Bombardieri in picchiata

Seven years earlier Warner Brothers did a film called Here Comes the Navy which launched the buddy film genre and the teaming of James Cagney and Pat O'Brien. It was shot entirely on location at the naval base there.

This time it's a more sophisticated story about Navy test pilots and flight surgeons trying to lick the problems of flight. Dive Bomber takes for granted the fact that very shortly the USA will be in a shooting war.

What is unusual is the reverse casting in Dive Bomber. Normally Errol Flynn would have been the test pilot and visiting from Paramount Fred MacMurray would be the doctor. My guess is that Errol probably asked Jack Warner for the change to do something a little different. Errol told many a tall tale in his memoirs, but one thing that was consistent was that he did get bored with his heroic image.

It works out fairly well for both guys. In fact later on Fred MacMurray played Captain Eddie Rickenbacker, World War I air ace in another film and I'm sure he was cast there as a result of what he did in Dive Bomber.

Of course a lot of the film is phony. Our pilots or no one else's pilots ever used those diving suit like contraptions that Flynn and fellow doctor Ralph Bellamy designed for high altitude flying during combat. That did come post World War II however.

Nice aerial footage done in gorgeous technicolor is another positive feature of Dive Bomber. Howard Hughes couldn't have done it better.

One other thing, leading lady Alexis Smith met and married her husband Craig Stevens on the set of this film. Stevens was a contract player doing secondary roles for Warner Brothers. He would wait for stardom much later on as TV's Peter Gunn.

Dive Bomber should still have appeal for aviation fans everywhere on the planet.

As a snapshot of the US military on the eve of Pearl Harbor, this has a poignancy that it didn't have on original release. The "Enterprise" has a starring role, just two years before Midway (and incidentally, notice how SMALL the carriers are: I guess jet fighters needed vastly bigger ships).

And look at the aircraft: innumerable biplanes, and the rest of them already obsolete. No combat (- and, in fact, no bombs, which is odd, tho' i guess in 1941 the idea of Americans actually dropping nasty weapons like bombs was still a controversial notion.) Lots of formation flying: (this is Warners, after all, the home of Busby Berkeley!) Almost every outdoor scene has a flight of real aircraft zooming through it: the effect is sumptuous, and makes even "The Battle of Britain" look very small beer. Much credit to Michael Curtiz and crew for stage-managing all this.

There are no real surprises in the plot, though it moves through the clichés at an agreeable pace; nonetheless, it's an interesting commentary on the days when flying was not a "routine" activity.

But the reason to watch this is the photography. This is a Technicolor show-piece. The aerial footage is downright glamorous, and many of the interior scenes are filled with interest (though interior lighting problems are apparent, particularly in Flynn's make-up).

Plot-wise, the focus wanders back and forth from Flynn to MacMurray, which leaves both characters slightly unfinished. Flynn was obviously very difficult for Americans to write for: this actually sounds like Bogart dialogue. Flynn looks embarrassed and diffident throughout(he's very good though, and his voice is beautiful). Alexis Smith is fun; possibly the only interesting twist in the script is that the women are both unredeemed ratbags: the slush component is, hence, lower than it would be once hostilities commenced. Ralph Bellamy is good, doing the transition from "guy who doesn't get the girl" to "gruff character actor".

Modern viewers will laugh at the chain-smoking doctors (especially the one with the heart problem).

Max Steiner's score doesn't grab me particularly, but there are some nifty musical effects during the "blackout" sequences.

Other posters have discussed the supposed 'spy' story behind this film: That Errol Flynn attempted to get it made in Pensacola rather than San Diego because the Nazis wanted to see the layout at Pensacola. They've pointed out that in the studio days, an actor, even one with Flynn's stature, could hardly have dictated such a thing. Also the buildings shown appear to be in San Diego. Finally, the airplanes used in the film were already obsolete in 1941. The Pentagon would hardly have allowed anything the Nazis and Japanese didn't already know about to be presented in the film, (and we probably didn't have any such thing at that point anyway).

