The Dawn Patrol

Having a fondness for a lot of Howard Hawks' films, there was an interest in seeing one of his earliest efforts (his ninth film in fact and his first talkie). 'The Dawn Patrol' is not one of Hawks' best and there is a preference for the 1938 film with Errol Flynn, despite there being the argument of it being pointless it did feel more polished, more natural and every bit as emotional.

1930's 'The Dawn Patrol' does suffer a little from limitations caused in the transition from silent to talkie. The sound quality is primitive and very static, a music score would have helped hugely with providing even more impact and most likely masking this issue. The script can come over as creaky and artificial, and the pacing also has its creaky moments and lacks tautness.

On the other hand, Hawks directs adroitly, and the photography and scenery have a grittiness and luminous quality at all. The flying sequences still come over as remarkably powerful and rousing today, and most of the script is thoughtful and gripping, heavy-handedness wasn't too big an issue here.

'The Dawn Patrol' has a compelling story, perfectly conveying the futility and passion of war, the comrades' horrors and conflicts and showing grace even under pressure.

Characters are not stereotypes in any way, instead compellingly real characters with human and relatable conflicts. The acting is remarkably good for such an early talkie, of course there is some theatricality which to me wasn't that grave a problem. Can find nothing to fault Richard Barthelmess, Douglas Fairbanks Jnr or Neil Hamilton, who all perform with authority and poignancy.

Overall, a good film if not the greatest air epic. 7/10 Bethany Cox

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.

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 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.

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.