marcslope Stuart Walker, who directed almost nothing of value, did splendidly with this 1933 antiwar opus, which has plenty of action (some of it borrowed from "Wings" footage) and deeper-than-usual psychological insights for this genre. Fredric March, an American in a Brit World War I air unit, becomes a daredevil ace, and is increasingly repulsed by the death toll he engenders, to the point of madness. Meantime, his "observer" (he snaps pictures from the rear seat) Cary Grant relishes combat, and American compatriot Jack Oakie provides emotional ballast, until he's gunned down. Carole Lombard is also on hand, for two scenes, looking gorgeous and wearing quite a gown. The screenplay's unusually intelligent and despairing, but what really makes it work is March, at the top of his game. Watch him in a scene where a friend's young son asks for gruesome detail about what happens in combat, and see the anguish play across his face. A truly fine actor.

JLRVancouver Fredric March, Cary Grant, Jack Oakie play three disparate pilots serving in WW 1 France: March is a conscious-stricken ace who is beginning to crack, Grant is a glory-hunting pragmatist who justifies shooting at bailed-out German airmen, and Oakie is a cheerful bon-vivant who is just doing his job between hot baths and fine cheeses. The pre-code film includes a brief appearance by Carole Lombard (simply billed as "The Beautiful Lady"), a nameless flirt with whom March has a brief affair while on leave in London. Much of the film contrasts March, who is burdened with guilt about the men he has killed or were killed while serving with him (he pilots a 2-man observation plane), with both his fellow airman who celebrate the war and with civilians who have a macabre fascination with the killing (the encounter between March and a 'gung-ho' young boy is excellent). The aerial footage is not bad (although most of the planes are not period-correct) and some of the scenes are somewhat contrived (e.g. shot pilots managing to land their plans before dramatically expiring). The abrupt ending, while a bit implausible, is powerful and unexpected. All-in-all, an entertaining (albeit aesthetically dated), unsubtle plea for peace from the interwar years.

barnesgene Personally, I prefer "The Dawn Patrol." In "The Eagle and the Hawk" the acting is less compelling, the dialog is more forced and more melodramatic, the aerial dogfight scenes are less convincingly edited (but there are some dandy shots too). You never know quite when the March character is going to blow up, but you do know it'll be sooner or later. I give Cary Grant's performance higher marks than most of the other reviewers do; his ambiguities feel as if they are sincerely wrought, and he comes and goes like a Bodishatva throughout the film. Carole Lombard is a knockout and the right choice for the Beautiful Lady; I appreciated her efforts to make her minor character a memorable one.

Robrt Powell (vigihawk) Bought my own copy. A film in the old style with many faults, but for someone who enjoys flying fliks, especially World War One aviation, it is great. Dialogue is terrible, the acting bad, plot predictable, but it has airplanes and derring-do in the air. All the "Dawn Patrol" cliches are there. Good fun and well worth seeing...if you like this sort of thing. I do.cheers, Boom