And that last point intrigues me. This film allegedly presents the cutting edge of aeronautical medicine. Yet, if that's the case, the Pentagon would surely not have allowed Hollywood to present that, either. If the film had been made after the war, it would be more believable that this represented in some way the efforts of the heroic doctors and flyers to conquer black-out and high altitude sickness. But in 1941, the only thing that could have been presented was old science, speculation or Hollywood hokum, which this is surely a mixture of. That makes the film, which is certainly entertaining, rather meaningless as a semi-documentary on the subject.

On the subject of Hollywood's obsession with comic relief, this is something that mars old movies to modern eyes. I'm sure there are things in our films today that will someday be considered an embarrassment but these moronic 'sidekicks' are about as funny these days as a minstral show. In this film, the constant return to Allen Jenkins and his problems with his wife are a maddening intrusion into the drama of the film. Particularly inexcusable is the interruption of the scene where Regis Toomey is about to be told that he can no longer fly and we seque to Jenkins again, then go back and pick up Toomey's story. Did 'Spig' Wead really write Jenkins' part into the script? I doubt it. (See my review of 'Hell Below' for another example of this type of cinematic butchery.)

Legendary Michael Curtiz directs this exciting, well paced aviation drama about two naval officers(Errol Flynn and Fred MacMurray)who put aside their personal differences to work together conducting experiments to understand and prevent pilots from suffering altitude blackouts. Visually exciting pre war flick filmed at Pensacola that in turn led to accusations that in real life Flynn aided Nazi agents.

MacMurray and Flynn have very different acting styles, but work well together...of course Flynn seems to always be the focus. Alexis Smith is the rose among the thorns so-to-speak. The cast also features: veteran actor Ralph Bellamy and Regis Toomey, Robert Armstrong and Craig Stevens. After all these years DIVE BOMBER can still hold your attention.

Taken by itself, DIVE BOMBER is a routine tale of the efforts of Navy doctors to find solutions to major issues facing aviators (countering the effect of G-force on pilots, and functioning in a high altitude environment), written by Naval aviator Frank ('Spig') Wead (who would, himself, be the subject of a later film, John Ford's THE WINGS OF EAGLES), photographed in glorious Technicolor, and teaming top WB 'draw' Errol Flynn with two legendary actors, Fred MacMurray and Ralph Bellamy. Filmed at the eve of the war, the film was one of many military-themed pictures Hollywood's studios were producing, to generate public acceptance of an inevitable U.S. involvement.

While the movie was successful when released, the passage of time has dated it, and the issues addressed; as a result, DIVE BOMBER has not retained the luster of Flynn's swashbucklers. But in the seventies, the film took on a new significance, as allegations were made that Flynn had committed treason, working for the Nazis at the time of the shooting.

According to 'secret' documents that an author said were made available to him, Flynn aided two known Nazi agents, helping them perform espionage by demanding DIVE BOMBER be shot 'on location' at Pensacola Naval Air Station. While the spies were arrested and deported, Flynn went unpunished, and his participation 'covered up', for morale reasons. The revelations were published in a Flynn biography, and the actor's already tarnished reputation became the butt of a new round of derision (a thinly-veiled version of Flynn served as the Nazi villain of the 1991 film, THE ROCKETEER).

Many of Flynn's surviving co-stars, and his official biographer, Tony Thomas, came to the long-dead actor's defense, and research into the extensive, now declassified file the FBI kept on the rowdy actor (files were kept on virtually everyone of importance in the entertainment industry) reveal no more than a social involvement with the agents (the pair socialized with many 'movers' in the film industry, and Flynn was a major 'party animal' in the forties). The idea that the actor could have 'demanded' and gotten a location to be used would have been unlikely (the studio carefully budgeted each film, and actors were only rarely involved in the production end). Had the charges been true, no studio would have ever hired Flynn, again (this was a very patriotic period), and Jack Warner would have PAID, if necessary, for Flynn's one-way ticket to Germany!

Despite the lack of any real evidence, there are still people who cling to the belief that Errol Flynn was guilty (he was far from the noble cavalier that many of his early films portrayed him as, and his critics would love to add treason to his long list of sins). DIVE BOMBER has become the cornerstone of one of Hollywood's great mysteries...