Les Mousquetaires de l'air

Frank Capra's first full sound film doesn't have sound anymore, so looking at his second sound film, Flight, shows a technician doing everything he can to take advantage of the new sound while filming a lot outside, challenging himself by pushing against the limits of the contemporaneous technology, and yet it's all in service to a story so thin spread out over one hundred and ten minutes that nothing really connects. If this had come in at a more reasonable 80 minutes instead of 110, I think it could have worked a lot better, however at its extended runtime, it's just much more boring than it should have been.

Lefty Phelps (Ralph Graves) has to live down an embarrassing moment in his college football career when he got mixed up and ran the ball the wrong way down the field to lose the game, an event witnessed by Marine Corps pilot Panama Williams (Jack Holt) who encourages him to join the Marines to gain some purpose in life. The whole subplot of Lefty living down the reputation is kind of odd, especially since news of it only spreads amongst the recruits because he keeps a clipping of the event on him at all times, a clipping that falls out of his pocket and gets picked up by someone who makes fun of him because of the reminder. It's also supposed to feed into this idea at the core of Lefty as a character that he's afraid of trying again, limited by a fear that makes him screw up in similar ways, like when he can't get his aircraft to lift off the ground at his graduation test.

The actual dramatic meat of the film ends up being a little love triangle between Lefty, Panama, and the nurse Elinor (Lila Lee). Panama is really consumed with her though she is only really polite in return. She becomes enamored of the young, more handsome Lefty, but Lefty is too loyal to Panama for helping him out of his funk and bringing him along on the later stage mission to Nicaragua as his mechanic to go selfish regarding his own desires towards Elinor.

And that's kind of it. It's a very simple love triangle that takes a while to develop over the film, doesn't have a whole lot of dimension to it, but is earnestly told with a couple of nice little mechanical twists to it (like Panama getting Lefty as his mechanic). For a short melodrama it might have been enough, but this is a nearly two hour film.

The final bit is dominated by this sudden, underdeveloped need for the Marines to use airplanes against bandits in Nicaragua against a bandit named Lobo (Jimmy De La Cruze). It's handled with some quick dialogue that he's attacked some Americans there, the actual battle is a technically competent execution of capturing action in flight while the actual stakes are thin and hardly ever explained in anything other than the broadest of detail. There's a bit where Lefty ends up behind enemy lines that very closely mirrors the similar third act mechanics of Submarine with the slight benefit of Panama sacrificing one other soldier other than Lefty than a submarine full of them, combined with the fact that we know that Lefty is the only one left alive from the crash (something Panama doesn't know). The pique is, of course, sourced from the love triangle dynamics, and it sort of works in this melodramatic context, but only sort of.

The sound design, since its so early in the sound era and fascinates me, is this curious mixture of experiments, some that work others that don't, of trying to make a soundscape pleasing to the audience. On the one hand, the opening football game has a surprising uniformity to the background, possibly executed by capturing a similar roar of cheers across all of the shots (it really does feel like this is still the moment when sound mixing hadn't been applied to film soundtracks yet). There is also this tendency to drop out all sound in between lines of dialogue on scenes filmed outside, so we get the ambiance of the field when someone says something, all sound drops out for a second, and then someone else speaks and that ambiance comes back. It's kind of weird, but Capra and his sound team was trying to make this whole sound thing work, at least.

So, I'd probably say that Submarine is the better of the two Howard Hawks-like films that Capra had made up to this point. Hawks made them better because he had a stronger sense of these types of characters and had a more interesting way to portray these women as strong and belonging in the world instead of waifishly sitting around while things happen around her. For a better look at airmen of the time, I'd recommend Hawks' version of The Dawn Patrol, but he was juggling these kinds of love triangles even in stuff like Tiger Shark.

Anyway, it was okay. Its story is fine, just not very meaty, and the spectacle is pretty good, if unsupported by much narrative. It's a middling little adventure and melodrama that has understandably been largely forgotten by everyone save Capra completists.

The film is about two pilots--one who is the veteran flight instructor at Pensacola Naval Air Station (Tim Holt) and the other is a man who desperately wants to earn his wings, but he's terribly unsure of himself (Ralph Graves). Over time, a friendship develops between them that is challenged when both men fall for the same Navy nurse.

While all this might seem a bit predictable and clichéd, for 1929 it was pretty good stuff. Plus, all the familiar story elements contained in the film were NOT clichés, as this film introduced many of these items that would later become standard plot lines. Plus, the film is aided by excellent flying scenes and some amazingly fun and witty dialog every now and again. Graves made several comments that had me laughing. Because of this and the easy-going banter between them, this was a very likable film--particularly for nuts like me that adore early aviation films. The film abounds with great footage of aircraft and is a must-see for aviation fans.

