , Borehamwood, England, 1968.
Ingrid Pitt on Clint Eastwood's Norton Ranger at Borehamwood Studios 1968. Note that in the above photograph some one has airbrushed out the number on the license plate. In the photograph with Mary Ure, the license plate has been airbrushed out completely
It was Ingrid Pitt who rode pillion with Clint to Brands Hatch and sped around the track still on the back of the motorcycle. The insurers would not pay out of Clint was injured and Elliot Kastner stopped them from further adventures.
Clint Eastwood in Gebirgsjager uniform at Borehamwood Studios
Clint Eastwood on his Triumph motorcyle ULE 77 F at Borehamwood Studios
License plate ULE 77F: Parliament Square in London, England. Clint Eastwood consults a road atlas of London
Parliament Square: Right to left: Westminster Abbey, Houses of Parliament, Big Ben, Foreign Office, Middlesex Crown Court
Tower Bridge in London, England. Clint Eastwood converses with a policeman and a stockbroker. In England, two yellow lines at the side of the road mean "no stopping".
Clint Eastwood on the old London Bridge , 1968, looking north toward the City of London. This bridge is now in Arizona.
This metal footbridge was destroyed in the mid-Seventies and replaced by a concrete footbridge during development of the concrete office block out of frame to the right. The wharf building visible in frame was also replaced by a glass office block in the early Eighties. The entire river front on both sides down river was all wharves, warehouses and a forest of cranes much in the same way medieval London was a forest of gothic spires.. The London Bridge sold to the State of Arizona was sinking into the mud after several hundred years of use and had to be replaced with yet another London Bridge. The Romans built the first London bridge at this shallow point on the Thames and for most of the two-thousand years since, this was the only bridge across the river to the City of London.
Richard Burton and Elizabeth Taylor at Tower pier on the yacht Beatrix of Bolivia moored at Tower Bridge 1968 while filming Where Eagles Dare (1968) at Borehamwood. Cinema Retro have unearthed a photographic still from the Kastner Archive of Clint Eastwood visiting Burton and Taylor on their yacht at this location. The reason that the Burtons had chosen to stay on their yacht is that Elizabeth's dogs could not land in England without going through quarantine, which took six months. If they remained aboard a vessel, then they would not have to proceed through quarantine. The Burtons had leased this yacht because their own yacht the Kalizma was being refitted
- Cinema Retro have a second, expanded special issue of their special on Where Eagles Dare (1968) featuring even more information. I was astounded by the research they have completed. They have found photographs I knew existed but had only ever heard about, including the huge sets built at the studio.
Cinema Retro write:
When we first interviewed producer Elliott Kastner back in 2004, he told us, "You don't remake Sabrina. You don't remake The Blue Angel. You don't remake Casablanca and I won't remake Where Eagles Dare."
This is a stance that Cinema Retro has taken in regard to reprinting sold-out issues of our magazine. However, the response to our Movie Classics Special Issue #1 dedicated to this great WWII adventure was beyond our expectations and it sold out almost immediately when published in 2009. Since then, we have had many requests to republish and also saw the value of this issue exceed $200 per copy on eBay. Thus, we've bowed to the wishes of our readers and created an updated and expanded version of that classic issue. By doing so, we're not devaluing the original, which will remain a highly prized collector's item. Inside these pages, you will find the original issue (slightly changed with the addition of many new, rare photographs) plus new features that were not available to us at the time of the original printing. Topping it all off is an exclusive new interview with the film's director, Brian G. Hutton , plus an abundance of rarities we've just unearthed including another deleted sequence and original studio memos from the Kastner family files that shed light on who was supposed to star in the film (you won't believe it!).
This new edition can be viewed as our sincere tribute to two wonderful friends who are associated with the film: Elliott Kastner and actress Ingrid Pitt, both of whom we lost in 2010. We mourn their passing and hope that this issue will stand as a tribute to their talents and enduring legacy.
Director Brian Hutton disappeared after he ended his career as a director and had not been either found nor interviewed since the end of his career. The only information which existed was that he had become a property developer in Southern California. After Cinema Retro published their first Where Eagles Dare special edition, out of the blue, they received a telephone call from Brian Hutton, who was sitting in a cafe in Los Angeles with a friend reading a copy of their special edition. Cinema Retro subsequently interviewed him for the second special edition.
+ SEE ALSO
- Where Eagles Dare (1968) the novel by Alistair MacLean.
- Clint Eastwood Movie Locations
+ EXTERNAL LINKS
- Where Eagles Dare unofficial website
- http://www.imcdb.org/ - Where Eagles Dare (1968) at the internet movie car database
- Internet Movie Plane Database - Where Eagles Dare (1968) at the internet movie plane database
- Cinema Retro - Cinema Retro has a special edition devoted to Where Eagles Dare published in June 2009.
- Where Eagles Dare at www.in70mm.com Where Eagles Dare (1968) was originally released in some theaters in 70mm and some of the original prints still exist. If you are aware of a screening coming up then please let me know immediately because I have never seen it in 70mm.
- Derren Nesbitt's website
- Ingrid Pitt's website
- The Clint Eastwood website http://www.ClintEastwood.net
= I use and recommend www.X10hosting.com free webhosting =
- At Picasa - At Twitter - At Tumblr - At pinterest.com - At Gigapan - Blog -At Facebook -
© Copyright by the Authors, Meyer Verlag. All rights reserved. ©
Typeset in Berthold Akzidenz Grotesk BE font