This movie makes much more sense when you put it in the context of early talkie World War I flying movies like Hawks' Today We Live or The Dawn Patrol or
Dieterle's The Last Flight (starring, not coincidentally, Richard Barthelmess). By 1939, with another war looming, audiences were long since sick of such tales, but by resetting the tale at a South American airport (where Cary Grant runs a mail service which is in danger of losing its contract), it was just barely possible to come up with a credible situation where Grant could again order his flyers to their deaths, and where death would be greeted with the callousness that
comes from knowing you're probably next and your best friend will eat your
steak for you. The reviewers who say Grant doesn't play it serious enough here are exactly missing the point-- his seemingly breezy, actually brittle facade IS the Lost Generation attitude, straight out of The Sun Also Rises.
This is one of the great tough romances, whose real romance is with death itself, which needless to say makes it several steps darker than Hawks' superficially similar To Have and Have Not, let alone Rio Bravo (which reproduces its main
characters almost exactly-- Grant as John Wayne, Arthur/Angie Dickinson as the woman trying to get into the boy's club, Barthelmess/Dean Martin as the guy
with a guilty past of failure, and Mitchell as the guy who age is catching up with/ Walter Brennan, old age fully caught up). In gleaming black and white on the DVD, the foggy, fake studio set and the silver skies might be the dreams of a pilot in the instant before his crash. Too grim a bite of caviar for the general, perhaps, but a testament for a generation that saw more than it could put on film, and one of the greatest works of art to sneak out of the studio system under
disguise of glamorous entertainment.
Dieterle's The Last Flight (starring, not coincidentally, Richard Barthelmess). By 1939, with another war looming, audiences were long since sick of such tales, but by resetting the tale at a South American airport (where Cary Grant runs a mail service which is in danger of losing its contract), it was just barely possible to come up with a credible situation where Grant could again order his flyers to their deaths, and where death would be greeted with the callousness that
comes from knowing you're probably next and your best friend will eat your
steak for you. The reviewers who say Grant doesn't play it serious enough here are exactly missing the point-- his seemingly breezy, actually brittle facade IS the Lost Generation attitude, straight out of The Sun Also Rises.
This is one of the great tough romances, whose real romance is with death itself, which needless to say makes it several steps darker than Hawks' superficially similar To Have and Have Not, let alone Rio Bravo (which reproduces its main
characters almost exactly-- Grant as John Wayne, Arthur/Angie Dickinson as the woman trying to get into the boy's club, Barthelmess/Dean Martin as the guy
with a guilty past of failure, and Mitchell as the guy who age is catching up with/ Walter Brennan, old age fully caught up). In gleaming black and white on the DVD, the foggy, fake studio set and the silver skies might be the dreams of a pilot in the instant before his crash. Too grim a bite of caviar for the general, perhaps, but a testament for a generation that saw more than it could put on film, and one of the greatest works of art to sneak out of the studio system under
disguise of glamorous entertainment.