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It's a slaughterhouse—and I'm the butcher
I didn't know The Dawn Patrol (1938) was a remake the first time I saw it, six years ago on TCM for Memorial Day. The Oscar-winning 1930 original was Howard Hawks' first sound film, it stars Richard Barthelmess and famously pissed off Howard Hughes1 and someday I will see it for comparison, but it doesn't have Basil Rathbone, so I'm not talking about it tonight. The remake came around again on TCM a few days ago. ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
rushthatspeaks has been very patient about listening to me ever since.
The year is 1915, the setting an RFC aerodrome near the front lines in France. Errol Flynn is billed above the title as Captain Courtney, the daredevil leader of "A" Flight; David Niven seconds him as the puckish, faithful Lieutenant Scott. They fly like they're immortal and drink like there's no tomorrow; all the other pilots they shipped out with are dead and they celebrate their fallen comrades and their own future with fire-eating fatalism, yelling out "Hurrah for the Next Man That Dies." If they beat the odds, they'll be model members of Hemingway's lost generation, directionless and disillusioned—in the meantime, they welcome a captured German pilot into their midst because he may not be able to speak the language, but he understands drinking to the dead. That he shot down at least one of their own makes no difference. They recognize the enemy on the other side of the lines, especially when personified by the undefeatable vonRichthofen Richter, a veteran flying ace with a mocking habit of buzzing the airfield after a dogfight and dropping trophies from the British pilots he's downed—boots, goggles, like throwing back a catch too small to keep. Their real hatred is reserved for the commanding officers of their own side, the bureaucratic machine that keeps sending them rookie flyers as cannon fodder in a vicious cycle of attrition. "You're telling me that I'm expected to go out on a job like that with two inexperienced men," Courtney challenges after one especially hopeless briefing, only to be shut down with the terse rejoinder, "Those are the orders." So says squadron commander Major Brand, who gives out each day's suicidal instructions with little expression and less eye contact, very clipped and peremptory, like a pure mouthpiece of the war.2 He's played by Basil Rathbone, which should make him the villain, especially opposite Errol Flynn. He's not the protagonist; that's legitimately the combination of Courtney and Scott, neither of whom is ever offscreen for more than a few minutes in the entire hour-and-three-quarters runtime. He is, naturally, the character I can't stop thinking about.
Even more so than any of his pilots, Brand is on the verge of cracking up. His job is to send green recruits just out of ground school against enemy forces that outclass them in both numbers and combat experience, predictably dooming most of them on their first flight, and the guilt and the responsibility and the endless deadly decision-making are splintering him apart.3 He can't take the dangerous missions himself; he's not allowed. He argues constantly with his superiors to give the new recruits a little time; his requests are constantly denied. He counts the drones of returning engines, knowing there will always be fewer than the number of planes that left; he drinks alone in his office while the rest of the 59th gets blind in the mess, partly out of ostracism, partly so they can't see how fast their commanding officer goes through a bottle; and he doesn't let anyone but his adjutant see him near breaking, so his men despise him as a mindless martinet who waves the new kids off like clockwork to the slaughter, not turning a hair when the casualty lists are read. It's clever casting. The audience has the advantage of meeting him early on in a moment of helpless fury, but come in late and you might take Brand for the cold fish he makes himself look like—that distant, icy carelessness was the hallmark of Rathbone's Marquis St. Evrémonde in A Tale of Two Cities (1935), and he's painfully good at converting Brand's raw nerves into a government-work facsimile of the stiff upper lip. He has a beautiful, almost shy smile, as if he's afraid someone is going to take it away. We don't see it very often.
