The Lost Squadron

Man, he is evil in this. And he really wants you to know that. He plays a film director who directs WWI scenes where he demands such realism that people are regularly killed on set. If you are injured, he wants to hear you screaming, and these were silent movies! If you are supposed to be dead, you'd better not move or he'll probably kill you.

That aspect of the movie is overdone, although interesting for fans of movies about moviemaking. But where the movie really shines is in its opening sequence when a group of soldiers literally clock out of WWI and head back to the States, only to find their business partners have swindled 'em, their girls have cheated on 'em, and there ain't no jobs to be had. So, it's Hobo City, until they make it to Hollywood and the lives of stunt pilots.

I thought Richard Dix was good in this, Joel McCrea seems a little wimpy. The whole last 20 minutes are pretty bad with the "good guys" showing such poor judgment and idiocy that the ending is sheer nihilism.

Definitely worth a view though and watch for the middle finger!

By now, everyone knows that this film is significant to anyone writing a dissertation on obscenity in popular culture because of the flipping of the bird. However, this is not the film's only claim to modernity. The collaboration of many skilled film makers at the beginning of the talkie era, it has several imaginatively crafted scenes, with one (you will know which one I mean) being positively Jarmuschesque. The sound track in particular is brilliant. I can't get the song of the wind out of my head.

Plus, if you love Erich von Stroheim, and who doesn't, his character is based on him, or his reputation. Of course you love von Stroheim, who doesn't love Max from Sunset Boulevard? Here, he gets to show his directorial style, while giving the sort of all out performance he was trying to get out of his actors. If you like this, try "The Great Flamarion".

I am not surprised to read that the ending was re-shot. My husband and I were both mystified the first time we saw it. Some of the plot is hackneyed, but the acting and production values transcend.

You should probably know that I love airplane films--particularly one with vintage planes. So, I have a bias towards this sort of film and some may NOT be excited in seeing the biplanes flying about during the movie (even though many are post-WWI planes when they are supposed to be WWI aircraft).

Richard Dix, Robert Armstrong and Joel McCrea play three buddies who served in the Air Corps during the war. However, now that about a decade has passed, they are forced to make a living working stunt flying for a sadistic film director (Eric Von Stroheim). Eventually, just how evil the director is and the depths of his evil come to light and this leads to a dandy, though grisly, conclusion.

Interestingly, of the three pilots, the least famous and important was McCrea, as he was not yet an established star. The other two (Dix and Armstrong) were big names, though only a short time later they were relegated to "has-been" status. All did a decent job and the film, though a bit tough to believe, was entertaining and was more than just a time-passer.

Lost Squadron, The (1932)

*** (out of 4)

When WW1 comes to an end, three pilots (Richard Dix, Robert Armstrong, Joel McCrea) find themselves on hard times but they wind up in Hollywood where they work as stunt fliers for a sadistic director (Erich von Stroheim). Problems come up when the director learns that his wife (Mary Astor) had a flame with Dix. When people think of weird movies from 1932 it's usually FREAKS that pops up in the mind but that Browning film has absolutely nothing on this movie. I don't want to react too strongly and call this the weirdest movie I've ever seen but it's certainly one of the most shocking. This movie starts out as a rather light-hearted comedy but quickly it changes pace as murder, suicide and abuse comes into play and in the end we're left with an incredibly dark tragedy. I'm really not sure what the screenwriters or producer David O. Selznick were thinking but they've left a rather bizarre final product for film buffs to enjoy. No matter what half is your favorite I think the film manages to remain very entertaining thanks in large part to the terrific cast. Dix is certainly strong enough as the lead and he manages to turn in a good performance. Armstrong is probably the weakest as the screenplay pretty much makes him play a drunk, which is something he did way too many times. His comic timing as the drunk is alright but at times it feels out of place. McCrea has the smallest of the three pilot roles but he manages to be entertaining as is Astor who is a major part of the film but then her character disappears during the finale for some reason. The stuff with von Stroheim is rather interesting because people obviously know about the sadistic director aspect of his reputation and that's on full display here. As an actor he turns in a very good performance and it's fun to see him "going mad" as you can't help but wonder if that's how he really directed his own pictures. The screenplay throws a couple rather mean spirited gags at him including a minor subplot about him being called away from the set due to his wife being injured, which is something that happened to him in real life. The aerial flights are all rather amazing to watch as the stunt work is quite effective but at the same time the twist in the story is a little disturbing as there were many, many stunt pilots who were killed during this era so seeing that plot in the film was a tad bit hard to take as entertainment. Again, I'm not sure why the film took such a dark and twisted turn but it certainly made for an interesting film. This certainly isn't a classic but the film has such a great cast and bizarre story that most will find themselves entertained.

Never forgetting THE LOST SQUADRON of the Great War days, three former flying aces stick together and become Hollywood stunt pilots.

RKO produced this little Pre-Code adventure drama--now nearly forgotten--and filled it with good acting and fine production values. The aerial scenes are exciting and the story keeps the viewer's interest right to the end. Important names from Hollywood's future loaned their talents behind the camera, with David O. Selznick as executive producer, additional dialogue by Herman J. Mankiewiez and the score composed by Max Steiner.

Refreshingly, the four buddies in this film (the three pilots and their mechanic sergeant) remain so through every difficulty, sparing the audience from much unnecessary screen angst, anger & animosity. These are indeed friends forever.

As leader of the group, firm-jawed Richard Dix adds another fine performance to his portrait gallery. Decent, charismatic & implacably faithful to his buddies, Dix makes a good hero, even if his final act goes perhaps a step too far. Not quite yet a major star, Joel McCrea plays his character as impetuous and romantic. Robert Armstrong, his adventures with KONG still a year away, is the alcoholic pilot who takes too many risks. Rounding out the quartet is the whimsical Hugh Herbert, his gentle, quirky humor a nice balance to the film's serious tone.

Beautiful Mary Astor lends elegance to the role of the movie actress who rejects love to advance her career. Dorothy Jordan plays Armstrong's lively sister, a real pal to the pilots.

In a wonderful piece of casting, the legendary Erich von Stroheim portrays the vile film director employing the pilots. Obviously playing a parody of himself, von Stroheim seems to relish the villainous role, strutting about like a slightly maniacal martinet, consumed with jealousy & rage, inflicting pain both psychic & physical on those under his control. His eventual fate is deliciously deserved.