Il mio avventuriero

On the one hand we have Tyrone Power and Betty Grable, and they make a great couple.

On the other hand we have the typical 1940s disregard for anything remotely resembling accuracy about airplanes and the military. As an example, an early scene involves a leaflet drop over Berlin from Lockheed Hudson coastal patrol bombers, which sported four (or five) .30 cal machine guns - two fixed firing forward, two in a dorsal turret, and (MK II on) one firing down and aft.

The Luftwaffe would have had the airliner-derived patrol bombers for lunch, as they were pretty much defenseless from below except from behind.

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.

Tyrone Power is so charismatic in this film that the rest of it hardly matters. His astonishing good looks and easy charm really make this film. But there is also good direction, a witty script, great Oscar-winning special effects and fine cinematography.

Betty Grable has never done much for me, but she's pleasant enough in this. But the aerial work, done mostly with models, is exceptionally strong particularly in a spectacular and believable recreation of the evacuation at Dunkirk. This is a war propaganda film, designed to encourage the USA to join the war in Europe - but it is not cloyingly over patriotic. And there are some very original moments - look at the scene where Power wakes up and doesn't know where he is. The camera stays in extreme close-up on his face for a long time, so we don't know where he is either. We see him go through fear and bewilderment as we hear strange sounds. Finally his face relaxes and the camera pulls back to reveal...well I don't want to spoil it for you, but this is a very strong directorial decision. Henry King is to be praised.

You'll enjoy this film.

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.