I worried very much the first time I saw the movie that the plot was going to hinge on Brand shooting himself or breaking down entirely; I was relieved to discover that the twist is subtler than that. Disobeying the major's direct orders, Courtney and Scott stage a two-man raid on von Richter's airfield in reprisal for his taunting demolition of "B" Flight; they inflict real damage on the German aerodrome, but they lose both of their planes, making it home by way of a spectacular crash landing in the trenches. A furious Brand is about to wire headquarters about a court-martial when headquarters rings first, with congratulations on a "splendid job." For a moment the scene looks like classic military comedy, the disapproving superior confounded by credit he doesn't deserve, but it swerves heart-sinkingly—for Courtney at least—when Brand's palpable, shocked relief at being released from the front lines bubbles over into a grim merriment at appointing his harshest critic his successor:
And now I've got you, Courtney. I've got you where I want you. So far the war has been a personal adventure for you, hasn't it, full of boom! and glory. As an individual flyer, you've been admirable, and you've evaded responsibility with equally supreme skill. Disobeyed orders? Blamed me? Accused me of putting kids into canvas coffins? Well, listen to this, my lad. Headquarters liked your raid this morning. They liked it so well that they've appointed me up to Wing! . . . And before I go, I'm ordered to appoint someone in my place. Here, in my place at this little desk . . . See how you like it, Mr. Squadron Commander Courtney. Right!
And he salutes the dumbfounded flyers as sharply and sardonically as ever Courtney did him and disappears out the door, possibly happier than I've ever seen Basil Rathbone in my life.4 The remainder of the film follows Courtney's discovery that what looked like callousness from the other side of the desk only looks like necessity from this one: he has his orders and he can't shirk them and it's just as bad for him as it was for Brand. He was the darling of the 59th when he was their insubordinate hotshot. Now he's the "dirty butcher" who can't spare a day for his best friend's kid brother to get his feet under him before being shot out of the sky. He drinks more than ever, and alone. Flynn is very good all through, don't get me wrong. It's nice to see him in a part that demands more from him than swashbuckling; he's as convincing in the exhausted later scenes as he is in the earlier, recklessly daring ones, and he has several quiet moments with Niven that can't have been improvised but feel as relaxed and affectionate as if they were. Nonetheless, I know I perked up when Brand reappeared late in the third act, bearing some sensitive and extraordinarily bad news for Courtney and his old flight. It's an understated reunion. There are emotional tangles that never clear. He could have sent a courier with these orders that are "too important to telephone about," but he's come himself for reasons that could be kindness or curiosity or schadenfreude or all of the above; he's brought a diffident, unexpectedly thoughtful present of Courtney's favorite brand of cigarette ("those gyppy cork-tips that you used to scream about—I found a tin of them in the mess") and hands it over after a moment of nervous fidgeting, which he apologizes for. He is sympathetic toward Courtney, who in turn understands intimately what his former superior was living with all those months, but they do not have a conversation about it, because Brand appears to be a naturally reticent person as well as a combat-stressed one and it wouldn't help Courtney if he tried. He greets the rest of the squadron as cheerfully as if he's been on vacation, whatever they thought of him when he left. And he watches without a trace of gloating as Courtney has to accept a volunteer for an effective suicide mission, only a slight, sad look of recognition: he can't shield Courtney from this responsibility any more than he could keep novice pilots out of German skies.
I know artists' lives are not their work; it remains impossible for me not to wonder how one informs the other, especially when biography and subject material overlap conspicuously. Major Brand is seen to wear the ribbon of the Military Cross. Rathbone had won the same decoration in 1918 for actions as crazily reckless as anything in The Dawn Patrol, leading daylight raids through no man's land disguised, like Birnam Wood, with branches and leaves. His younger brother had been killed in action the month before. He doesn't sound, two decades later when he talks about his postwar experience, as though he dodged quite as much PTSD as he makes it sound to Photoplay. Of the three principals of The Dawn Patrol, he was the only one with combat experience. I don't want to pretend that I can see more of Rathbone in Brand than he made visible, but I don't want to imagine that acting just happens in a vacuum, either. Anyway, something clicked between the actor and the part: he's third-billed, but he's the one I just wrote 2100 words about. This admiration brought to you by my better-adjusted backers at Patreon.
1. Hughes had been developing the similarly themed Hell's Angels since 1927; he sued Warner Bros. for plagiarism with the result that The Dawn Patrol beat Hell's Angels into theaters by four months and Hughes lost the lawsuit. I haven't seen Hell's Angels myself, but since it was partly directed by James Whale and stars Ben Lyon and Jean Harlow, I expect it's only a matter of time.
2. Major Brand is as far up the chain of command as we ever see. The "brass hats" above him are blaring, blurry voices on the other end of a telephone line, like Colonel Blimp by Charles Schultz. You can make out their dialogue if you concentrate, but it's oddly just as effective if you don't: they aren't speaking the same language anyway.
