The Lost Squadron is a 1932 film produced by RKO Radio Pictures, which precedes the strict Hays Code formally imposed 2 years later. George Archainbaud directs the film and some of its stars include Richard Dix, Mary Astor, Robert Armstrong and Erich von Stroheim, the latter of whom is a brilliant director himself.
Here is some of the cast and crew of the film:
- Directed by- George Archainbaud
- Produced by- David O. Selznick
- Written by-Dick Grace, Wallace Smith, Herman J. Mankiewicz, Robert Presnell Sr.
- Cinematography by-Edward Cronjager, Leo Tover
- Film Editing by-William Hamilton
- Music by-Max Steiner
The cast:
- Richard Dix-Captain Gibson
- Mary Astor-Follette Marsh
- Robert Armstrong-Lt. Woody Kerwood
- Dorothy Jordan-The Pest
- Joel McCrea-Red
- Erich von Stroheim-Arthur von Furst
- Hugh Herbert-Fritz
The Lost Squadron was made in a peculiar time in-between two world wars, in-between the silent and the talkie era, and lastly in-between pre-Code and Hays Code cinema. The film itself is bathed in irony as it explores the reality of post-World War I American and three veterans who have to navigate in Hollywood, whose power dynamics are not that far from those of the battlefield.
Our blog dedicated to The Lost Squadron aims to offer you, the readers, the chance to learn more about this great film. Here, you will be able to find historical and critical analysis of the film. The former includes important details about The Lost Squadron such as information about the cast, production, the specific era of filming and other interesting facts. The critical analysis, on the other hand, would bring to light the artistic importance of the film by exploring its style, techniques and plot.
The Lost Squadron – The Art of War Films
Whether you live in the US or Antarctica, you’ve likely seen at least one or two, although probably more than a dozen, Hollywood war films. It’s no secret that Hollywood loves making war films, which guarantee easy profits, especially in the first half of the 20th century. For instance, in the period between 1941 and 1945 there had been more than 500 films about World War II produced in Hollywood. This concentrated effort was supported by President Roosevelt and the US government, which added a small tax to every film ticket that was used to aid the American military. Thereby, going to the cinema was turned into a patriotic act. Similarly different US states have now legalized online casinos. Those with with a good brand and game options tend to be the best US casino sites.
The Lost Squadron is another war-themed film, depicting marvelous aerial sequences, but unlike it’s highly patriotic successors, it views war in an ironic way and brilliantly satirizes Hollywood. The artistic liberties of its creators would be impossible to realise only 2 years later.
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The Hays Code and How It Would Have Changed The Lost Squadron
The Hays Code (also known as the Motion Picture Production Code) was the strict moral code, which dictated what could be presented in Hollywood films between 1934 and 1968. The Code was a form of self-censorship imposed by the Motion Picture Association of America and it bears name of Will Hays who was the president of MPPDA at the time. Hays was the mastermind behind the new rules as he sought to repair Hollywood’s image after a bunch of controversial pictures from the 1920’s and numerous scandals involving Hollywood stars. The move was applauded by various religious organizations which had scrutinized cinema from its very conception.
The Code banned scenes with “immoral” acts such as sexual scenes and sought to prohibit filmmakers from framing morally ambiguous actions in a favorable way. For example, Woody’s alcohol problem in The Lost Squadron is arguably brushed off, but had the film been made later, Woody would have been framed as the antagonist because of his vice. Other examples of Hays Code violations in the film include Woody giving Gibby the middle finger (fig.1), which is a form profanity forbidden by Hays. The guys in the squadron also curse occasionally.
The bigger issues, according to the Code, would be those of highly immoral character. Follette had extramarital affairs and married for status without being punished for any of them. Red also goes unpunished for murder, which would have never made the silver screen. Lastly, the squadron men enjoy fighting in the war and killing Germans, which goes against the Code’s rule that bans offending whole nations and peoples. In fact, Hollywood didn’t condemn the Nazi regime even after the beginning of World War II; it only did once Pearl Harbor occurred, and Roosevelt created a special film propaganda office.
