The Lost Squadron (1932) User Reviews

The film is unusual enough to make it worth a look

[planktonrules · 7/10 · 21 September 2007]

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.

Erich Von Stro-Ham

[LynxMatthews · 6/10 · 12 April 2004]

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!

Stunt work is almost as real as war.

[michaelRokeefe · 6/10 · 15 August 2006]

A very good movie representing the early 30's. George Archainbaud directs this excellent drama depicting an autocratic film director Arthur von Furst(Erich von Stroheim), who hires three former World War I flying aces to fly stunts in a Hollywood war movie. The aces, Capt. 'Gibby' Gibson(Richard Dix), Lt. 'Woody' Curwood(Robert Armstrong) and Red(Joel McCrea)are astounded by the fact that the director has them flying maneuvers as dangerous as if they were still in battle. For a little feminine charm there is Dorothy Jordan as Curwood's little sister; and then there is the movie star Follette Marsh played by Mary Astor. Wanting realism, the director has planes rigged to crash. There is romance, infidelity and murder involved along with the stunning aerial sequences. Other players include: Hugh Herbert, Ralph Ince and William B. Davidson.

Astor gives a certain touch of class to the film. Dix and Armstrong every bit the matinée idols. And von Stroheim superb as the overbearing movie director.

Pre-code warbirds

[rsyung · 10 June 2002]

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!

a gritty pre-code action thriller

[kidboots · 7/10 · 19 March 2009]

This is a gritty pre-code adventure/thriller that just happened to be on TV last week at 1.30 in the morning!! It has a similar theme to another film "Lucky Devils" made in 1933.

Dorothy Jordan was a very pretty ingenue who was kept extremely busy until her retirement in 1933 when she married Merian C. Cooper. Apparently she was about to be cast in "Flying Down to Rio" (1933) as Honey Hale but backed out to go on her honeymoon. The role went to Ginger Rogers. Dorothy plays "Pest" Curwood, kid sister of Woody (Robert Armstrong) one of a group of friends who were flying aces during the war.

This gritty film shows how shamefully returned soldiers were really treated. They return to find things have changed. "Red" (Joel McCrea) returns to find his place of employment in the middle of re-trenchments. The war has made "Red" restless and he chooses to travel rather than go back to his old job. Woody is also restless but finds while he was away "on important business in France" his former business partner has swindled the company. Gibby (Richard Dix) returns to find his ambitious girlfriend, Follette (Mary Astor) has left him for a richer man.

Years later "Red", Gibby and Fritz (Hugh Herbert) down on their luck, find themselves in Hollywood, hoping to catch up with Woody. Woody is the chief aerial stunt man in "Sky Heroes" which is having it's Hollywood premiere. The star is none other than Follette, who is married to the director Von Furst (Erich Von Stroheim in another intense performance) - a "terrible fathead" according to Woody. He persuades his mates to go to work as aerial stuntmen. Von Furst is a tyrannical director who rules his crew and his wife with an iron fist!!! Follette believes Von Furst (because of his insane jealousy) will tamper with Gibby's plane. He actually puts acid on the control wires - but Woody is the one flying it, to pay back a favour Gibby did him, when he was too drunk to fly.

From an action packed aviation adventure it turns into a tight psychological thriller. The last 10 minutes takes place at night in a disused hanger. Richard Dix is heroic and manly, Robert Armstrong gives another great character performance and Joel McCrea was an up and coming new talent. For all her top billing Mary Astor didn't have much to do.

Recommended.

Where love of heroics should not be confused with heroic love.

[RJBurke1942 · 7/10 · 4 October 2012]

This film is an entertaining and well-produced drama about the lingering effects of war, about lost love and betrayal, and about self-sacrifice. Nineteen-thirty-two was the year before Robert Armstrong went on to bigger things with King Kong (1933), and nine years before Mary Astor played the role of femme fatale again in The Maltese Falcon (1941).

Also appearing are Joel McCrea – on his way to be a star of the western genre – and Richard Dix, a well-known star of the silent screen who successfully continued in films when sound came to the movies. Capping such a stellar line-up is Erich von Stroheim, the actor-director appearing as Von Furst, the dictatorial film director everybody loved to hate.