By the way, the team of Graves and Holt made quite a few early military-inspired films for Columbia--making them the first stars for this fledgling studio. In addition to Marine pilots like they were in this film, they also starred in other films about US military (such as DIRIGIBLE, A DANGEROUS AFFAIR, FLYING FLEET and SUBMARINE). Oddly, despite their success, by 1931-1932, their careers as leading men were pretty much over.

One negative about the film is the sound quality. Though it does improve later in the film, FLIGHT is terribly in need of restoration as some of the dialog is very, very difficult to understand--a rather common problem with films from the early sound era. Closed captioning would have been nice, but was not included.

Frank Capra takes to the air in this rip off of William Wellman's silent Wings (27) but it never gets off the ground. Capra seems ill equipped to deal with aviation the way WW 1 pilot Wellman is and it shows early on.

Footballer Lefty Phelps makes headlines when he runs the wrong way (ala Roy "Wrong Way" Rigel's Rose Bowl gaffe) in the big game. Shamed beyond belief he joins the Marines after meeting the admirable Panama Williams who offers sympathy and advice. Phelps ends up training to be a pilot under Williams command but he washes out. He stays on in a non-pilot capacity and begins to romance Panama's desire Nurse Murray. Friction ensues between the two but there's a rebellion to fight in Central America and this enables Lefty to redeem himself.

Flight is at a disadvantage from the start due to progress-sound. 29 was a transitional year in sound and it hampers the action and performances. Because cameras were so noisy they had to be sound proofed, restricting movement. Actors were untested in voice and nuance when it came to sound and Capra regular Ralph Graves as Lefty sulking and lumbering about comes up short in both. Tim Holt's father fares far better and Lilla Lee sporting eye lashes as wide as the wings on Von Richthofen's Fokker is more Boop than Bara.

Capra's mise en scene and editing are pedestrian with actors poorly posed (once again to accommodate the microphone) and reacting foolishly to off screen action. There are some decent air acrobatics and a striking approach shot to an enemy fortress but special effects are glaringly poor in spots and overall it remains inferior in every aspect to Wings and thus reaffirms that Silents are golden, especially when its accompanied by a rousing pipe organ score.

Frank Capra made three films with the same two actors, Jack Holt and Ralph Graves, probably in an effort to establish the male buddy film. It would take James Cagney and Pat O'Brien to get that genre off the ground. Flight is the second of those three Graves/Holt films and the first one in sound.

It also has the same kind of roughhouse humor that would characterize the work of John Ford. In fact if you didn't know this was an early Capra film, you'd swear Ford did it.

Flight is certainly a film from the headlines of the day. It begins with college football hero Ralph Graves making a spectacular run in the Rose Bowl, the wrong way. Capra made no secret of it, he was at the Rose Bowl that year with Harry Cohn and saw Roy Rieggles playing for USC get turned around in eluding tacklers and made a spectacular run the wrong way and scored the margin of victory for Georgia Tech. The poor man never lived it down.

In fact Graves decides the Marine Corps is the place for blessed anonymity and he gets involved with aviation under the tutelage of Jack Holt. But the two of them have a falling out over nurse Lila Lees. Later on they see action in Nicaragua where the USA was maintaining a presence in hunting down those original Sandinistas.

The Marine aviators rescue a company of Marines in a Dienbienphu like situation with the Sandinistas. The battle scenes were very well staged.

Flight is not a typical Frank Capra film because Frank Capra had not found his style and type of story. Still it's a well made action film for the time.

One of several attempts to talk-up William A. Wellman's high flying "Wings" (1927) **********. This time, the leading threesome form the more traditional triangle of love -- younger Marine pilot Ralph Graves (as Lefty Phelps) and his mentor/Sergeant Jack Holt as (Panama Williams) are in both love with lovely nurse Lila Lee (as Elinor Murray). Ms. Lee loves Mr. Graves (in a romantic way). Mr. Graves loves Lee (in a romantic way) and Mr. Holt (in a fatherly way). Circumstances put the characters' relationships in turmoil, and danger…

An interesting early effort by director Frank Capra; but, of course, it is nowhere near his best. Harold Goodwin has a great supporting role (as Steve Roberts). Graves and Holt are a reliable team. Graves seems a little younger and Holt a little older than they appear; the actors are about the same age, however; and, they have a nice rapport.

Watch for a scene right after the "stuck in the mud" segment concludes -- in their tent, Holt scolds Graves for wanting to go out and get "tight"; he tries to pull his pal's shirt off, but Graves resists. Then, the men wrestle, which ends up with Holt pulling Graves' legs up to give him a spanking! As a bonus, Graves' hairpiece almost flips off his head!