The Politics and History Behind The Lost Squadron
As a film of war character, the history and politics behind The Lost Squadron are worth discussing. The film opens with the three friends – Captain “Gibby” Gibson, “Red” and “Woody” Curwood fighting on their planes somewhere over Western Europe in one of the last battles of World War I. Afterwards, they celebrate, along with their mechanic Fritz, the end of the war. They all seem optimistic and impatient to be going back home and they happily sing Scottish song, Auld Lang Syne, while promising to keep in touch.
However, when they go back to the US, they find out that nothing is the same. Gibby discovers his girlfriend, Collette, had left him for a wealthy man. Red quits his job to benefit a man with a new baby. Lastly, Woody is defrauded by his business partner and ends up penniless. The four men get together and share their disillusionment with the country and the system which promised them the world when they left for Europe but delivered nothing. While the WWI patriotic song “Over There” is playing, a montage of newspaper clippings documenting USA’s betrayal of its veterans is seen. This ironic tone defines The Lost Squadron, which is a film exploring the bleak reality of American vets. Many of them lost their previous lives and sources of income, despite only missing for a year, and the US government didn’t help them, although the American role in the war ushered in an unimaginable economic growth for the country.
The character of Arthur von Furst adds to this irony as he is a German director who bosses around actual American pilots who spent the war fighting against his people. The reverse of fortune is another trait characteristic of the film. However, it wasn’t unusual to see a Hollywood director of German descent back then. In fact, they were rather popular as they brought valuable cinematic knowledge to the US such as the German Expressionism style, which inspired the creation of film noir.
The general politics of the film criticize both the treatment of veterans by the American government and society, while also providing critique of Hollywood itself by equating the studio to the battlefield. The Lost Squadron reveals the cruelty of the studio system, which views actors and stunt doubles as expendable. A film like that could not be made under the Hays Code, but it’s good to see that people in the early 1930’s were aware of the problems, which the studios desperately tried to cover. It’s unfortunate that the film isn’t more popular, but hopefully this blog would show you why it’s worth to watch it!
The Lost Squadron – The Squadron Remains Intact
Despite the difficulties that the heroes face in their ungrateful society, which gives up on them, they don’t give up on each other, and this is what truly captures the spirit of the film – the loyalty of these ‘auld acquaintances’. Gibby, Red, Woody and Fritz promise to support each other after the war and they all deliver on this promise; they are all men of their word. They mention early on that they are the sole survivors of the whole squadron, which further strengthens their bond.
One of the most wholesome scenes in the film sees Gibby, Red and Fritz stand aside the red carpet, penniless and hopeless, when Woody appears dressed in a tux with two beautiful women. Instead of pretending he doesn’t see them, Woody immediately embraces them, uncaring of any red-carpet etiquette.
Woody’s accompanying ladies instantly leave, disgusted by the public display of affection. These two women symbolise the cynical contemporary society, which views with disdain such instances of brotherly love and servicemen loyalty. This society has no use for these men anymore, they did their service and now they’re obsolete.
Since the government refuses to provide them with welfare or jobs, the veterans look up to Hollywood where they can do what they can best – flying. Woody’s enthusiasm to provide his friends with jobs, instead of simply pitying them, is another example of his faithfulness to them.
Later, when Woody is too drunk to pilot the plane, Gibby doesn’t let him do it, which almost costs him his life as the plane crashes in the ocean. Gibby doesn’t do it, so he could get the 50 dollars, but because he cares for Woody. Moreover, instead of the film punishing Woody for his alcoholism, just like a Hays Code film would, it gives him multiple chances to admit his addiction and recover from it. Everyone around him is supportive, even when he fails to get clean, which faithfully represents the ambiguity of reality. Real people are not perfect, but they shouldn’t be abandoned by their loved ones for their faults.
The Lost Squadron – The Forces Trying to Break Up the Squadron
Although the bond between the four friends is strong, there are multiple external forces, which threaten it; some are intentional, while other are accidental.
The most obvious example is the love triangle between Woody’s sister (The Pest), Gibby and Red. The Pest and Red are instantly drawn to each other, their chemistry is tangible, and Red doesn’t hide his feelings. However, Gibby, who’s already been disappointed by his unfaithful ex-girlfriend, develops feelings for The Pest as well. He mistakes her kindness after the crash for attraction and begins pursing her. This threatens his friendship with Red, but when it seems that the two men are going to fight for her, Gibby concedes. Not only that, but he lies to The Pest that he never loved her as a sign of respect for her and Red. Gibby’s last act of courage and self-sacrifice is also influenced by his love for Red and his fiancée.
