"An exciting, thrilling dramatic picture on the utter waste of war. It is
magnificently written, directed and acted and packs a tremendous wallop."
Hollywood Reporter, December 24, 1938
"The Dawn Patrol will bring Errol Flynn and Basil Rathbone
more laurels for their splendid portrayals." Evening
Vanguard (Venice, California), December 14, 1938
Dawn Patrol
Strong and stirring film of life and death with the British air force in
France during the World War, produced with skill, uncompromising realism and
emphasis on the futility of wartime human sacrifice.
Back in 1930 the first Dawn Patrol, with Richard Barthelmess and Douglas
Fairbanks Jr. topping the cast, jumped well up among the best films of that
year. his new version, the same in story but up-to-the-minute in technical
production, has the same action excitement, the same emotional bite the same
courageous refusal to admit no only a romance but even a single feminine
featured player. It will undoubtedly be received with the same enthusiasm by
a myriad audience . But that enthusiasm will have a different tone, will
stem from a new perspective. That 1930 Dawn Patrol had optimistic overtones,
hearkened back to the war to end all wars and as such, though bitter and
tragic, stimulated an almost nostalgic attitude. This 1938 Dawn Patrol
strikes with the force of prophecy of what at any moment might be again. And
that constant reminder adds strength to its emotional impact.
The plot presents simply a British flying squadron short of men, forced
to send in experienced recruits into battle and on dangerous missionslosing
men, replacing men, losing men. The story concentrates alternately upon
excitement in the air and the nervous tension of the men waiting for death.
Basil Rathbone's portrait of the first commander sending young men out to
certain tragedy is a fine and memorable achievement. Errol Flynn as the
ace who hates the commander then becomes a commander himself is good in the
action sequences but outclassed by his comrades when the script calls for
emotion. David Niven as the happy-go-lucky young pilot who never feels the
bitter futility of war until his brother is shot down is brilliantly
effective. Donald Crisp as the adjutant, quietly efficient in his duties but
feeling their tragedy implicitly is invaluable in building the mood.
The aerial scenes are gripping, magnificently photographed, rising to
terrific suspense when the second commander works out his tortured destiny with a
suicide raid on a German munitions center. The direction has definite
rhythm, driving steadily ahead and keeping the personal relationships in the
forefront. Dawn Patrol is a strong version of a tested story, the Journey's
End of the air.
The Movies and the People
Who Make Them, January - March 1939
"A thrilling war-time aviation melodrama. First produced by Warners in
1930, the story has lost none of its exciting quality. The marvelous
stunt-flying, the scenes showing combat between the German and British
aviators, the bombing of an aerodrome and later of a railroad depot and of
supply stations, are portrayed so realistically that they thrill one and
hold one in tense suspense. ... It has human appeal, awakened by the
friendship between the hero and his pal, and by the sympathy one feels for
the men who go to their death with a smile." Harrison's Reports, December
31, 1938
"A stirring and moving picture of life in the English flying forces in
France in the Great War. The emphasis is put strongly on the uselessness of
such human sacrifice as the film shows." The
National Board of Review of Motion Pictures, 1939
Brand is wracked with guilt.
Phipps and Brand count the planes returning.
"Exciting and dramatic argument against war. ... Errol Flynn had the stiffest kind of competition to keep in front of
Basil Rathbone and David Niven, who turn in brilliant performances." Andrew
R. Kelly, The Washington Times, December 20, 1938
"It is tense drama of brilliant, high-strung men, whose exploits in the
sky hold one spellbound by their skill and daring and flair for perilous
adventure. But there is also the somber side which comes very near to us now
that thunderheads of war again threaten the world, the appalling tragedy and
futile waste, the heart-rending sacrifice of youth because it is ordained by
'criminal idiots who sit around a table' and plan to remake the map. ...
Every actor in the film seems to live his part." Motion
Picture Reviews, January 1939
The Dawn Patrol
A powerful, red-corpuscled drama has been concocted by the
Warner Bros. as its contribution to the aviation cycle. It comes along as a
timely, gripping preachment against the futility of war. But Dawn Patrol
will zoom to excellent box-office returns simply on its entertainment merits
and the manner in which Errol Flynn, David Niven and Donald Crisp live up to
their vital acting assignments.
Some may question the lack of love interest as a detriment, yet this
void is partially covered by the friendships developed by the aviators in
the specific squadron about which the action revolves. But in this and in
the sad ending, producers have kept to realism at the sacrifice of a
sugar-coated, implausible termination.
Dawn Patrol sparkles because of vigorous performances of the
entire cast and Edmund Goulding's sharp direction. Story is reminiscent of
previous yarns about the flying service at the front during the world war.
Yet it is different in that it stresses the unreasonableness of the "brass
hats"the commanders seated miles from the
front who dispatched the 59th Squadron to certain death in carrying out
combat assignments.
Picture emphasizes the routine of the "dawn patrol," as day after day new
replacements, each time consisting of younger men, come up to take the place
of those killed in action. It finger-points at war as "a great big, stupid
game." Rottenness of obeying official orders no matter what the risk, or how
youthful and inexperienced the recruits, is developed by showing the death
of a flight commander's brother and finally the squadron's chief as he takes
the place of his best pal.
Scope of operations at a spot in France is shown from the tuning up of
the rattly "crates" given the Royal Flying Corps to actual sky maneuvers,
power dives and, as a climax, the bombing of a munitions dump at a strategic
spot back of the enemy's front. Fine production values lend authenticity to
the whole film. ...
