Les diables de Guadalcanal

A Howard Hughes War breathtaking film that probably accounts for the brilliance of the cinematography of the aerial dogfights . Classic war film with a magnificent John Wayne as tough Major fighting Japanese and a nice secondary cast who provide stalwart support . This is a flag-waging and patriotic tribute to US fliers . Very decent war scenes along with documentary footage that convey us the assault troops supported by aviation to establish on the Pacific islands, but like the navy, the US army and Air Force fought its way from island to island in the Pacific . The squadron's designation in the movie was VMF-247 "Wildcats" but in the movie was based on VMF-223 "The Bulldogs". The Leathernecks of the film's title is military slang . Leatherneck is a common nickname for marines of the United States Marine Corps (USMC). The film's dedication states : "Dedicated to the United States Marine Corps, and especially to Marine aviation . Appreciation is gratefully acknowledged for their participation and assistance which made this picture possible" . Regarding Marine Major Dan Kirby (John Wayne) is tough on his group of World War II aviators , he is even tougher than his subordinate Captain Carl Griffin (Robert Ryan) . As squadron leader fights with his fellow officer in Guadalcanal island . Both of them are two-fisted officers whose inevitable feud ranges from the wartime Pacific to peacetime America . As Kirby proves that his method is more suited to the demands of war and he leads his soldiers to into victorious battle , winning the devotion and admiration of his fliers . As when the real fighting begins all is forgotten . They subsequently bomb a convoy that is nicknamed by Kirby as ¨Tokyo Express¨.

The film is based correctly on Guadalcanal battle in a hard-fought US operation , one of the most difficult campaigns of the Pacific theater , detailing this fight as well as other battles in Orient . This is a Howard Hughes production as the opening credits declare . It is well known that Hughes himself was an aviation aficionado who also produced Hell's angel (1930), Sky Devils (1932) and Jet Pilot (1957), the latter of which also starred John Wayne . It's a good film dealing with war in human terms . This colorful movie contains action , breathtaking battles , thrills , stock-shots , historical events and the dogfighting scenes are impressively made . Stalwart main cast , Wayne and Ryan , both of whom give splendid interpretations . Being stunning supported by Don Taylor , Barry Kelley , James Bell , James Dobson , and special mention for J.C. Flippen as grizzled veteran . Big production design , lavishly produced , brilliant photography and rousing soundtrack by ordinary Roy Webb as you'd expect from RKO Pictures at the time . Superp photography in glimmer color by William E Snyder , superbly captured in bright , sharp Technicolor which nowadays' processors never seem able to reproduce .

The picture was compellingly directed by Nicholas Ray , author of various master pieces and hits as Rebel without cause , The savage innocents , Johnny Guitar , King of Kings , 55 days at Pekin and many others . Nicholas has a sensitive handling of actors and provides an exact compositional sense . Ray is a classic director , his films deal with a deep description of civilized societies , he believes that corruption is an essential part of it , that society punishes sincerity , innocence and love, vengeance and greed determine the behavior of people. ¨Flying leathernecks¨ is often considered merely another assignment of Nicholas Ray's at RKO for Howard Hughes to prove his political and professional alliance during the Red Scare and being Nicholas Ray's first film in color.

I had previously watched this one on TV, but I recall being underwhelmed by it: I liked the film better a second time around, but it’s clearly no classic (despite director Ray and co-star Robert Ryan’s involvement); contrary to Ray’s best work, which is marked by his personal touch, he’s strictly a director-for-hire on this particular title.

The film is one of several war-themed Wayne vehicles from this era, a good number of which I’ve yet to catch up with – FLYING TIGERS (1942), THE FIGHTING SEABEES (1944), BACK TO BATAAN (1945) and OPERATION PACIFIC (1951). It’s similar to Wayne’s FORT APACHE (1948), where he’s now portraying the martinet role played in that John Ford cavalry picture by Henry Fonda – though he’s well-matched with the long-suffering Ryan (cast against type as an overly sensitive executive officer dedicated to his squad). The latter element, then, links the film with such archetypal flying pictures as ONLY ANGELS HAVE WINGS (1939) and TWELVE O’CLOCK HIGH (1949) – where the group leader is constantly forced to make tough decisions in which the life of his men has to be put in jeopardy. For this reason, too, Wayne’s a generally glum presence here – apart from his interaction with Jay C. Flippen as an amiably roguish old-timer; from the remaining supporting cast, Don Taylor is equally notable as the wise-guy crew member who happens to be a relative of Ryan’s.

