Night Flight

... but interesting and worthwhile just the same. MGM gives this story of early forays into night flight in South America the star treatment, but unfortunately we don't get to see most of these stars do what they do best - interact with one another. John Barrymore, as head of the night flight operation, spends most of his time robotically barking out orders or reproaches. Lionel Barrymore, as the inspector who gets no respect, is very good here, gets quite a bit of screen time, and winds up having a prolonged and interesting scene with Robert Montgomery who plays a young pilot displaying that devil-may-care attitude he was so good at in his early 30's films at MGM.

Helen Hayes, whose most famous film role as Madelon Claudet is no doubt destined to be ignominiously dumped onto DVD-R via the Warner Archive, has lots of screen time here as the wife of a pilot (Jules - played by Clark Gable) who is waiting on her husband to return from his first night flight for a late night celebration supper. As his arrival is delayed more and more throughout the night, so grows her panic.

The oddest thing here is the misuse - or should I say lack of use - of Clark Gable. Throughout the film he is stuck in a plane, mute and motionless. Except for a few log entries that he makes and some of his facial expressions we are really denied a performance here or for that matter, an idea of what is going through his mind.

I'd say it's worthwhile just because it's such an odd departure from what MGM generally did in the 1930's plus it's been locked in the vaults for 75 years due to rights problems. It's interesting to see how Warner Home Video has taken almost a film school approach to what they put out on DVD in the last couple of years. Practically all of their documentaries on film history wind up on pressed DVD, but some pretty entertaining precodes, noirs, and even more modern films such as "Don't Be Afraid of the Dark" wind up in the Warner Archive on DVD-R, a medium that doesn't usually have a life span greater than a couple of years.

Clarence Brown is the director of the 1933 film, "Night Flight," featuring an impressive cast, including John and Lionel Barrymore, Helen Hayes, Myrna Loy, Clark Gable, and Robert Montgomery.

The story concerns mail flights at night, an innovative thing at that time. Both the Barrymore men are quite robust here and delivered strong acting. John is the tough, hard-nosed head of the service, and Lionel (sans wheelchair which his arthritis would send him to later on) plays an assistant. I would have rather seen them together in something else, though they were both very good.

In the beginning, we're shown a little boy in South America with infantile paralysis waiting for a serum that will be rushed to the doctor from Chile via the new night mail service.

There's not a tremendous amount of dialogue in "Night Flight," but there is a lot of very powerful music by Herbert Stothart and some magnificent footage of planes going through the clouds. It's very atmospheric. What dialogue there is today seems very melodramatic but is handled well by John Barrymore and Helen Hayes. Hayes in the film is married to a pilot played by Clark Gable. Gable is very handsome with such a warm smile, and he shows his character's real love of flying. Montgomery plays a playboy pilot who likes a good time as well as flying.

It's amazing how with a film so old, with those archaic planes, how one can get drawn into a story, yet somehow I did. I had a few problems - first of all, I couldn't figure out the countries and the different plane connections. It seemed like the service originated in France - I kind of had to let that go.

During a storm, Gable sends down flares that ride on little parachutes - it was early days for special effects. These looked a little cartoonish but were interesting nonetheless as they floated down to the water.

Some people don't care for Clarence Brown, but I think he was able to really set a mood in his films, this and The Rains Came being good examples.

"Night Flight" is one reason why I love classic films. We've come so far in aviation; eighty-plus years ago, it was unheard of to fly at night. And when you look at the planes, it's a wonder they got off the ground day or night. Maybe it was my mood or the Stothart music, but it was something to think about.

Most people watching "Night Flight" today most likely take air travel for granted and don't realize just how dangerous and insane the airmail service was in the early days of aviation. And, in the case of this film, this means travel across the Andes Mountains--something hard to imagine in a tiny biplane with an open cockpit. And yet, some crazy people did it! The film is a standout simply because of its amazing cast. It's hard to imagine John Barrymore, Lionel Barrymore, Clark Gable, Robert Montgomery, Helen Hayes and Myrna Loy all in the same movie, but here they are! Now this is impressive but is also a bit of a problem. Despite the film being in South America, almost no one in the film and none of the principle characters have a non-American accent! This isn't all that unusual for the time, but it is silly. What isn't silly is the plot. It's tense, non-sentimental and gripping throughout. And, it's well worth your time and an excellent tribute to these brave folks.

It's not too surprising that this story was taken from a novel by Antoine de Saint-Exupéry--the author of "The Little Prince". While "The Little Prince" seemingly has nothing to do with this film, it has a common thread--air travel, as there is a pilot who lands on the Prince's little planet. And, incidentally, the author was a pilot--and this would seem to explain his fascination with planes in these and other stories.