Mixing the camaraderie of The Three Musketeers (1921) with the romantic heroics of Beau Geste (1926), the story follows three ex-air force fliers (Armstrong as Woody, Dix as Gibson and McCrea as Red) cashiered at the end WW1 and who wind up at Hollywood as stunt men for war/action movies produced and directed by a menacing Von Furst. The three friends call themselves part of The Lost Squadron, in memory of those who gave their lives in France; and each is looking for fame and fortune. And, why not?

Gibson, though, is looking for more: having been rejected by his former girl friend, the film star Follette Marsh (Mary Astor), he forms what seems to be a mutually promising attachment to The Pest (Dorothy Jordan), Woody's sister. At the same time, Follette – now married to Von Furst in a typical Hollywood union – gives the impression she is flirting with Gibson; so much so, Von Furst makes it clear he wouldn't be unhappy if Gibson was injured or killed during any one of the stunts in the air. Personal tensions mount; relationships begin to sour; trust is inevitably eroded between Von Hurst on the one hand, and Gibson and his buddies, Red and Woody, on the other.

Gibson, all the while, tries to maintain a sense of honor and decorum. But, his efforts to dispel Von Furst's jealous rage are in vain. Matters come to a head when Gibson is once again rejected in love by The Pest who favors Red, sending Gibson into quiet, controlled despair; at the same time, Von Furst's insane jealousy results in tragedy for all of the friends, setting the stage for a plan to exact revenge upon Von Furst. The denouement, although highly contrived, is nevertheless in the finest tradition Wren's classic story of the Foreign Legion.

Overall, while the sound was scratchy at times, the cinematography, editing and direction are up to the mark. Of the actors, von Stroheim towers over them all with the intensity of his presence; while Dorothy Jordan overshadows Mary Astor, for sure – no mean feat, I think. The dialog is particularly good for the first and second acts; only during the final act does the script seem to fall into a deep, unbelievable hole. Still, the final scenes make up for those shortcomings, in my opinion.

Of further interest is the fact that this is very much a self-referential – perhaps even self-parody – film about Tinsel Town with much of the action being directed by Von Furst as we look on, thus giving the viewer a look at how things were done back in the thirties and hence allowing for some occasional, comic relief. Special mention goes to the aerial stunts and battle scenes.

Von Strohiem, of course, went on to star in Billy Wilder's Sunset Boulevard (1950) where he again played the part of a film director, but reduced to working as a chauffeur for Gloria Swanson and her part-time gigolo, William Holden.

The Lost Squadron is not a great movie, but it is well worth watching; and it's suitable for all to see. Give this a solid seven out of ten.

October 3, 2012

Flyers And Film Making for Buffs

[LeonLouisRicci · 7/10 · 18 October 2012]

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.

Movie Veterans

[lugonian · 7/10 · 17 November 2019]

THE LOST SQUADRON (RKO Radio, 1932), directed by George Archainbaud, is not exactly a full-fledged war story dealing with ace pilots captured by the enemy or one about a military search for a lost patrol. It's one about veteran war pilots who become stunt pilots in aviation movies. Richard Dix, a leading man for the studio, highly popular due to his Academy Award winning epic western CIMARRON (1931), heads the cast playing the captain who risks everything for those under his command, the very same men who happen to be his closest friends in both squadron and civilian life.

Taken from the story by pilot/author, Dick Grace (who also appears in the movie as one of the pilots), the story focuses on ace pilots stationed in France shooting enemies followed by crash landings in air battle during the World War. A treaty has been signed naming November 11, 1918, as Armistice Day. With the war over, Christopher Gibson (Richard Dix), a captain in charge of his command, gathers together with pals Lieutenant "Woody Curwood (Robert Armstrong), 'Red" (Joel McCrea) and airplane mechanic, Fritz (Hugh Herbert) for one last drink of liquor before heading out for civilian life. Back in the states, the men return to find life they had known is not the same: Red returns to Sharkley and Company to inquire about his old job, only to refuse his position when it means an employer friend of his with a baby on the way will have to be let go; Woody discovers he is now broke when his business partner embezzles his funds; and Gibson returns to Follette Marsh (Mary Astor), a stage actress and the girl he loves, only to find she has another suitor (William B. Davidson) and learning they now have nothing in common. The four men gather together with a clause to simply stick together. Through the passage of time, with newspaper headlines reading about war veterans victims of the Depression when seen on bread lines, Gibson, Red and Fritz, now hobos, bum a freight train ride to Los Angeles to locate Woody. They find him in Hollywood escorted by two ladies attending a premiere of "Sky Heroes," an independent aviation war movie directed by Arthur Von Furst (Erich Von Stroheim), starring his wife, Follette Marsh. With Woody doing well in the movie business, he unionizes his war buddies employment working with him as stunt pilots for the upcoming aviation movie under Von Furst's direction. Problems arise when the insanely jealous director discovers his actress wife's past romance with 'Gibby," leading to his "accidental" airplane crackups and dangerous aerial scenes intended for Gibson to put him out of the way. Others in the cast include Dorothy Jordan (Woody's sister, alias "The Pest"); Ralph Ince (Jettick of the Homicide Squad); Marjorie Peterson (The Stenographer); and Ralph Lewis.

