Parece el perfil de una comedia romántica, pero el peso de lo funesto no cede el lugar. El filme de Hawks apunta a un tema trágico, a consecuencia de una pasión desenfrenada por la aviación desenvuelta en una inmediación precaria, y que además arrastra a sus agentes a un cinismo e insensibilidad ante su conciencia de un futuro incierto. Frente a esto, hay una necesidad por frustrar cualquier momento romántico.
one of those movies that's saved completely by the last 15 minutes, otherwise cary grant is wasted as a boring chauvanist while jean arthur and rita hayworth are sidelined too much to do anything compelling. great flying scenes though and some great lines towards the end
A multi-layered, genre-blending film. From its action and romance to the psychology of its characters and questions of family, friendship and loyalty - this is a film that flirts with so many things it's almost puzzling the whole thing works at all. An essential Hawks masterpiece.
flawless. a realists view of death as not only an inevitability but a fact against which people struggle daily. Jean Arthur at first entirely dismayed by the manner in which this band of outsiders handles loss, comes to understand through necessity and a particular bravado do these men handle death with light, though still somber, jocularity. the woes and glories of camaraderie illuminated.
A film that positively fizzes from the start - something around the theatrical intensity of the extended scenes and the real spark between all the characters - it's a real ensemble piece with wonderfully subtle pieces of characterisation and fleeting non-verbal moments between characters. Genuine sophisticated drama punctuated by laugh-out-loud moments so you can easily forgive some of the iffy gender politics.
Straight from the off Hawks creates a totally believable universe that's sustained throughout the movie. It might have all been shot in a Californian studio - for all I know - but the lush black and white photography creates a landscape / environment that's superbly realised and gorgeous to look at. So many beautiful moments in this film. And so many plot expectations overturned.
I still can't make up my mind about this. On the one hand, the specter of death makes some moments of Hawks' wit and levity seem too superficially Hollywood to land right. On the other hand, this disconnect can be read as a kind of brilliant, grim nihilism. It's also worth mentioning that the 'hysterical women who must sublate their emotions in a world of macho bromance' narrative is frustrating
I know there are a lot of rave reviews about the perfection of this film, and it is visually magnificent in places, and dramatically taut just about everywhere. But I can't get along with the sexual politics. It's of it's time, I know, but I can't gloss over the whole 'shaking a crying woman by the shoulders because any display of emotion is mere feminine hysteria'. Unhealthy relationships romanticised.