In hard times just after World War I, three ex-fighter pilots manage to land jobs as Hollywood stunt fliers working for dictatorial director Von Furst.In hard times just after World War I, three ex-fighter pilots manage to land jobs as Hollywood stunt fliers working for dictatorial director Von Furst.In hard times just after World War I, three ex-fighter pilots manage to land jobs as Hollywood stunt fliers working for dictatorial director Von Furst.
- Awards
- 2 wins total
William B. Davidson
- Lelewer
- (as William Davidson)
Frank Clarke
- Flier
- (uncredited)
Thomas A. Curran
- Night Watchman
- (uncredited)
Edgar Dearing
- Policeman Wanting Report
- (uncredited)
Art Goebel
- Flier
- (uncredited)
Dick Grace
- Flier
- (uncredited)
Arnold Gray
- Tall Actor in War Film
- (uncredited)
Freeman Lang
- Freeman Lang - Radio Announcer
- (uncredited)
Featured reviews
A rather different relic from the early sound era. The in vogue at the time fixation on "aeroplanes" was a justifiable wonder of the modern age. Also, the plight of the returning WWI soldiers was still very fresh in the public consciousness and this makes honorable use of the shortcomings of the soldiers homecomings.
This one goes quickly from the end of the war to the behind the scenes making of Moving Pictures circa 1920 Hollywood and that makes it of interest to film buffs (and flight freaks). Add in a bonus of Von Stroheim playing pretty much a take on his own eccentricities of a real life troubled Director.
It is a well mounted film with an interesting cast although Robert Armstrong's irritating drunk shows why, accept for King Kong the next year he will be forever mostly forgotten. But it is Stroheim, the on the set realism, the flying acrobatic special effects, and the dark ending that makes this an in interesting inclusion that has been parked in the Odd Cinema Hanger, and is only brought out once in awhile to be looked at like a Smithsonian.
This one goes quickly from the end of the war to the behind the scenes making of Moving Pictures circa 1920 Hollywood and that makes it of interest to film buffs (and flight freaks). Add in a bonus of Von Stroheim playing pretty much a take on his own eccentricities of a real life troubled Director.
It is a well mounted film with an interesting cast although Robert Armstrong's irritating drunk shows why, accept for King Kong the next year he will be forever mostly forgotten. But it is Stroheim, the on the set realism, the flying acrobatic special effects, and the dark ending that makes this an in interesting inclusion that has been parked in the Odd Cinema Hanger, and is only brought out once in awhile to be looked at like a Smithsonian.
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.
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.
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.
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.
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.
*** (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.
I found this pre-code movie a tad predictable but still enjoyable on several levels. I thought the behind-the-scenes look at the making of a World War I movie in 1930's Hollywood were quite fascinating. Erich Von Stroheim's autocratic director was both menacing and acerbically funny at the same time, although bordering on the campy. Richard Dix as 'Gibby' was only adequate as the central character, but Joel McCrea's naturalism shone through as 'Red'. I found it interesting too, that one of the central themes of this movie was the inadequacy the flyers suffered in civilian life, becoming tramps before riding the rails to Hollywood. They were trained to fly in war, and they end up flying in war movies...the difficulty of adjusting to peacetime was an issue not touched upon much in Hollywood until "The Best Years of Our Lives", almost 15 years later. Finally, to the delight of those of us who love pre-code movies, we are treated to Robert Armstrong giving Dix the bird as Dix tries to coax Armstrong into landing his sabotaged plane!
Did you know
- TriviaAs Richard Dix tries to wave down Robert Armstrong following the plane's sabotage by Von Stroheim, during the back and forth banter Armstrong's character clearly flips his middle finger or "the bird" to Dix, and with a smile on his face.
- GoofsAt the start, during the aerial dog fight, the front aiming machine guns fire too quickly for the bullets to pass through the propellers.
- Quotes
Lt. Woody Kerwood: Well, if I'm gonna fall apart, I'd rather do it stewed than sober.
[laughs]
Lt. Woody Kerwood: It doesn't hurt as much, huh?
- ConnectionsEdited into Histoire(s) du cinéma: Une vague nouvelle (1999)
- SoundtracksOver There
(1917) (uncredited)
Music by George M. Cohan
Strains played during the opening credits
Also played more fully as background music
Details
- Release date
- Country of origin
- Languages
- Also known as
- Son Tayyareciler
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $621,000 (estimated)
- Runtime1 hour 19 minutes
- Color
- Aspect ratio
- 1.19 : 1
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