Anjos do Inferno

I saw this movie many years ago, and just tonight on DVD. Wow. This film has been remastered by the UCLA Archives, and the sound is very clear. Clear enough, that you can hear some rather explicit language coming from Monte during the dogfight sequence. And if you understand German, there is even more. Definitely before the Code. This is a Great film, and for those who would criticize the acting, editing, etc, compare it to other films made during the first years of the "talkie era." It stands up very well. Pay special attention to the wounded pilots as they are dying in their planes. Very gritty. The realism of the aerial battles has never been equaled. This film is a true classic. How many other classic films circa 1930 come to mind? Not many.

With the release of "The Aviator" there will be renewed, and well deserved, interest in this classic. Hell's Angels holds together surprisingly well for a 75 year old film. Sure there is the over-emoting one would expect from a film that bridges the era between silents and talkies, but the character development is good, the flight scenes are amazing and the story holds the attention from beginning to end. And we haven't even talked about Jean Harlow!! There can be no doubt that Howard Hughes was a genius, a perfectionist, and that he set out to, and did, produce of of the greatest movies of all time. The most expensive film of it's day, and worth every penny.

This film, produced only three years after sound entered the movies, is entertaining and thoughtful. It makes good use of sound effects and has great visual effects as well. The flight scenes are impressive. Hughes flew a plane in this film (but crashed it) and three other pilots were killed during filming. The scenes of dozens of tiny aircraft swarming in the sky are still breathtaking. The plot is standard good-guys/bad-guys but adds some sensitivity to all parties. We have groups fighting a war in the air, and not too happy to be doing it. But they do their jobs, and give their lives for victory. The scene of Germans abandoning their airship is particularly wrenching and affective. Some token love interests and the usual inept comedy characters round out the cast, which all stood up to the task as well as anyone in 1930.

Jean Harlow gets her first billing in this film (she's one of my all time favorites), so it is her breakthrough movie.

Not a keeper, but see it if you can.

Hughes as director had his limitations, but he was at his best in making possible the great combat and special effects scenes. The Zeppelin scenes are so realistic it is difficult to believe it was all model and special set work. In 1927-1930 there just wasn't available a "junk" Zeppelin for Hughes to buy and shoot down. It would not surprise me to learn that he offered the U.S.Navy or the Zeppelin Co. a good round sum to buy "Los Angeles" (LZ-126) or "Graf Zeppelin" (LZ-127) for that purpose! Hughes' inexperience as a director shows up at its worst in his handling of the cast. Even allowing for the difficulties of "Dawn of Sound" filming, and that HELL'S ANGELS started as a silent, Hughes tolerated some of the worst acting ever seen in a major film. There is some good work, though. Jean Harlow is very smooth and natural, and the actors playing the German officers are satisfactorily sly and evil.

The story? Oh, two brothers are in love with the same girl, who doesn't really give a hoot for either of them. They volunteer for a suicide mission in a captured German bomber, and .... But, see the ending for yourself. Meanwhile, the Germans are trying to bomb London with their Zeppelin, but the Royal Flying Corps in on the job. That's about it.

For true airship buffs, I'll add a word about the designation "L-32" visible in one scene when the "Zeppelin" is over London. In the minds of folks not too knowledgeable about Zeppelin history, there is apt to be confusion about the "L" and "LZ" designations of German airships used in The Great War (WW1) and after. The German Naval Air Service gave their ships an "L" number. The Zeppelin Co. gave its products an "LZ" number, and the two did not correspond. There was a real "L-32" (LZ-74), and a real "L-7" (LZ-32). Both were destroyed during raids over London in 1916. Perhaps Hughes may have had either of these airships in mind for his fictional one. Incidentally, there is no record of the "observation gondola", which figures in the film story, ever having been used over England. It was used to some extent in raids over European cities.

Howard Hughes produced and directed (with a little help from Edmund Goulding and Howard Hawks) this 1930 aerial extravaganza, whose plot is both hackneyed and largely irrelevant, since one is merely waiting for the heavy melodrama to end so as to feast one's eyes on Jean Harlow and aerial combat scenes. The photography is magnificent, and one gets a kind of God's eye view of reenactments of World War I dogfights. The leading actors, Ben Lyon and James Hall, playing brothers, give such intense performances as to suggest at times that they are not merely emotionally but romantically attached to one another. Those old-fangled airplanes are something to see, as is a gigantic zeppelin, and the combat scenes, full of billowing clouds, the sky full of airplanes that resemble orange crates with wings, buzzing and whistling through the air like flies, are the stuff of dreams, and make this otherwise turgid movie come alive and live in one's mind long after it's over.