The action sequences are exciting (domestic asides are unsurprisingly dull but thankfully brief).even if utilizing an astonishing amount of grainy WWII stock footage which, while giving it a sense of raw authenticity, also tends to stick out rather too obviously alongside the soft yet agreeable Technicolor adopted for the rest of the film! In the end, FLYING LEATHERNECKS may be corny but it’s reasonably enjoyable – and occasionally stirring – for all that.

I saw this overlooked Nicolas Ray film for the first time this week and was surprised by the director's ability to make a silk purse out of a sow's ear within the tight limitations of the post WWII propaganda war genre. Of course, the jingoism, the low budget fx and the formula finishing lines are dated and tedious, but the core of the film is the fascinating relationship between Wayne, as the tough Major with a good heart, and Robert Ryan as his compassionate second-in-command with a tough mind. If you zapped past the battle and home front scenes, you would have a highly charged exploration of male-bonding issues. As well, the film seems to be covertly raising questions which go as far back in our literature as ancient Greece when officers initiated their men into rites of passage. The intensely rich Technicolor and the interior tent sets evoke a crucible environment which powerfully thrusts along the character development. Ray draws from Ryan a brilliant portrayal and from Wayne a solid effort that seems to prepare him for his splendid characterization in a similar conflicted relationship with Maureen O'Hara for his very next film, John Ford's "The Quiet Man", for which Wayne got an Oscar nomination in 1952.

"Flying Leathernecks" has the virtue of a director taking on a run of the mill commercial film project, infusing it with his idiosyncratic style and providing the audience with some thematic depth and many fine moments. The most interesting example for me is a scene two-thirds into the film when John Wayne receives orders to depart immediately for another assignment and seeks to explain to Robert Ryan why the command of the squadron will be passed to another officer and Ryan not promoted into the job. Instead of an explosive argument, the conflict is conveyed mainly through non-verbal signals that each man is unable or unwilling to read from the other. A frustrated Wayne finally shrugs his shoulders and strides out of the tent while a tight-jawed Ryan keeps his backed turned away from him. Fortunately, there are enough of such involving scenes to make this a worthwhile film, even though this is not in the same league as Ray's great ones like "Rebel Without a Cause".

I have seen "Flying Leathernecks" countless times since I was a boy. This morning on TCM, it was on again and I almost missed my Saturday morningtee-time with my golf buddies. They were forgiving though, as they, like me, had grown up with the stories of our fathers, uncles and cousins whohad served in WWII and of course, it was a JOHN WAYNE film. You ALWAYS have to stop and watch the Duke anytime he takes on the Japanese. The movie utilizes much Navy combat film from WWII, most of it not of the Guadacanal campaign and the aerial "combat" was typical of most war flicks in the 1940s and '50s. While it has many production errors (not matching recreated action with actual combat footage, reversing damage/wounds on planes and pilots, etc.) it is still a good movie to kick back with and watch a simple story.

Any tension FLYING LEATHERNECKS has as a war film from the '40s about the fight against the Japanese on Guadalcanal is bolstered considerably by the decent acting jobs done by JOHN WAYNE and ROBERT RYAN as men who are soon in conflict with each other over training methods. Wayne has his usual tough guy role, hard on the surface but soft inside, and Ryan is the man who stands up to him but soon appreciates him when the going gets rough.

Whatever inaccuracies there are in historical details (as pointed out by other reviewers) don't really harm the story which is well photographed in Technicolor and includes a number of hard-hitting action scenes that are the best moments in the film. The domestic moments are the weakest elements of the story.

Wayne and Ryan are well supported by JANIS CARTER (as Wayne's worried wife) and DON TAYLOR as a carefree soldier. Well directed by Nicholas Ray, it's not as tense and exciting as it could have been but it passes the time efficiently in its own way with lots of actual war footage appearing in the action scenes.