Les Mousquetaires de l'air

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'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.

Frank Capra made a trilogy of action dramas starring Ralph Graves and Jack Holt (Tim Holt's father) as rivals in some branch of the military service. Holt always played the cautious older man who followed regulations, Graves his impetuous younger rival. A woman always came between them. "Dirigible" is probably the best of the three, although "Submarine" (a silent film) and "Flight" are excellent too.

The only flaw in "Flight" is that it's a little too similar to the better-known "Wings" and "Tell It to the Marines", both of which were bigger box-office hits.

The opening scene in 'Flight' is based on a real-life event that had made headlines a few months earlier. In the Rose Bowl football match on New Year's Day, 1929, a college football player named Roy Riegels carried the ball 64-1/2 yards the wrong way, very nearly scoring an own goal when a teammate finally stopped him on the one-yard line. (The rival team ran interference for him against his own side!) A news photo of this event received nationwide distribution, and Riegels became a laughingstock. (Actually, when I saw 'Flight', all I knew about the Riegels incident was the famous Rose Bowl photograph. I looked up all the specifics before I posted this review. Did you really think I've got all this information memorised?)

"Flight" uses this true incident to begin its fictional story. Lefty Phelps (Ralph Graves) isn't noticeably left-handed, but he's a promising college athlete who's all set to triumph in the big game. Phelps runs the wrong way, scoring the winning touchdown for the wrong team. A photo of Phelps achieving this error gets national distribution, and Phelps becomes the butt of jokes. (We see a close-up of the Riegels photo - a well-known image in 1929 - substituting as a photo of Ralph Graves.) Phelps decides that he's ruined for life, but a friendly recruiting agent suggests that he can make a clean start by enlisting in the U.S. Marine Corps. Phelps decides to become a pilot, as that's the most glamorous job in the military.

There's a very funny scene when Phelps completes his first training flight. I'm really surprised that this gag sequence (dealing with nausea and vomiting) made it into the movie. Ralph Graves steps out of the plane with one hand over his mouth, and we can tell by the look on his face that he's going to be sick. Graves looks round desperately, and then we see an immense close-up of a bucket at the far end of the runway. Graves runs all the way to the bucket with one hand over his mouth and the other hand over his gut. Will he make it in time? The pay-off is hilarious.

During his training, Phelps becomes attracted to an Army nurse (played by Lila Lee) and he runs afoul of topkick Sergeant Williams (Jack Holt). Williams thinks Phelps is paying too much attention to girls, and not enough attention to his flight training. As soon as Phelps completes his pilot training, the United States Marines invade Nicaragua (wot, again?), and off we go to Central America. There's a slam-bang action climax. Lila Lee was a very pretty actress, unfairly forgotten today. (She was also the mother of James Kirkwood Junior, who wrote "A Chorus Line".) "Flight" and "The Unholy Three" are the best examples of her talents and beauty. I'll rate 'Flight' 10 out of 10; a splendid example of early Capra.

The plot is certainly familiar from many other movies, notably "Tell it to the Marines". The old timer versus the cheeky new recruit. And of course the girl that the sergeant wants is actually in love with the recruit, who feels rotten about it because the sergeant has been so nice to him. But the characters are interesting, particularly Jack Holt's,the camaraderie is nice to watch and there is plenty of action, flying scenes and battle scenes,fascinating shots of old time airplanes, all of which make this a fun movie to watch, which after all is the important thing in a movie of this type.Very pleasant entertainment in spite of the sound problems.

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!