Gibby is framed as a hopeless romantic, which is another reason why his fate is so tragic. Follette chooses to advance her career through immoral means and leaves him, but eventually their failed relationship proves to be even more detrimental for Gibby. She’s the wife of Arthur von Furst, the production’s director, which puts Gibby in danger. Although Follette warns Gibby, he doesn’t listen, which ends with the death of three people. Follette is thus an example of external force, which accidentally breaks up the squadron, which, however, is only broken up physically and not symbolically.
The character of von Furst, on the other hand, exemplifies an intentional struggle to harm the squadron. He mistreats everyone on his set, but he’s especially cruel to the stunt flyers and states, rather cynically, that the planes are breaking apart. This explicit mistreatment on part of the director was too common back then as the studios pretty much owned their stars and subjugated them to forced drug use, dangerous stunts and never-ending workdays. One can draw parallels between von Furst and 1930’s society, since they both abused war vets. Furthermore, it’s highly probable that the flyers who did the real stunts for The Lost Squadron were actual WWI veterans due to the professionalism of the aerial scenes in the film. This would add another layer of irony to the mix.
Another ironic element is that von Furst is German, and the heroes have to ‘battle’ the same enemy twice. Moreover, the film arguably likens von Furst to Hitler. Although Hitler had not yet won the elections when the film was made, the Nazi Party was growing in popularity. Von Furst’s authoritarian direction, along with his passionate speeches in German and even his sigil, which resembles the Nazi swastika (Fig.2), suggest that Archainbaud intentionally drew these parallels.
Much like Hitler, von Furst doesn’t care for human life. When Gibby crashes and almost dies, von Furst is happy that he got a good shot for his film. Indeed, this is what most Hollywood directors were preoccupied with. It’s also ironic that von Furst is played by Eric von Stroheim who was a famous Classic Hollywood director.
Nevertheless, it’s important to recognise the beauty of this cinematic era. For example, the finesse of the real stunt flyers who show off remarkable skill in the film. Credit is also due to the cinematographers who managed to capture these aerial shots, which was only possible by flying on planes with the cameras mounted on them!
The Lost Squadron – Do the Right Thing
Von Furst’s wrath reaches its peak when he pours acid over the controller wires of the plane, thus meaning to kill Gibby. However, since Gibby assisted Woody the previous day, Woody decides to return the favor, again showcasing the squadron’s gentlemanly ways. Woody also stopped drinking, thus keeping his promise to his friends. These two good acts are not rewarded, but punished, as Woody tragically dies in a crash orchestrated by Furst. The question is, what would his friends do now?
As the youngest, Red is the most impulsive and his first reaction is to apprehend von Furst and kill him. Gibby dissuades Red and tries to tell him that mob justice isn’t really justice, and that they should let the law decide von Furst’s fate. This idea echoes the German film M (1931), which sees an angry mob choose the law over violence in their dealings with a serial killer. Red isn’t quite convinced by the democratic nature of the argument and von Furst himself says that the friends would be punished merely for apprehending an important wealthy man like him, thereby exposing the system, which is wired against the average citizen and only benefits the elite.
The Lost Squadron asks the viewers to decide for themselves whether they agree with Red or Gibby on the matter as the message of Archainbaud is ambivalent. On one hand, it seems like the film agrees with Gibby, but then Red does kill von Furst. Moreover, the conversation with the police investigator shows that the friends would be punished, despite von Furst’s deed, which is arguably worse. Thus, it could be said that the film shows how the system is rigged against the small guy.
However, at the same time, the film invokes the servicemen’s code of honor. Gibby knows that Red would be hanged if found guilty, and his love for his friend and his fiancée proves to be greater than his love for life. Gibby chooses to crash his plane with Furst on board to take the blame for the murder, thus sacrificing his life along with his good name if it means the happiness of his loved ones.
In the final scene, Gibby and Woody can be seen in their second home – the skies – as they pilot two ghost planes into the heavens with Auld Lang Syne playing in the background, thus creating a mirror narrative structure, which connects the ending with the opening of the film. This sentimental ending shows that the squadron did remain together as they promised, and would always be together, even in death.