A Yank in the R.A.F.

This entertaining propaganda piece made before the US entered the war,was designed to rally support for the British war effort. Tyrone Power and Betty Grable,the biggest stars of 20th Century Fox,are teamed here for the only time in their career.Tyrone Power plays the typical daredevil pilot who is as egotistical as they come.But he also has devilish charm over women which I must say escapes me in this movie because he's so unlikeable.Betty Grable gives by far the best performance. I found her acting very natural,except for the script calling for her to love the slime ball character of Power.John Sutton as Power's rival is quite boring,so maybe Betty's choice of man wasn't too bad.

In the only time that Darryl F. Zanuck teamed his two leading adult stars in the forties, Tyrone Power and Betty Grable co-star in A Yank in the RAF. I think the title explains all in terms of the location.

Power plays one of his patented hero/heel types, a lot like Dion O'Leary in In Old Chicago. If you'll remember Alice Faye was being courted by the two O'Leary brothers, sober and industrious Don Ameche and devil may care Tyrone Power.

Now it's Betty as an entertainer over in the United Kingdom to entertain and otherwise help out in the war effort. She meets Ty who is also over there as an American volunteer in the RAF. Ty's someone who really isn't that crazy about military and other kinds of discipline, but he's one charming rogue and Betty can't get her fill of him.

Taking the Ameche part is very British and very stiff upper lip John Sutton. He's totally flipping out over Grable and who could blame him. Still it's Tyrone who powers the Grable engine.

John Sutton would co-star again with Ty Power after World War II in a vastly different part in Captain from Castile. He plays the cowardly and malevolent Diego DeSylva and that particular part from him might have been his career role. In my book it's one of the most evil villains the screen has ever had.

Reginald Gardiner and a whole flock of other British actors from Hollywood's British colony lend support. The RAF flying sequences were shot over in the war theater and were nominated for Best Special Effects.

Betty sings some forgettable tunes as an entertainer by Leo Robin and Ralph Rainger. But heard throughout the film is the standard These Foolish Things. That song, as popular in Great Britain where it originated as in the United States, is one of the best ballads ever written. Why Zanuck didn't have Betty sing it is a mystery.

It's by no means clear who Betty winds up with in the end. I could make a case for either Power or Sutton. You'll have to see the film and make your own mind up. One thing for sure is that Ty is far from reforming. You'll have to see the film to see what I'm talking about there.

You know from the beginning that TYRONE POWER had better shape up as more than a playboy if he wants to win BETTY GRABLE's love in this entertaining wartime romance from Fox. Betty acquits herself very well in all the dramatic moments and looks as fresh as a daisy. Tyrone is at his handsomest and has some stiff competition in the "other man" department from JOHN SUTTON, who finally had a more substantial romantic role than usual.

What with the romance between Grable and Power being shaky at best, you just know he's gonna have to reform himself with some wartime heroics as an R.A. F. flier before there can be a final clinch between the two.

Crisply written with some good, natural dialog, beautifully filmed in glorious B&W, it's a well crafted film that deserves more attention from Betty's fans in particular. There's some nice chemistry going on between the three mentioned stars and it's certainly a worthwhile film to watch for fans of nostalgia. REGINALD GARDINER does a nice supporting role job as Power's debonair best friend.

This PearL Harbor like story that was released before the actual bombing of Pearl Harbor occurred does not have much going for it. Tyrone is roguishly handsome and gives all his scenes the necessary spark of a golden boy daredevil but it all comes across as very hollow as he jets off to London to join the war for monetary purposes to deliver bombs or is it flyers? over Germany. John Sutton, his boss and arch-rival with a very charming voice and demeanor provides good support to no avail. Betty Grableas the girl in one of her few dramatic parts (if this could be called a dramatic part)is fine but the probably with this movie is that it intends to only entertain and is afraid to dig any deeper than a few inches. Hammy speeches are delivered, strong scenes killed with ill-advised laughter and everybody talks and acts like children while playing grown adults. The battle of Dunkirk filmed in a swerving and swelling wide shot is gorgeous to look at. It is like a real life video game as filmed using models of the real thing by the technical crew. Such,it was nominated for a special effects Oscar. This is a typical DFZ production with not much to offer to the body or the soul.

This watchable flagwaver (made prior to the Pearl Harbor attacks) – actually the first of seven films I'll be watching to commemorate the 50th anniversary of Tyrone Power's death – has a cocky American mail flyer itching for action and joining the R.A.F. in England; though his first mission consists in merely spreading anti-Nazi leaflets across Berlin skies, he then hits upon the idea of throwing out the packages outright in order to smash the German searchlights underneath!

While stationed in London, he conveniently runs into dancer-cum-nurse Betty Grable (amusingly drawing her attention by affecting a Cockney accent – conveniently filmed from behind, so that the actor could be dubbed! – soon after his arrival) and, despite the girl's 'reluctance', rekindles their affair from back home. Of course, during the course of the film, she also contrives to perform a couple of brief musical numbers and show off her famous legs a lot. Equally predictable, though, is the romantic complication wherein Power's British superior (John Sutton) also falls for the heroine, going so far as to propose to her – while amiably pompous/cynical sidekick Reginald Gardiner provides the comedy relief (just as obligatory in films of this era).

Even if the film is nowadays rightly criticized for the unrealistic depiction of war-torn England, the film succeeds well enough at what it set out to do – entertain (via action, drama and laughs), but also instill in home-grown audiences a sense of duty for the war effort in Europe. During aerial sequences, shots of the actors in the studio are skillfully blended via special effects with stock footage of actual battles; still, having Power bloodily shot down at Dunkirk and then making a mockery of his so-called war wounds simply to dupe Grable into submission is a bit much! Director King helmed several of the best vehicles tailored for Fox's reigning male star of the era but, being essentially lightweight, this isn't one of them – if still emerging to be "not essential but very enjoyable" (to quote a line spoken by John Sutton in the film in respect to his invitation to walk Grable home) and that's mainly due to the undeniable Power-Grable chemistry displayed via their comic/romantic banter throughout the film.