By the way, in the film you hear the term 'infantile paralysis'. This was another term for polio if you were wondering.

If you don't like this film you just don't like or understand early 1930s films! This is big budget, state-of-the-art, film making in EVERY department. The aviation footage is stunning. Unfortunately some miniatures were required and are more obvious today than then. But even these are about the best for their time.

What may seem conventional today, these elements were new in 1933. The use of silence - a ticking clock at a dramatic moment. A wonderful score, exceptional photography in the air and on the ground. The texture of rich background characters and extras. Exceptional editing! Death in the air is made so beautiful, romantic and horrifying all at the same time!

It's easy to laugh, but these were the days pilots were ALLOWED to bring alcohol along in the cockpit! This was little understood risky and dangerous work. And not only shown from one perspective. Each character has his own.

Reviews at the time noted all I've said and the public appreciated this and ate it up!

So if you can rise above your modern day aesthetics, I think you'll discover and amazing 1930s film! You know, they ain't making them anymore!

Not as bad as one has been led to believe. The strengths and weaknesses of this production are exactly those of the studio system. No expense or effort has been spared to make this film, yet it never really `sings'. The cast is one of the most spectacular rounded up for an 84 minute film. The photography has a black and white sheen, a luminosity, which must have been unspeakably spectacular in the original nitrate print projected on a silver screen. The sets, a rare non- Cedric Gibbons design at MGM (credited to Alexander Toluboff) are suitably jazzy. The first five minutes are a set-up for audience sympathy dealing with an emergency delivery of Polio serum. Corny but well done. The worst parts of the film are exactly where it cleaves closest to St. Expury's original. Characters stop and begin to expostulate with a touch of the Eugene O'Neill's. In this case poetry is better shown than expressed. One of the strangest phenomena of Night Flight is the fact that the legion of stars in the cast rarely, if ever, play a scene with one another. Helen Hayes is married to Clark Gable yet they never share the screen together.

The film is strangely like a series of monologues or at best two shots. All of the characters and the drama are supposed to be tied together by John Barrymore, the hard driving managing director of the Trans Andean European AirMail. The original novel was based on St. Expury's experiences as a flyer, and later, a manager, with Aeropostale, the pioneering French Air Mail line later merged into Air France. Using Buenos Aries as a center, Aeropostale developed South American airoutes south to Patagonia, to the oil fields near Tierra del Fuego. The chief of station and one of Aeropostale's founders, Didier Daurat, (Riviere in the film) became legendary for his single minded drive to get the mail through, an early example of existential ethics. Another route was forged north across the River Plate and Uruguay to and through Paraguay to Bolivia and another, most spectacularly, across the Andes to Santiago, Chile.

Heros were produced which electrified France and the world. Mermoz pioneered the Dakar - Natal route across the South Atlantic as well as the Buenos Aries to Natal route. Henri Guillaumet flew across the Andes 396 times. The Andes were too high to be overflown even by the latest improved models used by Aeropostale and pilots had to fly their way around and through the mountains rather than over them, something which is shown in the film. For enthusiasts of vintage aviation the film is priceless with maybe three quarters of the flying done for real. John Barrymore unfortunately has begun his decline by the time this film was made and does his `eyebrow' thing to excess, signalling that he was either unhappy with his role or his domestic arrangements or both. Gable, just beginning his reign as the King of Hollywood, is almost unrecognizable in his pilot's outfit. Robert Montgomery manages to have scenes with the most co-stars in the picture, except for maybe John Barrymore. Helen Hayes is effective as the wife as far as that goes. Myrna Loy has a role usually described as `thankless'. Produced by David Selznick, it never appeared on his extensive resume and now can be seen as a very atypical Selznick project, beyond the accumulation of the talent. Undoubtedly the literary inclined Selznick was attracted to the book's having won the prestigious Prix Femina in 1931, though he was more sympathetic to period pieces (Dickens, GWTW) then contemporary drama. Perhaps he had been thinking of his associate at RKO (King Kong) , Air Corps pilot and airline executive Merian C. Cooper. Clarence Brown, who directed Garbo, was one of MGM's most romantic directors, always setting an atmosphere where love either triumphed or ended tragically. One wonders what would have happened if a more consciously `machine age' director like William Wellman or Howard Hawks had shaped the material.

The worst that might be said about NIGHT FLIGHT is to lament what might have been. Narrative techniques common today (and, ironically, during the silent era) would have rendered a more interesting film, though not one suitable for audiences of the time. In other words, a disappointment but not a terrible film by any means. The real curiosity is why it's never revived on Turner Classics which presumably owns both a print and the rights. I suspect that there may be a question as to the underlying rights to St. Expury's Vol de Nuit that might be responsible.