L'Heure H

Clearly, a war time film, as the U. S. had just been pulled into the war, after the bombing of pearl harbor. So the various military branches are revving up for action. Charles Laughton is the admiral who assigns Roberts and Masterman (Brian Donlevy and Robert Taylor) to an old creaky ship from the LAST war. They are not happy about this, but will do as told. Walter Brennan, who was in everything from westerns to Have and Have Not, is in here as the Yoeman. Similar to Universal's Operation Petticoat from 1959. It's pretty good. The usual shenanigans of trying to carry on while keeping the ship held together, under fighting conditions. Directed by Robert Leonard... he was nominated for Ziegfeld and Divorcee.

Standby For Action finds the two co-stars of Billy the Kid, Robert Taylor and Brian Donlevy thrown together due to wartime circumstances as executive officer and captain of the recommissioned U.S.S. Warren. Apparently the Warren was one of the old vintage World War I destroyers that didn't get traded to the United Kingdom in the Destroyers for Naval Bases Deal that we did with them.

She's a worn out old tub as her caretaker, retired Chief Yeoman Walter Brennan will tell you, but she has plenty of heart and a lot of fight left in her. It's a lesson Taylor has to learn.

Had Standby For Action been filmed at 20th Century Fox, Tyrone Power would have had the role, in fact he did have a similar part in Crash Dive. Taylor's a rich kid whose family connections got him a commission and a job with Admiral Charles Laughton. Donlevy's a career Navy man who rose through the ranks to become a captain, also similar to the role Dana Andrews had in Crash Dive.

The crusty, but wise Admiral Laughton decides that his junior aide could use a bit of real sea duty and assigns him to the Warren to serve under Donlevy. It turns out to be a learning experience for both men.

Taylor and Donlevy give strong and capable performances. Taylor looks the part and in fact the following year he was wearing the uniform of Uncle Sam's Navy and seeing action in the real Pacific Theater. But both these guys had to fight against a pair of veteran scene stealers in Charles Laughton and Walter Brennan.

Laughton dominates every scene he's in and uses every trick in his considerable command to capture and hold the audience's attention. This is not Captain Bligh by any means, yet Bligh was as much a seaman as he was a sadist. This admiral is no such thing, but he knows and loves the Navy he serves with.

No more so than Walter Brennan and the high point of the film is Brennan telling Taylor and Donlevy how much the Navy means to him and how much he wants to serve his country in her hour of peril. At least it's my favorite scene.

The Warren runs into all kinds of problems from rescuing a lifeboat filled with infants to action against a Japanese battleship. Taylor and Donlevy and the crew meet all challenges.

Standby For Action is a good wartime action adventure. Robert Taylor would soon enough be dealing with the real thing.

This was another film which saw preliminary involvement in its scripting stage from Luis Bunuel during the Spanish Surrealist's tenure in Hollywood – before being eventually re-vamped into a standard Hollywood flagwaver (by its blandest studio, MGM, no less). Needless to say, there remains close to nothing of what may have appealed to Bunuel's Communist ideals here; however, given the top talent at work, the movie could not fail to be entertaining (if corny and contrived in the extreme – more on this later); still, the film hardly merited Leonard Maltin's hilariously dismissive single remark in response to the titular command, "We're still waiting…"

In fact, the story and script numbered various noted scribes: John L. Balderston, George Bruce, R.C. Sheriff – all of them, co-incidentally, former collaborators of another of my favorite film-makers i.e. James Whale – and Herman J. Mankiewicz (ditto Orson Welles' CITIZEN KANE [1941]); as for the cast, we have Robert Taylor (stepping in for Robert Donat), Charles Laughton (this phase of his career was particularly unrewarding for the thespian actor, though he would return to this same milieu for one of his very last pictures, UNDER TEN FLAGS [1960]), Brian Donlevy, Walter Brennan, Chill Wills, Douglas Dumbrille, future director Richard Quine, etc. Most of these are strictly typecast, but get by through sheer professionalism and chemistry: the three stars play well off each other, with Taylor the cocky spoiled brat, Laughton the flustered-yet-bemused chief officer and Donlevy the dedicated skipper of an ancient destroyer re-called into active service at the start of WWII (complete with live-in and doting caretaker – Brennan, of course).

Though the film makes much of the initial friction between the captain and his aide, which predictably develops into mutual understanding and, eventually, respect, its real raison d'etre was the subplot highlighting the destroyer saving 'a cargo of innocence' (the title of the story on which it was based and which had originally dealt with the Spanish Civil War!), that is to say, a stranded boat filled with evacuees from a bombed maternal hospital. This results in much cringe-inducing comedy relief – Bunuel would have obviously treated the entire episode much more soberly – with the men all at sea (pun intended) before this unexpected 'crisis'…though, before long, a middle-aged carpenter whose wife happens to be a nurse and guitar-strumming, tune-peddling yokel Chill Wills take the situation firmly in hand; Laughton, commandeering a convoy to which the destroyer has also been appointed (not without misgivings), ultimately softens at this turn-of-events, especially after both rescued ladies proceed to give birth themselves aboard the ship!

As I said, in the face of such far-fetched happenings, to which one must add Brennan's equally sentimental attachment to the "old girl" who can still "take it" (injured at one point and relapsing to his WWI-service days, he still resolves to do his bit for Uncle Sam at the finale!), the film really does not win any marks for realism but, again, is so typical of the prevalent style in which such things were presented (including such racist expressions as Laughton's "slant-eyed Beelzebub" and "pagoda-masted buzzards") that it does not feel necessarily blander than its prototype, if decidedly routine. Nevertheless, the climactic action (yes, we do get there after all) – as the scrappy destroyer risks its 'life' (with Taylor at the helm, too, since Donlevy is himself temporarily disabled) by emerging from the cover of pervasive fog to hit out at the larger Japanese battleship – is quite well done, even garnering the film its sole Oscar nomination.

What at first blush appears to be a throw-away Navy propaganda film, released in Dec 1942, turns out to be a very easy-to-watch tale of war at sea with some moments of excellence, particularly the scenes with Charles Laughton as the crotchety Admiral Thomas.

The commissioning of the destroyer Warren includes a rousing speech by Laughton in which he inspires the new crew with a dramatic re-telling of the story of John Paul Jones giving his "I have not yet begun to fight" speech aboard the Bon Homme Richard. Off-beat plot twist includes the Warren finding a life raft filled with babies and pregnant women. The final act of the movie is an exciting depiction of the bravery of the Warren in single-handedly sinking a Japanese Battle Ship to save an entire convoy (naval convoys and battle are somewhat dated but still interesting and earned an Academy Award Nomination for special effects). Robert Taylor turns in a passable job as our hero, the spoiled LT. from Harvard. Brian Donlevy is also good as the seasoned CPT from whom Taylor learns much and later becomes his friend. Appearances by stalwart actors Chill Wills and Walter Brennan. Second half of the movie has lots of sea-battle action.

The story is fiction but the war was very real when this movie was made. While not intended to be a comedy, it has it's moments of humor. I heard it said this was to be a British movie but was switched to Hollywood because Britian was in deep straits and under attack at the time. Whatever the reason, it plays pretty well except for the old US 4 piper destroyer sinking a modern Japanese battleship (not a Japanese destroyer) . Not very likely, but that's Hollywood for you. However, the acting by Charles Laughton is classic. He does indeed steal every scene he's in and that takes some doing when one of the other actors is Walter Brennan. Laughton's John Paul Jones speech to the ship's company is superb and stirring even 60 years later.

-BullMoose