THE LOST SQUADRON has the distinction of having three separate stories for one motion picture. It starts off like a war drama, becomes a movie within a movie, and finishing off as a murder mystery. Of the co-stars, the sixth billed Erich Von Stroheim, a former actor/director himself of the silent screen, notably for GREED (1923), gives a notable performance doing a parody of himself of a tyrant director with unlikable personality. Von Stroheim's sarcasms with critical outbursts toward his staff simply earn him that distinction of "The Man You Love to Hate." Mary Astor gives a fine performance as the woman with acting ambition. Sadly her character disappears long before the movie's finish. Robert Armstrong, a pilot with his love for flying and boozing, is routinely played. Joel McCrea, early in his career, is satisfactory as the handsome young pilot pal while Hugh Herbert, famous for his befuddled characters in comedies for Warner Brothers and Universal, offers a rare treat in a straight role with some doses of comic touches early in the story. Let's not overlook Richard Dix, the hero in both war and civilian life, who gathers enough attention and likability during its 79 minutes.

Distributed on video cassette in the 1980s, and later on DVD decades later, THE LOST SQUADRON had the rare distinction of being one of the true vintage RKO movies (prior to 1933) to continue its New York City broadcasts on WOR, Channel 9 (home of the RKO Radio film library) well into 1974, It was also broadcast around the same time with its dubbed Spanish prints for the Spanish TV station of WNJU, Channel 47 (Newark, New Jersey). Once shown regularly on cable television's American Movie Classics prior to 2001, THE LOST SQUADRON, along with similar theme drama about movie stunt pilots, LUCKY DEVILS (RKO, 1933) starring William Boyd, can both be shown occasionally on Turner Classic Movies. (***)

Flying High

[writers_reign · 7/10 · 27 June 2015]

Clearly made under the influence - not to say success - of Wings and Hell's Angels this is Three Comrades with aerilons. Robert Armstrong, Joel McCrea and Richard Dix, three intrepid flyboys find themselves fish out of water after 1918 and though there were flying jobs availably - barnstorming, flying mail etc - this doesn't seem to occur to them with the result that they reach a point when they haven't got change of a match and, as everyone and his Uncle Max knows, once you reach the lowest point you can the only way is up and so, in the fullness of time - something like one and a half reels - they wind up in Hollywood working largely as stunt pilots. This is where the plot takes off - sorry about that - as they encounter movie director Erich von Stroheim, a man who clearly read Les Miserables and thought Javert was the hero. We know from the get-go that it's destined to end in tears and so it does but not without some decent acting and diversions along the way.

When a studio backlot became the eastern front.

[mark.waltz · 7/10 · 11 July 2022]

A group of World War I veterans and up stunt pilots in the movies and end up dealing with an autocratic director who's just as bad as the Germans, resulting in a tragic crash during shooting. Richard Dix, Robert Armstrong, Joel McCrea and Hugh Herbert go up against the very cruel Erich von Stroheim who that is jealous over the fact that movie star Mary Astor once had a relationship with one of them. The survivors suspect that he sabotaged the plane that Armstrong was flying, resulting in a fiery conclusion. They take matters into their own hands, hoping to force a confession out of him, and von Stroheim ends up getting a severe taste of his own medicine.

This is quite the intense melodrama that gets even more melodramatic as the three men hold von Stroheim in a movie studio hangar, complete with the wailing winds going on outside in the middle of the night. There's a bit of comedy with Herbert as the hard drinking pilot, seen during the World War I footage being given a gun so he can go kill the cook, and some sensational flying sequences both in the combat moments and when they are on location shooting a movie. The reaction to Dix bidding farewell to a German in a plane about to crash is very funny.

