A Patrulha da Madrugada

This fine movie directed by Howard Hawks is more potent for its absolutely dazzling aerial photography and filming, one of the best I've ever seen - much better than the eighties Top Gun. First, let me say the late twenties to late thirties was the height of what is known as the Aviator movie. Many hits were scored using this genre including this one which was a blockbuster in 1930. The thirties aviator movies in their flight sequences have a certain feeling to them. They are so realistic in look, and this is achieved without music being used, but just the whirring of the engines gaggling, give it a prescient omniprescence that advances in movie technology, Digital imagery and CGI can't duplicate. I mean, any of the thirties aviator pictures sparkle in their flight segments. It must be the way they were shot. I wonder what technique was used. The story for this movie which won an Oscar was written by John Monk Saunders who obviously knew the genre well. He also wrote Wings, the first Academy award winner, Legion of the Condemned, an even bigger hit than Wings with Gary Cooper, Devil Dogs of the Air and West Point of the Air. The leads are Richard Barthelmess and Doug Fairbanks jr. Barthelmess gives the real performance here while Fairbanks gives the movie star performance. They are involved in WWI and are ace pilots and best of friends. The film has a pandemic tone and regurgitating pace that feeds the ennui of war. Like the pilots of Top Gun, they tend to go against orders given by their boss, silent screen leading man, Neil Hamilton who has the tough job of sending men on their missions, missions in which lives will surely be lost. He doesn't like it but he has to follow orders. That is the theme of the movie, obeying and serving your job because it is necessary. Life is hard and fulfilling your function/role against all odds is rote. Tough choices have to be made for the greater good. Cliche but true. That is the irony of war and when one falls, another must takes his place. Barthelmess eventually takes Hamilton's job and in his shoes feels the pressures the man felt and the toughness of following necessary orders. It is not an anti-war movie, more than it is a WAR IS HELL! but heaven is only one more day of hell away. Slow because of early talkie cameras which needed absolute silence to be recorded and were static without any movement, but sets are highly believable and bombing raids uncharacteristically realistic. Dialogue though is a bit pedestrian with certain heavy-handed moments, in today's glare, and performances not up to par in certain areas but overall, a fine movie.

In France for World War I service, British pilots Richard Barthelmess (as Dick Courtney) and Douglas Fairbanks Jr. (as Doug "Scotty" Scott) clash with commander Neil Hamilton (as Drake Brand) over his decisions to send young fliers out on suicide missions in rickety planes. But, with the Germans active nearby, Mr. Hamilton has limited options. Taking the lead, Mr. Barthelmess decides to go over Hamilton's head, completing a dangerous mission with Mr. Fairbanks co-piloting. Hamilton threatens to have him court-martialed, but a worse fate awaits Barthelmess - he is promoted to commander of the "Flight Squadron"...

Now in charge, Barthelmess must order young fliers out on suicide missions in rickety planes. Responding to his own superiors, Barthelmess includes his pal's bright-eyed young brother William Janney (as Gordon "Donny" Scott) on "The Dawn Patrol" - although it could lead to tragedy. To ease war pain, the men drink. There are few surprises in this story, which illustrates the inevitable. A little theatrical by today's standards, Barthelmess and the men perform exceptionally well. The command post scenes are vivid and the aviation exciting, with director Howard Hawks performing double duty as the dreaded "Von Richter".

******* The Dawn Patrol (7/10/30) Howard Hawks ~ Richard Barthelmess, Douglas Fairbanks Jr., Neil Hamilton, William Janney

This is an early talkie starring Richard Barthelmess as Dick Courtney and Douglas Fairbanks Jr. as Doug Scott, a couple of World War I aces and the best of friends, at least at the beginning of the film. Neil Hamilton (police commissioner Gordon in the 60's Batman TV series) is Major Brand, in charge of handing out commands and assignments among his group of fliers. One day Courtney and Scott pull off a daring air raid that they have been ordered not to do by Brand. When they return, their success causes Brand to be promoted just as he is about to punish Courtney, and now Barthelmess' Dick Courtney is named as replacement and the new commander of the unit.

Now instead of risking death himself, Courtney is the one ordering others into harm's way, and it is cracking him up as he turns more and more to drink. However, he still has Scott's friendship until a new recruit arrives and is ordered into a fatal battle. Now it is Scott who not only has no use for Courtney, but no use for life itself, and it is up to Courtney to make sure that Scott doesn't throw his life away.

This film, like many early talkies, is long on talk but short on the kind of aerial action you'd probably expect in a film about World War I fliers. Only towards the last third of the film do you see much in the way of dogfights. The focus is mainly on the fliers themselves and the futility of war. Barthelmess gives a great and poignant performance as Dick Courtney, and he lasted longer in talking pictures than most silent film actors due to his great skill. Also remember that most of the films made about World War I during this time were essentially anti-war films. By the beginning of the depression, WWI seemed a wasted effort in both money and manpower, and these early talking picture war films reflected that attitude.

The version of this film starring Errol Flynn is what most people remember. It's too bad this version didn't at least rate as an extra feature on that DVD. It makes for an interesting comparison.

This is what film-making is all about! The Vitaphone audio recording process challenges itself almost continuously in this early talkie. You aurally count the number of planes coming in (off-camera) while watching the reaction of the principals inside the office. You even get the correct fidelity of the wind-up gramophone as characters talk over it. Meanwhile, you watch aerial dogfights that switch seamlessly from soundstage re-creations to actual footage made by a camera mounted at the front of an aeroplane, without any jarring sense of displacement. The melodrama remains palpable with very little over-acting. I'm taking one point off for that occasional over-acting, and for the really dumb use of Southern California semi-desert topography in which the planes take off and land. It wouldn't have been that hard to find a location with a few more trees and more grass. Oh, well. The movie still must have knocked the original audiences' socks off.

It's a World War One British flying base. Neil Hamilton is the commander, with Douglas Fairbanks Jr. And Richard Barthelmess his leading pilots. He spends most of his time arguing with headquarters that he can't send the pilots just graduated from flight school up against the German aces.... and accedes. Then he is promoted, and Fairbanks takes his place. He also spends his time arguing that he can't send raw pilots against the German aces and accedes. Even when his kid brother William Janney shows up, full of himself, he's got no choice.

Howard Hawks' movie, based on a story by John Monk Saunders, spends the first third as a stage play, with the pilots in the bar just outside of Hamilton's office. DP Ernest Haller works miracles with angle changes, but they don't disguise the stage play, with everyone overacting a bit.... until the camera moves outside, to the fields and up in the air. Hawks was a war pilot and he knows what looks right and exciting These sequences make this into an exciting movie.... and then it's back to a stage play. Still, those sequences make this a fine movie for 1930, even with the muddy print that shows up on Turner Classic Movies.