At the opening party of a colossal, but poorly constructed, office building, a massive fire breaks out that threatens to destroy the tower and everyone in it.At the opening party of a colossal, but poorly constructed, office building, a massive fire breaks out that threatens to destroy the tower and everyone in it.At the opening party of a colossal, but poorly constructed, office building, a massive fire breaks out that threatens to destroy the tower and everyone in it.
- Won 3 Oscars
- 13 wins & 14 nominations total
Sheila Allen
- Paula Ramsay
- (as Sheila Mathews)
Norman Burton
- Giddings
- (as Normann Burton)
Storyline
Did you know
- TriviaBoth novels were inspired by the construction of the World Trade Center in the early-1970s, and what could happen with a fire in a skyscraper. In Richard Martin Stern's novel "The Tower", the fictional 125-story building was set next to the north tower of the World Trade Center. The climax of the novel was centered around a rescue mounted from the north tower.
- Goofs(at around 2h 35 mins) At the end of the movie the tower seems to be well lit despite the power outage caused by the fire.
- Quotes
Doug Roberts: I don't know. Maybe they just oughta leave it the way it is. Kind of a shrine to all the bullshit in the world.
- Crazy creditsThe 20th Century Fox and Warner Bros. Pictures logos don't appear in the beginning.
- Alternate versionsThe film was re-dubbed in 2003 for the German DVD release. All subsequent releases on DVD and Blu-ray feature this new dubbing, many TV airings as well.
- ConnectionsEdited into St. Elsewhere: The Abby Singer Show (1988)
- SoundtracksWe May Never Love Like This Again
Sung by Maureen McGovern
Words and Music by Al Kasha and Joel Hirschhorn
Featured review
The all-star blockbuster THE TOWERING INFERNO proves that you can make a bad film that still manages to be a great movie. Contrary to conventional wisdom, special effects and elaborate stunt work can actually be the star of a movie and provide ample compensation for poor writing, clumsy direction and really amateurish acting.
THE TOWERING INFERNO is, of course, a disaster movie, the methodical destruction of a high-rise skyscraper, along with many of its tenants. It came on the heels of THE POSEIDON ADVENTURE and quite honestly is no match for that film's delicious mix of sappy sentimentality and hammy heroics. But, while its dramatic quality is only marginally superior to hack films like AIRPORT '75 and the atrocious EARTHQUAKE, INFERNO provides a masterful blend of audience manipulation and technical craftsmanship. As Paul Newman pointed out to the press, neither he nor his perpetual professional rival Steve McQueen are the star of the film: the fire is the star. And as appropriate to any star, the fire, in all of its glorious mayhem, is lovingly filmed and given a wide berth to overact with style.
The rest of the cast should be so lucky. The remarkable, once-in-a-lifetime cast (Newman, McQueen, Faye Dunaway, William Holden, Fred Astaire, etc.) behave like troopers, even though they are primarily reduced to being little more than high priced props. Most of the scenes involving actual human interaction seem rushed and the inept line readings of the inane dialogue suggest that no one bothered with retakes, let alone rehearsals. But such moments are little more than filler, marking time between some of the most remarkable actions sequences ever filmed. The helicopter rescue of the derailed scenic elevator is heartstoppingly thrilling, even as you realize that it is absolutely physically impossible. And it is overshadowed by the explosive final showdown with the villainous fire. Hollywood has cinematically destroyed greater amounts of real estate, but seldom with such style.
As art, THE TOWERING INFERNO is a fizzle, but as a cheap carnival thrill show it's pretty hot stuff.
THE TOWERING INFERNO is, of course, a disaster movie, the methodical destruction of a high-rise skyscraper, along with many of its tenants. It came on the heels of THE POSEIDON ADVENTURE and quite honestly is no match for that film's delicious mix of sappy sentimentality and hammy heroics. But, while its dramatic quality is only marginally superior to hack films like AIRPORT '75 and the atrocious EARTHQUAKE, INFERNO provides a masterful blend of audience manipulation and technical craftsmanship. As Paul Newman pointed out to the press, neither he nor his perpetual professional rival Steve McQueen are the star of the film: the fire is the star. And as appropriate to any star, the fire, in all of its glorious mayhem, is lovingly filmed and given a wide berth to overact with style.
The rest of the cast should be so lucky. The remarkable, once-in-a-lifetime cast (Newman, McQueen, Faye Dunaway, William Holden, Fred Astaire, etc.) behave like troopers, even though they are primarily reduced to being little more than high priced props. Most of the scenes involving actual human interaction seem rushed and the inept line readings of the inane dialogue suggest that no one bothered with retakes, let alone rehearsals. But such moments are little more than filler, marking time between some of the most remarkable actions sequences ever filmed. The helicopter rescue of the derailed scenic elevator is heartstoppingly thrilling, even as you realize that it is absolutely physically impossible. And it is overshadowed by the explosive final showdown with the villainous fire. Hollywood has cinematically destroyed greater amounts of real estate, but seldom with such style.
As art, THE TOWERING INFERNO is a fizzle, but as a cheap carnival thrill show it's pretty hot stuff.
Details
- Release date
- Country of origin
- Language
- Also known as
- Infierno en la torre
- Filming locations
- 2898 Vallejo Street, Pacific Heights, San Francisco, California, USA(Roger and Patty Simmons' house)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $14,000,000 (estimated)
- Gross US & Canada
- $116,000,000
- Gross worldwide
- $116,001,993
- Runtime2 hours 45 minutes
- Color
- Aspect ratio
- 2.39 : 1
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