Under the direction of George Archainbaud, this is a genuinely unsettling film about revenge without remorse, with excellent performances by everybody, but von Stroheim giving a performance nearly equal to Max in "Sunset Boulevard". Had there been supporting Oscar awards at the time, he definitely would have been a contender. Dorothy Peterson as "pest" is adorable. Certainly quite memorable as a pre-code melodrama that got an Oscar nomination for Max Steiner but certainly deserve to be honored for it sound effects.

Coming Home

[wes-connors · 5/10 · 27 June 2015]

Following service in the Great War (aka World War I), US military men are assured their lives will be as good, if not better, than before they enlisted. But for three fighter pilots, this proves not to be the case. Handsome young Joel McCrea (as "Red") must give up his job as his company downsizes. Debonair drinker Robert Armstrong (as Woody) learns has business partner has squandered their fortune. And, brave leader Richard Dix (as "Gibby") loses his attractive girlfriend Mary Astor (as Follette Marsh) to a wealthy filmmaker who can advance her career. To make ends meet, the men go to Hollywood and become stunt pilots in aviation movies...

"The Lost Squadron" is entertaining, due to some strange plotting...

The "romance" part involves Mr. Dix and Mr. McCrea in competition for Mr. Armstrong's pretty young sister Dorothy Jordan, who is called the "Pest" (for some unfathomable reason). Dix also still likes Ms. Astor, who has married loudmouthed director Erich von Stroheim (as Arthur Von Furst) solely to advance her career. The scenes with Von Stroheim barking direction while filming battle scenes are a perverse highlight. After about 55 minutes, watch for Armstrong to wave a "middle finger" salute from his cockpit. It all leads to jealousy and attempts to murder. Why one crime is concealed from police is not particularly clear, although Dix asks nicely enough.

***** The Lost Squadron (1932-03-10) George Archainbaud ~ Richard Dix, Robert Armstrong, Erich von Stroheim, Joel McCrea

Excellent Performances Spark Aerial Drama

[Ron Oliver · 10/10 · 29 April 2004]

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.

returning service men

[SnoopyStyle · 6/10 · 15 December 2022]

Captain "Gibby" Gibson (Richard Dix), his best flying buddy "Red" (Joel McCrea), fellow pilot "Woody" Curwood (Robert Armstrong), and mechanic Fritz (Hugh Herbert) are surprised when the war suddenly ends. Gibby's girlfriend Follette Marsh (Mary Astor) leaves him for her acting ambitions. The guys all have trouble returning to civilian life like many former service men. Years later, Gibby, Red, and Fritz are hoboing to Hollywood. Woody is working as a stunt flier. He gets his friends jobs working for tyrannical director Arthur von Furst (Erich von Stroheim). Follette is now married to von Furst.

I like the downtrodden ex-military men story, but I wish they were more downtrodden. It needs to show more of their suffering. They make the hobo life look fun. This needs a montage of them digging ditches and lining up at the food line. It needs a lower down. Otherwise, the story is fine. The flying is more fun. This is good, but not great.

The Last Word In Realism

[bkoganbing · 5/10 · 23 September 2010]

The Lost Squadron concerns four men who are the last of a squadron of aviators from World War I, pilots Richard Dix, Robert Armstrong, and Joel McCrea and their orderly Hugh Herbert. The war is over now, but flying is what they know and love. They now make a living doing stunt flying for the movies, recreating some of the dangers they went through in the war for war films.

That can be as dangerous if not more dangerous when you are working for a director like Erich Von Stroheim who wants his films to be the last word in realism. And things get real tense on the set when Von Stroheim discovers that his wife Mary Astor still has a thing for Dix.

I won't go on any further except that but for Von Stroheim everyone behaves gallantly. It's what terribly dates this film. If it were done today the characters would be far more cynical and probably come up with a creative way to deal with their tyrannical director.

Von Stroheim is the best thing about The Lost Squadron he pulls all the stops out in doing his terrible Teuton. If Von Stroheim was the man folks went to the movies in order to love to hate him, this film will send many into orgasms.

Strange Doesn't Even Cover It

[Michael_Elliott · 25 September 2010]

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.