Basil Rathbone is superb as the aviator who suffers inwardly the loss of
every man while he is forced to remain in command on the ground.
Variety, December 14, 1938
"Artistically and technically, the picture is all that could
be desired. ... An intensely moving, gripping story." Vance
King,
Motion Picture Daily, December 15, 1938
"Good ... Thrilling and striking demonstration of aerial warfare ...
Sincere and effective ... When Donald Crisp makes his plea against war, he's
so magnificent that he'll tear your heart out." William Boehnel, New York
World-Telegram,
December 24, 1938
"The film is packed with thrills, yet is a stinging preachment against
war. ... Rathbone, as the nerve-ridden commander, and Donald Crisp as the
level-headed aide, are stalwarts in the supporting cast." Los Angeles Herald Examiner, December 19, 1938
Courtney accuses Brand of being a butcher.
Brand greets Phipps upon his return.
"Done excellently, ... it is a plea for better planes and longer
training for our boys who go in the air to fight and fall to the earth to
die." Hollywood Spectator, December 24, 1938
"It remains such a staunch and uncompromising study of men constantly
face to face with death that it is an exciting and terrifying show in its
own right. The staging of Edmund Goulding is enormously effective and the
performances never fail to point up the futile gallantry and tragedy of
the theme." Howard Barnes,
New York Herald Tribune, December 24,
1938
"Basil Rathbone's performance of the squadron commander, torn between
demands of duty and pangs of conscience, is the skillfully shaded
delineation that one would expect of Rathbone." National Box Office Digest, December 20, 1938
War Aviation
The 1938 version of Dawn Patrol has a proud tradition to uphold. The
first Dawn Patrol released in 1930, based on a story conceived by John Monk
Saunders, transcribed into screen play form by Seton I. Miller and Dan Totheroh, made screen history. Its memory is not yet dimmed. The present
production, starring Errol Flynn, featuring Basil Rathbone, David Niven,
Donald Crisp, Melville E. Cooper and a host of lesser known players, does
not tarnish that memory.
Today's Dawn Patrol is second to no aviation picture in entertainment
commercial merit. It is equally as good as any war story. Devoid of any
romance other than that which concerns flying soldiers who live robustly and
die heroically, it endows the "Men Without Women" premise with a new
glamorous appeal.
In character Dawn Patrol is gruesome, but it is that gruesomeness that
hits human emotions with powerful impact. Under the skillful direction of
Edmund Goulding, made vividly real by the expert work of the featured and
support players, the picture makes no concessions to anything that might
suggest that war is a glorious adventure.
The plot is simple. Dangerous mission are the lot of a British aviation
squadron patrolling World War front lines. Its major, "Brand," hates his
duty that forces him to send raw recruits out with "Courtney" and "Scott,"
veterans who always return as the replacements are shot down. He accepts his
assignment to another post with joy, ironically sympathizes with "Courtney,"
the ace, who succeeds him. That horror that was "Brand's" is forcefully
brought home to "Courtney" when he must send other youths out to death. It
kills his spirit almost when he has to send his pal "Scott's" inexperienced
brother on a patrol from which he does not return. His patrol ordered to
destroy an enemy troop concentration point, rail head and ammunition dump,
"Courtney," drinking "Scott" into drunkenness, takes the solo job himself.
In a spectacular episode, one of many sensational incidents shown, he
completes the mission. When he does not return the duty of sending other
fledgling flyers out to death falls upon "Scott."
The showmanship of Dawn Patrol is simply that which accrues to any great
war aviation story of dangerous personal adventure that features players of
the repute of those here presented.
Previewed December 12th at the Warner Hollywood theatre. Audience
reaction was enthusiastic with the spellbound interest of those in gallery
presaging the condition likely to prevail wherever and whenever the picture
is shown.
Gus McCarthy, Motion
Picture Herald, December 17, 1938
"The air sequences are up to the best Hollywood level, the bombing effects
(though doubtless all achieved with miniatures) are tremendously impressive,
and the acting is magnificent throughout. Basil Rathbone, as the first O.
C., suggests tortured nerves without hysteria. ... Altogether a most moving
picture, made with a rare skill and integrity." George
Campbell, The Bystander, March 1, 1939
"Rathbone gave one of the best performances of his motion picture
career in this remake of Howard Hawks's World War I classic." Michael
B. Druxman, Basil Rathbone: His Life and His Films, 1975
"Errol Flynn does an especially good job, while David Niven runs such a
close second, but in a lighter, gayer vein, that it is almost impossible
to divide the honors. Basil Rathbone and Donald Crisp lend brilliant
support." Los Angeles Evening
Herald and Express, December 13, 1938
Candid photos taken on the set of The Dawn Patrol
Flynn and Rathbone
Donald Crisp, Rathbone, Errol Flynn, David Niven
Basil and Rodion Rathbone
The set of The Dawn Patrol
Rathbone and Flynn
Rathbone and Flynn
Basil Rathbone and
Rodion Rathbone
Basil Rathbone taking home movies
Rodion and Basil Rathbone
On the set of The Dawn Patrol
Several of the actors (but not Basil) waiting to
shoot the next scene.
Director Edmund Goulding talks with Errol Flynn and Basil
Rathbone.
During a Hollywood visit, Sir Hubert and Lady Wilkins chatted with
Basil Rathbone, Errol Flynn and Director Edmund Goulding on the
set of The Dawn Patrol.
Images on this page and pages 1 and 3 are from the film "The Dawn
Patrol," copyright Warner Bros. Films.
