Kampf in den Wolken

The question that faces (or scares) Americans ever since the debacle of Vietnam is: is patriotism dead here. Because of that national nightmare we have questioned every government foreign policy ever since. Naturally we should question them, but it sometimes seems that our questioning causes a national paralysis of will. Time will tell (and shortly) if the Iraqi - Afghani incursions will add to this paralysis.

It was not the case in 1943, when A GUY NAMED JOE was made by MGM. The film is about a hot shot air force pilot (Spencer Tracy) who is in a squadron commanded by James Gleason. Although they have a friendship, Gleason is constantly having problems about Tracy's independence from rules. Frequently they pay off in damaging the enemy, but they break safety rules. Gleason also sympathizes with Tracy's girlfriend (Irene Dunne) who wants Tracy to take a quieter job (like training fliers in the states). Just when Tracy is about to take such a job, he goes on a mission, and his plane is hit. After the crew bails out, Tracy (instead of ditching) flies the plane kamikaze style into a German aircraft carrier and sinks it (but he dies).

In the afterlife, Tracy is taken under the wing of the "General" (Lionel Barrymore), and is assigned to act like a conscience or guide to budding air force pilots. He is assigned to Van Johnson, and helps him get more confidence. Johnson is assigned to a war theater where Gleason's command is, and where Dunne is. Dunne is mourning Tracy, but their closest mutual friend (Ward Bond) gets her to go out to enjoy herself. She meets Johnson, and an affair begins. Tracy gets jealous as a result.

The film follows as Tracy and Dunne finally accept the truth about the ending of their physical contact. It moves to the point of tragedy here when Tracy finally releases Dunne from the harshness of the emotional chains that bind them, and that lead Dunne to do something atypical and foolhardy for the intelligent person she supposedly is. In the end she and Johnson find a new happiness together, while Tracy goes to his next "angel" assignment.

Fantasy is usually tied to one set of ideas or theme, but what is good World War II American propaganda became a study in tragic resignation. Fortunately the acting level of A GUY NAMED JOE was so high, that the fantasy transcended the historical period film and left us with a film of emotional loss and rebuilding. As such it is a fine movie.

One final point, on a historical level. Who is Lionel Barrymore supposed to be? He is only referred to as "the General" and he died before the war. He is highly respected as a great air figure. Tracy quickly recognizes him, and tells Barry Nelson he wanted to take him up in one of the new aircraft that had been built. So who is Barrymore supposedly?

The key is the model airplane on Barrymore's desk. It is a model of a Martin Bomber. That was the plane used in 1921 to sink two battleships in Chesapeake Bay, and to prove the theories of an air power pioneer that the future of warfare was not with dreadnoughts but with air planes. The "General" is supposed to be Brigadier General Billy Mitchell.

This is one of the best love stories ever. It isn't a war story, war simply happens to be the setting. And I don't see how a movie can prevent nations from winning a war. The whole fact that Spencer Tracy's character loves Irene Dunne's so much that he will watch her marry another man is the most amazing testimony of love. I don't know how you can watch one of the final scenes; in which Tracy and Dunne are in the plane and he says that their love is too good to make her unhappy; and still call "A Guy Named Joe," a silly movie. Again, the war was simply a setting, because war in itself isn't very interesting, it is the human experience in war which creates a story.

The Fact that Spielberg enjoyed and admired it so much that he remade it also says a little for the film.

This is one of those old-fashioned, nice stories with generally nice people, some good lessons to be learned and some touching scenes. You just have to go with the fantasy-type theologies, in this story dead people coming back as angels-you-can see.

Irene Dunne never looked better, although the soft-focus lens helped her looks. She isn't beautiful but she's wholesomely pretty, and thus appealing. Spencer Tracy gives his normal strong performance but I liked supporting actor Ward Bond in here better. Tracy gives an excellent short speech at the end of this film.

The special-effects in the aviator-war scenes were not good but, hey, this film was made about 65 years ago. You could tell the planes were model airplanes on several shots.

Note: this film was re-made by Steven Spielberg 40 years later under the title "Always." That was a nice film, too, but I think I'd still take this version.

Irene Dunne is what makes any movie she is in, superb! No female actor today, or for that matter in the 30s and 40s can compare to her wholesomeness, versatility, and talent! This movie was a lesson in many aspects of life. It was made during a time that these things were much needed but we can certainly apply the same selflessness to our daily lives today. It is funny and dramatic, fast moving and keeps your interest. Spencer Tracy is good, so was Van Johnson in that part! Ward Bond is always so good at anything he dose, he is such a great SUPPORTING actor he supports and complements, he always seems to be the character he is playing.

Yet, again I must say Irene Dunne is a Jewel, she does every character in such a believable manner you feel they could be your next door neighbor. Thank You Irene !

Some reviewers have complained that certain parts of the movie are unbelievable--agreed. However, "A Guy Named Joe" isn't a documentary. It's a riff on the nature of love and loss.

I've seen many Spencer Tracey movies, but none in which he is so subtle, charming, and heartbreaking. I won't give away his final line at the end, but it is a very simple line, delivered simply. But in his understated way, he encapsulates the most complex of human emotions.

Irene Dunne, a truly fine actress, is at her best here. Yes, her style does take a little getting used to for modern audiences, but she, too, has some incredibly difficult work to do in this film, and she meets the task impressively. And Van Johnson, whom I've never really given much thought, turns in a fine performance here, early in his career.

It is obvious that these three actors had a healthy rapport together. The lines of communication had to have been wide open for them to have turned in such gentle, subtly nuanced performances.

I can't say enough about this film. It may sound corny, but if you have ever loved anyone, and if you have ever lost anyone, you will immediately recognize the characters in this film. It's also worth mentioning that the screenplay contains some of the most beautiful poetic language I've ever heard in a movie. If you've never seen "A Guy Named Joe," I strongly recommend it; it will do your heart good.