Diablos del aire

Hudson is mesmerising as newspaper reporter Burke Devlin who is besotted by fly-by-night characters, especially sultry daredevil parachutist LaVerne Schumann (Dorothy Malone). His character is worth all of the others put together. In the acting stakes too he shines brightly, adding nuance to his performance. Unfortunately the script is tarnished especially if we are to believe Hudson's infatuation for LaVerne who proves herself to be mostly unlovable. If you like Depression era dramas, that will help you enjoy this more. And if you like the early world of flying, that will help too. But mostly watch it for Rock Hudson's intelligent performance. Based on a story by William Faulkner.

Great for me to see this rarely-scheduled Douglas Sirk melodrama from his rich, late 50's period and it didn't disappoint. Taking as its subject the uncommon lifestyles of the participants in the popular flying-circus entertainments of the 20's and 30's, it's not long before the familiar Sirk themes of conflicting passions, human weakness and sacrifice raise their heads above the parapet.

For some reason shot in black and white, perhaps to better enhance the period setting, I still firmly believe that all Sirk's work should be seen in glorious colour, no one filled these CinemaScope screens better than he in the affluent 50's. Only just lasting 90 minutes, it crams a lot into its time-frame, drawing convincing character-sketches of the lead parties, Rock Hudson's maverick journalist, generous of spirit and loquacious but seeking love in the person of the beautiful, sexy Dorothy Malone parachutist extraordinaire, she frustrated by the lack of attention she and her son get from her obsessive pilot husband Robert Stack, who'd rather fly above the clouds than engage with earth-dwellers. Throw in his grease-monkey Jack Carson who may have had a fling with Malone in the past and hangs around as much for the scraps she throws him as his duty to Stack and a Mr Big aircraft-owner with designs of his own on Malone and you have an eternal quadrangle ripe for tragedy.

Sure enough, it happens along and spectacularly too, straightening out the lives of the survivors, even if not, I suspect for the better. The acting is first rate, Hudson again showing the depth that Sirk always seemed to draw out of him, handling long-speeches and a drunken scene with ease. Stack again displays his facility for acting against type, playing another emotionally stunted individual masquerading behind his good looks and bravura outlook. Malone however is the epicentre of the movie, the action revolves all around her and it's no wonder with her sexiness and sense of vulnerability, a killer combination for the menfolk here.

Sirk's direction is excellent, juxtaposing thrilling action sequences in the air with oddly contrasting backgrounds - it's no coincidence that the drama is played out in New Orleans at Mardi-Gras time, with the use of masks often showing up in foreground and background as a metaphor for the concealed passions on display here. There are several memorable scenes, like when Hudson and Malone's first illicit kiss is disturbed jarringly by a masked party-goer and Stack's adoring son trapped on a fairground airplane-ride just as his father loses control of his real-life plane.

So there you have it, another engrossing examination of fallible individuals, expertly purveyed by the best Hollywood director of drama in the 50's. Not as soap-sudsy as some of Sirk's other movies of the period, perhaps due to the literary source of the story, but engrossing from take-off to landing.

Even though I haven't seen this movie in quite a while, it's ironic I would write this review shortly after viewing "Written On The Wind" for the first time recently. "Ironic" because of the main actors star in both films: Robert Stack, Rock Hudson and Dorothy Malone, and both films were directed by Douglas Sirk.

Personally, I thought this film was far more interesting than the more well-known WOTW. This was a better story.

Dorothy Malone, for one, looked a heckuva lot better in this movie. She had some classic beauty and shows it here more than the trampy role in the other film.

I also preferred this film because it had some fascinating and dramatic flying scenes, things I have never seen before on film. Apparently, they had these 1930s air races in which planes few around pylons, almost like a horse race on land. This is the only film I've seen that pictured.

Another thing I enjoyed was Hudson's dramatic story at the end of the movie which, at first, seemed ridiculously melodramatic but was said so well that I found in very compelling, and it tied the whole story together.

I also appreciated Malone doing the right thing at the end, telling off Hudson for coming on to her, since she was a married woman. This is one of the few films - including those in the 1950s - in which adultery is NOT treated mater-of-factly.

Despite its many potential traps, melodrama has been done very well many times on film etc and even to classic level. Douglas Sirk was one of the kings when it came to directors that specialised in melodrama, with his generally realistic treatment of characters, lavish use of colour (some of his work didn't use that though) and far from held back approach to serious subjects being trademarks of his. Know Rock Hudson better from lighter fare, though he was far from inexperienced when it came to the more dramatic roles.

'The Tarnished Angels' is not one of Sirk's finest and there are better melodramas out there. It is a good representation of the actors though and Sirk generally is well served too, even if other films of his show off his trademark touches better. It is not hard to see why William Faulkner, author of the film's source material 'Pylon', thought very highly of 'The Tarnished Angels' and my opinion of it generally leans towards the positive reappraisal it's garnered overtime and not the panning it got from some at the time.

Sure, 'The Tarnished Angels' is not perfect. To me the final quarter is not as interesting as the rest of the film, resulting in some leaden pacing, and the sentiment gets blown into inflated proportions. The ending didn't ring true and felt far-fetched and unrealistically pat, like it was shoe-horned in from another film.

Hudson's character was very underwritten at times, rather embarrassingly so.

On the other hand, 'The Tarnished Angels' looks great. It is one of Sirk's most visually ambitious films, evident in the gorgeously haunting and wonderfully meticulous cinematography that is remarkably subtle at times. Dorothy Malone's look is admittedly anachronistic, with no attempt to make her look like a woman from the 30s where the film is set, but the production design is very handsome all the same. Frank Skinner's music score has a broodiness and melancholy without being too over-scored or too constant. Sirk directs with sensitivity but also understated passion. Personally thought on the most part that the script was fine, thought-probing, at times darkly humorous, at others uncompromisingly biting and at other times sincerely poignant. One of the better moments being Hudson's big monologue.

While the story has its faults later on and is unashamedly melodramatic, to me the emotional impact it had was intense and moving. A sensitive subject handled in a non-shying away fashion. The flying sequences are beautifully shot and excitingly staged. One could argue that the characters are not likeable and hard to care for, that is true but to me they came over as real people with real human conflicts all the same. The moral reversal of Burke and Roger is especially interesting. The acting is very good, even though Burke is underwritten Hudson gives it everything he's got especially in the aforementioned monologue. Robert Stack is a brooding presence while Jack Carson provides some welcome and not too misplaced levity. Malone is affecting in a way that doesn't get over the top.

Overall, well crafted film but didn't bowl me over. 7/10

I was fortunate enough to attend a screening of "The Tarnished Angels," on a wide screen with a fresh print, at the Museum of Modern Art in New York City back in 1980, with no less than Douglas Sirk himself invited by MOMA as a special guest. The film blew everybody away emotionally; Hudson, Stack, and Malone all give performances that are equally tough and vulnerable, but the grandeur of Sirk's mise-en-scene, which really has to be seen in a theater on a wide screen to be fully appreciated, is a textbook example of the art of telling a story in film terms with both force and grace. Don't mind the other reviewer; Faulkner himself, according to Sirk, said it was the best adaptation of his work he had seen in films.