Dated but watchable melodrama, especially for fans of early aeroplanes

[jamesrupert2014 · 6/10 · 20 December 2022]

Unable to fit back into society after returning home from the front, three WW1 fighter pilots (Richard Dix, Robert Armstrong, and future western star Joel McCrea) end up working as stunt pilots for a tyrannical Teutonic film director (Erich von Stroheim), who, coincidently, is now married to the girl (Mary Astor) who dumped one of the returning flyers....not what I expected given the title. The film's melodramatic style has not aged well but the flying (and crashing) scenes are quite good, Stroheim's slimy villainy is entertaining, and there are some nice vintage aircraft on display. Be warned: the final scene, perhaps considered poignant at the time, is pretty hokey.

Von Stroheim villainy gives Lost Squadron tail wind.

[st-shot · 6/10 · 31 March 2014]

With time running out to satisfy their taste for adventure and blood lust WW 1 pilots Gibson, Woody and Red take to the air and fight to the last minute before Armistice. The war over and out of a Woody (Bob Armstrong) followed by Gibson ( Richard Dix) and Red (Joel McCrea) gravitate to Hollywood to do what they do best, fly stunt planes. The work is dangerous but they are use to it. The danger increases tenfold when Von Furst (Erich Von Stroheim), a tyrannical director with a thirst for realism as well as a wife who once had the hots for Gibson attempts to pull off two for the price of one; get the shot and lose the wife's former lover. Woody in the, throes of alcoholism takes the fall however.

With the war over and no more dogfights to involve itself in Squadron is no Wings but it does offer up some fine aerial acrobatics to go along with its swift and a touch incredulous pace. The trio of pilots do their macho posturing (including a bird throwing sequence) adequately enough while Beth Jordan and Mary Astor wait with anxious trepidation on the ground. But it is the opportunity to watch Von Stroheim go into directorial rant that in retrospect gives the Lost Squadron its bite.

Has Historical Significance but Suspends Belief in Spots

[garyjack5 · 7/10 · 24 May 2020]

I wasn't expecting much but was pleasantly surprised at how the story was progressing after the start. Then the film petered out at the end.

In the beginning I found it unrealistic that the three pilots were ogling their watches with 5 minutes left until the 11am armistice....trying to get as many Germans shot down as they could before the war ends. There's bravado and then there's absurdity.

I liked the character development with the squadron men as they moved from drinking celebrations in Europe to hobos in the US. It's not hard to tell if Armstrong is portraying a drunken stupor or a sober adventure seeker in his dichotomous performance. McCrea is believable as an immodest bragger but even better with his spur of the moment proposal to "Pest". Dorothy Jordan("Pest") appeared to be more interested in Dix until that proposal came out of McCrea's mouth. Dix is good through most of the film but when the guys are confronted by the police inspector he looks totally lost in his motivation as he stares down the inspector not knowing what to say. Towards the end it looks as if this film was being made up as they went along....kind of like we did in grade school.

Von Stroheim also performed like a split personality, maybe split in more than 2 personas. I enjoyed his hammy death scene tho....so over the top it made me chuckle. He must have really loved attention. I'm not sure how realistic his directing role came across either. It appeared that when he started the war action, everything happened at once..planes, bombs, fires, artillery...and the cameramen where all together swiveling and shooting it all in one fell swoop....hardly a picture of well-organized direction.

It is too bad Astor's role did not get more latitude. It might have been more fun playing up her intentions with Dix instead of his attentions to Jordan's "Pest".

The ending? Well you will have to watch it to believe it. But don't expect to understand it. I wonder if it was made up as they went along....probably.

good period piece... post ww one

[ksf-2 · 7/10 · 30 December 2022]

Mary astor and richard dix had both been in the biz since the silent days of the early 1920s. So they were old pros when this came along. Astor even made a couple films with bogart! At the end of world war one, even the fighter pilots are having a hard time finding work, so they start flying dangerous stunts for the evil director (von stroheim), who really wants to film a crack up. He even tries to make it happen by damaging one of the stunt planes. But getting him to confess is another matter. It's mostly a very serious story, but a funny moment when one of the stunt pilots clearly flips off the other. We're still about a year prior to the film code being enforced. Lots going on, but it's very well done...in spite of the dark ending. Some fun co-stars. Joel mccrea would really hit his stride in the 1940s with some huge films, and made a slew of westerns in the 1950s. Hugh herbert would make a career out of stuttering and mumbling his way through films. Directed by george archainbaud. Original story by dick grace. Richard dix died pretty young at 56.

