Wings

You could justifiably criticize WINGS lesser moments: the naive, "gee-whiz" dialog...the less than comedic "champagne" sequence in Paris...any of the romantic scenes...the idealized view of military life.... But as light entertainment, WINGS manages to hold its own, despite the passage of years. The battle scenes, easily the highlight of the film, may not have the intensity of later films, but the narrative is clear and precise. And this was not meant to be the last word in documentary accuracy: it's an adventure film tinged with romance, with engaging aerial fight scenes that capture your attention whenever they occur.

And personally, I felt that the music from the Wurlitzer organ tied together the film's various themes, musical and narrative, quite tidily.

This film is, no doubt, a timeless triumph of the silent cinema. I first saw it three years ago and have seen it at least 30 times since then. I've only looked back to see that I have it in my collection...but not on DVD! These studios need to start thinking back to the days in which movies as good as these were made and stop producing so much garbage that they think will make tons of money without considering whether it's done right or not. This film taught me just how important gesture and body language can be in the acting world, whether it be on film or on stage. I know just how "in-character" an actor is just by looking at their face, their eyes, and how they're written in the script. Don't get me wrong, people can overact and underact in certain parts, but if you do anything without considering your character's expression or mood, regardless of whether or not your voice is unbearable to hear, you will never see success past the sound of crickets hiding in the audience. The industry knew that sound was coming. Most didn't accept this truth, but they knew it alright! "Wings" reminds those who've seen it, as with most classics of the silent cinema, that ACTIONS SPEAK A MUCH GREATER VOLUME THAN THE SPOKEN WORD. I've said all I need to say, and now I'll let this picture speak for itself.

Famous of course for winning the first Oscar for best film, WINGS is also one hell of a good film. Spectacular aerial photography highlights the terrific performances of the three leads: Clara Bow, Buddy Rogers, and Richard Arlen. Director William Wellman creates a solid and moving anti-war statement as he shows us the brutality and stupidity of war, its waste of youth, and its power to destroy the lives of all involved.

The film starts with star-crossed lovers in a small town in America. Bow loves Rogers but he loves Jobyna Ralston. Ralston loves Arlen and he loves her but through a mistake, Arlen thinks she loves Rogers. Then the boys go off to war. The outgoing Rogers thinks the war will be an adventure; the shy Arlen goes off, leaving his devastated parents who cannot express their emotions. Bow soon goes off to be an ambulance driver. Ralston stays homes and waits.

The story follows the rivalry and growing friendship of the boys as they head for war. The story ends in yet another bitter mistake. The viewer is as emotionally drained by the end of this film as the parents were at the beginning.

El Brendel provides some comedy relief. Roscoe Karns has a small part. Henry B. Walthall and Julia Swayne Gordon are the parents. And Gary Cooper has one brief scene with Rogers and Arlen. The scene in which he turns and flashes that famous smile as he exits the tent supposedly made him a star.

Clara Bow is solid as the spirited home-town girl who chases Rogers to no avail. She's gorgeous here and she is even moreso in the Paris scene where the matron lets her borrow a snappy and dazzling dress. Few women in film history have been able to be so sexually charismatic as Clara Bow. She's also a good actress.

Richard Arlen and Buddy Rogers give their best performances here. Each takes turns as the center of attention as they become men during the grueling war. Their flight scenes are incredibly well done. Arlen's flight scene as he races toward the American lines is amazing.

Jobyna Ralston has a rare memorable film not working with Harold Lloyd. And Henry B. Walthall is quietly grand as the crippled father.

Wellman's direction and the camera work of Harry Perry are beyond perfection. The aerial battles are breathtaking as are the scenes where they blow up the German blimps. There's also one astounding scene in the beginning of the film where Ralston and Arlen are in a swing. The camera is mounted in a stationary position in front of the actors so we see the scene as though we are in the swing with them. Then suddenly in the background we see Rogers in his jalopy pulling up in the street. The swing stops and Ralston gets out and runs to Rogers (in the background) while we see the close-up of Arlen as he twists in the swing seat and turns to watch them. It's an amazing scene and all one shot.

This film is a must see.

Wings (1927)

An epic WWI movie that uses all the classic approaches to a war film and has a lot of great battle footage. It's a tale of rivalry over a girl, of fighting for country (and against the Germans), and of facing death. There are several scenes that make death really gruesome--blood spurting from a pilot's mouth, or a man crushed under a tank--that took me by surprise. I didn't know that such a mainstream American film would go there.

"Wings" is in a way exactly what American movies would look like thereafter--not just war movies, but all of them. By that I don't mean directors studied this movie and it was the inspiration from here on. But just that the story line, the romance, and even the filming, adventurous but straight on, with more attention to characters and plot than visual effect, all of this would be how films would be made for decades. Including many more by the director, William Wellman, who is one of handful of truly expert but never quite daring and inventive directors of classic Hollywood.

To back this up neatly, compare this film to the other film that jointly won Best Picture this year (the first year the Oscars were given, and the only year when the best picture category had two separate parts). That is Murnau's "Sunrise." Never mind which is better ("Sunrise," easily by most accounts). Notice how this film is utterly conservative and "conventional" in its approach to the art of making movies. It's superbly well done, but well within the rules of the time. Yes, there are moments of inspiration, including some double-exposed stock where a scene takes play in the sky over another scene on the ground. But "Sunrise" shows the lyrical art of the camera, and of editing, and of a less literal kind of storytelling. "Wings" is probably much easier to watch for most people--that's the idea. But "Sunrise" is far more engaging and complex, begging you to watch it twice. I doubt anyone needs to see "Wings" a second time.

But then, I have to admit the acting makes more sense in this film. The naturalism of the three leads helps you get emotionally involved. The most famous by far is the woman, Paramount's biggest star, Clara Bow. She doesn't get a huge role (the men do the fighting and flying) but at least when she's there she's a treat. The flying is actually done by the actors, and many of the people involved were veterans (including Wellman, who was a WWI pilot himself).

It's pretty exciting to find this so exciting all these years later. Give it a look. It's been restored really well (there's even a new Blu-Ray release). And it looks great. Don't expect anything new from the story or the filmmaking, but just expect a really well made high drama affair.

For a feeling of what the silents were really like, look for the version of this film with Gaylord Carter performing the score on a Wurlitzer Theater Organ. Carter recorded this version in the 1980's when he was in his 80's. Amazing performance - basically 120 minutes of live, somewhat improvised music with establihed themes for each character. Incidental music was improvised live combining themes from the various characters.

Carter was one of the last musicians that performed during the silent era. Very few musicians understand how difficult this art form was, and Gaylor was one of the best. Each showing of the film was an original, never before heard version due to the improvisational nature of the music. The stamina required to play live music, on 3, 4 or even 5 keyboards with a pedal board and dozens of stops, thousands of pipes for over two hours cannot be overstated. Especially when one of these performers were expected to do so 3 or more times a day!

Orchestras are all well and good, but few theaters could afford them - Wurlitzer (and a few other companies) sold 40,000 instruments to theaters world wide during the 20's, and chances are, 90% of screenings of this film were accompanied by a theater organ.