st-shot
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.
karen5778
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.
bkoganbing
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.
Ron Oliver
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.
AD