The Stiff Squadron

[ArtVandelayImporterExporter · 4/10 · 19 December 2022]

The most interesting thing about this surprisingly static movie is the difference between a silent movie vet like Richard Dix and newcomer Joel McCrea. Whereas Dix still stands, moves, emotes and talks like he's appearing in a mid-20s silent movie, McCrea moves and speaks so fluidly, he's 10 years ahead of his time. It's quite jarring.

The third member of our flying troika is Robert Armstrong, another wooden statue from silent films, spending most of the movie acting drunk (badly). I was hoping he'd crash, frankly.

Mary Astor, on the other hand, was natural, gorgeous and super-talented in any era of movie-making. She seems woefully overlooked these days.

They all end up in Hollywood making motion pictures. None of them were Wings, far as I could tell.

Then we have Von Stroheim, who some reviewers have suggested plays himself as a tyrannical director. I submit he's playing Michael Curtiz, who never met a horse he wasn't willing to sacrifice or a stuntman he wasn't willing to put in harm's way to get a good shot. Von Stroheim's makeup is very clearly meant to make him look like Curtiz. Either way, his shouty act grows old in a hurry.

This script is so simplistic it could have been written by Player Piano. I found the love quadrangles boring but the action sequences would have given audiences their 5c worth in 1932.

It's good, and it's significant in film history

[karen5778 · 8/10 · 24 October 2013]

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.

A very odd, pretty enjoyable curio

[runamokprods · 8/10 · 26 March 2011]

4 buddy WWI pilots, out of work after the war, start doing stunt flying on a Hollywood movie, directed by the evil Eric Von Stroheim (in an enjoyably over the top performance).

Of course, as absurd movie luck would have it the leader of the squad's ex-girlfriend is now married to Von Stroheim, though she hates him.

Von Stroheim plots to try to get his wife's ex-lover killed by getting him to try an an impossible stunt, and is going to make sure by putting acid on the planes control cables, but another flyer goes in his place and dies, and the remaining 3 grab Von Stroheim to get their revenge, leading to a tense, dark but pretty silly conclusion.

While watching , the absurd plot twists and lack of logic really bugged me, but the next day I found myself thinking of it fondly, and sorry that has never seemed to have been made available on video.

Von Stroheim's Film

[David_Brown · 8/10 · 15 June 2014]

The main reason to watch this movie is Erich Von Stroheim as Von Furst, he basically steals every single scene is in, and (spoilers) when he gets his you cheer. I like the Aviation scenes as well, and how "The Lost Squadron" portrays the difficulty of four servicemen returning home. Another standout is Dorothy Jordan as "The Pest." (the Sister of one of the Airmen Woody (Robert Armstrong)). The biggest complaint is about Mary Astor, who is the former love interest of Woody (Richard Dix), who gives it all up for Hollywood. Oddly enough, the exact opposite of Jordan, who did it for Producer Merian C. Cooper. This actress does nothing for me, and never did, and her disappearing act at the end does not help either. Was not a big fan of Joel McRae's (Red) in this movie either, a very weak character, who (spoilers)is the only one of the Airmen to survive (and ends up with "The Pest"). 8/10 Stars. It would be 10 without Astor & McRae.

Mixed bag, but worth seeing

[cbmd-37352 · 8/10 · 16 December 2022]

Starts at the end of WWI, 3 pilots getting their last chance fly and shoot down Germans, consistent with the somewhat romantic view of early flyers, like medieval jousters in solitary combat. Post war reality is despite florid promises there were few opportunities except stunt flying. The actual flying sequences were amazing. There were also 3 crashes, with only one survivor. I could not believe Mary Astor was in this movie. Her first husband Kenneth Hawks was killed in a plane crash filming a movie just 2 years earlier. The ending , which some feel was contrived or inconsistent, was really consistent with that romantic sense of honor and duty and individuality of those WWI flyers. They actually remind me of the 2roles James Whitmore played on 12 O'clock High, the risk taking, nonconforming who ignore orders and does everything his way.

Airway to Heaven

[theognis-80821 · 8/10 · 22 April 2022]

As WWII ends, three aviators find work for maniacal movie director, Erich von Stroheim, who was cast in this role after "Greed" (1924) and "Queen Kelly" (1932) and got the same part in "Sunset Boulevard" (1950). The lead pilot (Richard Dix) labors under his devotion to two beautiful women, Mary Astor and Dorothy Jordan. This tale of war, veteran readjustment, love, jealousy, duty, self-sacrifice, murder, suicide, and redemption, laced with plenty of action is unique.