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Henry Hathaway made many of the best Hollywood films, particularly in the genre of hard action, especially at war. This is one of them, still in the beginning of his age of greatness but an important prelude to what was to follow. The main star here is not Dana Andrews but Don Ameche, who plays a totally different role from his usual repertoire, but he does it more than well. Cedric Hardwicke is an unnamed admiral of only one scene in the beginning, and among the others is Charles Bickford, reliable and indomitable as usual, as the captain, with clenched teeth. The story is the build-up to the battle of Midway half a year after Pearl Harbour, which changed the course of the war to American advantage. The six months before the battle was a perpetual humiliation, the Americans constantly avoiding confrontations with the Japanese for strategic reasons, and the marines getting rather frustrated about it. When finally everything is ready for the battle, it is an immense release, and the humiliation of running the gauntlet turns to triumph. As usual in Hathaway's films, much attention and importance is attached to the human side of the drama, and many of the sailors make great individual performances with stories of their own. Some get grounded, some commit unpardonable goofs, there is some intimate music as well, and some run into martyrdom. In brief, it's an excellent almost documentary panorama of the drama leading up to Midway, and it's well worth while following every stage of it - with many U-turns on the way. But Don Ameche makes the greatest impression, although far from sympathetic and almost hated but profoundly reasonable all the way.

"Wing and a Prayer" is a decent WW II film made in 1944. It stars Don Ameche, Dana Andrews, William Eythe, Cedric Hardwicke, Charles Bickford, Harry Morgan, and Richard Jaeckel (so young it's unbelievable). It's directed by Henry Hathaway.

The story concerns Naval decisions made during World War II before the Battle of Midway. It's not complete -- because of the time that it was made, info was still classified. We had broken the Japanese code and knew what was going to happen at Midway. This particular film is about a carrier, probably in real life, The Enterprise, that was supposed to make the Japanese think the Navy was spread all over the place so that they wouldn't anticipate the forces at Midway. When they were seeing carriers in different spots, they were in fact seeing only this carrier. The crew was told not under any circumstances to engage with the Japanese, which caused fatalities and problems when pilots could not defend themselves.

The crew was in the dark, of course, and had no understanding of this policy, so they were angry and frustrated.

Don Ameche plays a very stern flight commander, Bingo Harper, a man without a sense of humor, who seems detached from his men. Andrews plays lieutenant commander Edward Moulton, and William Eythe plays Hallam "Oscar" Scott, a film star who carries his Academy Award with him for luck.

This is a 20th Century Fox film, and Andrews and Eythe were two actors who came up during World War II and were groomed by Fox to take over for its absent actors. Eythe bore a resemblance to Tyrone Power and was being groomed for stardom. The role he plays here is undoubtedly based on Power, who was indeed a movie star-pilot with an unusual first name. And he had kissed Betty Grable, just like Hallam. Unlike Dana Andrews, Eythe probably would never have made first ranks - he is rough around the edges, awkward physically, and he just didn't have star quality. He was given some excellent roles, but after Zanuck found out he was gay and pretty openly the lover of actor Lon McAllister, he got rid of him. Eythe found work in television and on the stage but died at the age of 38 of hepatitis.

All in all, a pretty good movie, though the characters aren't very well developed, particularly Andrews' role. The minor characters have more back story.

It's 1944 and while the tide of war has turned in the direction of the Allied forces, the prospect of the invasion of Japan was still a deadly reality. Once again Hollywood did its part in the propaganda battle to bolster American morale. A Wing and a Prayer touched all the bases with studio stars, heroic sacrifices and plenty of action. I first saw this film as a kid in the 1950s and I still remember gripping my seat everytime a plane hit the carrier deck. Put into the context of the time it's a good film by a very good Director.

Three months after the greatest disaster in the american history with the surprise military strike of Pear Harbor by the imperial Japanese navy air service, December the 7th, 1941, the American HQ set up a desperate strategy based on a simulation of disarray within the American navy so that the Japanese confidence goes up artificially and incites them not to deviate from their supposed plan of campaign: to take ownership of Pearl Harbor, this objective implying beforehand a passage through Midway where the American navy is firmly waiting for the Japanese navy.

The film focuses on an aircraft carrier unexpectedly playing the role of a bait and we witness the daily life of these airmen forced to behave cowardly every time they meet a Japanese zero. The atmosphere is typical of old war movies: ultra-patriotic, childish and cheesy, pretty close to a propaganda film, in a certain manner. We globally remember the team spirit, the heroism of the airmen, the dignity of the entire crew and the excellent cinematography given the technical means of the time.

Wing and a Prayer (1944)

This is a Navy film made in 1944, set in early 1942. That says a lot to start--it's realistic, but it's also meant for support the troops, support the families back home, and avoid giving the enemy any information that might hurt the U.S. This one is set in the Pacific on an aircraft carrier, so there are both conventional sailors as well as pilots. Much of the movie is about ordinary down time, which builds up the interpersonal stuff, and gives the range of types on the ship--up to a limit (no minorities, for example).

There were a lot of movies made during the war about the war, and most employed a star or two to give them an audience. Here we have Dana Andrews, already a stalwart at this early point in his career, and Don Ameche, who was the bigger name at the time. But what makes the movies distinctive beyond this is always some twist, some specific aspect of the war that gets highlighted. The main one here is the ship is on a special mission to head toward the fringes of Japanese controlled water and give the impression that the U.S. Navy is scared and incompetent.

This makes for a lot of tension after awhile because the men really want to fight, and they are told to turn away. It's an interesting angle (with not a lot of historical truth to it, apparently). But it shows in part how the Navy had highly sophisticated plans that the average Joe couldn't and didn't know about. And so everyone should just be confident, everyone including all the folks watching it on Main Street, far from being able to help or knowing the truth.

The other unique twist is that one of the pilots is an Academy Award Winning actor. It's clear from the first action scene that he's not really competent, but he's cute and popular, gets lots of mail, and he carries his Oscar statuette with him everyone (including on missions). A fun Hollywood twist...and of course, it isn't left alone. All of this, the ruse, the actor, the whole waiting game, is a set up for a spectacular finish.

Trivia notes: There is a 16mm movie shown to the troops during fun time, and it's called "Tin Pan Alley," a 1940 Betty Grable flick with lots of flesh. It's naturally a hit with the men. And it's streamable on Netflix. Naturally I had to watch it...so look for my review of that one, too. Not half bad, but…. one of the moments that is a surprise (and a deflection) is when a plane takes off and crashes, and during some of the shots of the rescue there are mistakenly other ships in the distance.

That last 20 minutes is great war film stuff, including a unique section where the action is told only through sound. It's a small but brilliant addition to a strong, somewhat straight forward film.