3. The dark-browed, gangly leader of the first set of new recruits is Lieutenant Russell, played by an uncredited John Rodion—otherwise known as Rodion Rathbone, born 1915, just before his father was called up to the Western Front. He doesn't last one mission, his proud eighteen hours in the air nothing against veteran enemies. "Poor little Cleaver went first—I don't believe he fired a shot. Russell must have gone about the same time. I didn't see." I don't know who in the audience would have caught it at the time, or if the general public was even intended to, but it's a biting in-joke, like subliminal Wilfred Owen: But the old man would not so, but slew his son / And half the seed of Europe, one by one. [edit] According to a 1938 issue of Hollywood, Basil and Rodion were supposed to share a scene, but the experience was so "unnerving" that "Basil blew up in his lines."
4. Obviously the best thing for Brand would be getting sent home where no one needs him to make any decision more serious than how much sugar he wants in his tea—he reminds me of Wimsey in Whose Body? (1923) and Busman's Honeymoon (1937) and I'm not surprised—but getting kicked upstairs at least seems to remove him from his intolerable bind of too much responsibility and too little power and put him somewhere he might have a chance of arguing for less sweepingly wasteful tactics and being listened to. Since it keeps him alive and in presumably better mental health, anyway, I'll take it.
rushthatspeaks has been very patient about listening to me ever since.The year is 1915, the setting an RFC aerodrome near the front lines in France. Errol Flynn is billed above the title as Captain Courtney, the daredevil leader of "A" Flight; David Niven seconds him as the puckish, faithful Lieutenant Scott. They fly like they're immortal and drink like there's no tomorrow; all the other pilots they shipped out with are dead and they celebrate their fallen comrades and their own future with fire-eating fatalism, yelling out "Hurrah for the Next Man That Dies." If they beat the odds, they'll be model members of Hemingway's lost generation, directionless and disillusioned—in the meantime, they welcome a captured German pilot into their midst because he may not be able to speak the language, but he understands drinking to the dead. That he shot down at least one of their own makes no difference. They recognize the enemy on the other side of the lines, especially when personified by the undefeatable von
Even more so than any of his pilots, Brand is on the verge of cracking up. His job is to send green recruits just out of ground school against enemy forces that outclass them in both numbers and combat experience, predictably dooming most of them on their first flight, and the guilt and the responsibility and the endless deadly decision-making are splintering him apart.3 He can't take the dangerous missions himself; he's not allowed. He argues constantly with his superiors to give the new recruits a little time; his requests are constantly denied. He counts the drones of returning engines, knowing there will always be fewer than the number of planes that left; he drinks alone in his office while the rest of the 59th gets blind in the mess, partly out of ostracism, partly so they can't see how fast their commanding officer goes through a bottle; and he doesn't let anyone but his adjutant see him near breaking, so his men despise him as a mindless martinet who waves the new kids off like clockwork to the slaughter, not turning a hair when the casualty lists are read. It's clever casting. The audience has the advantage of meeting him early on in a moment of helpless fury, but come in late and you might take Brand for the cold fish he makes himself look like—that distant, icy carelessness was the hallmark of Rathbone's Marquis St. Evrémonde in A Tale of Two Cities (1935), and he's painfully good at converting Brand's raw nerves into a government-work facsimile of the stiff upper lip. He has a beautiful, almost shy smile, as if he's afraid someone is going to take it away. We don't see it very often.
I worried very much the first time I saw the movie that the plot was going to hinge on Brand shooting himself or breaking down entirely; I was relieved to discover that the twist is subtler than that. Disobeying the major's direct orders, Courtney and Scott stage a two-man raid on von Richter's airfield in reprisal for his taunting demolition of "B" Flight; they inflict real damage on the German aerodrome, but they lose both of their planes, making it home by way of a spectacular crash landing in the trenches. A furious Brand is about to wire headquarters about a court-martial when headquarters rings first, with congratulations on a "splendid job." For a moment the scene looks like classic military comedy, the disapproving superior confounded by credit he doesn't deserve, but it swerves heart-sinkingly—for Courtney at least—when Brand's palpable, shocked relief at being released from the front lines bubbles over into a grim merriment at appointing his harshest critic his successor:
And now I've got you, Courtney. I've got you where I want you. So far the war has been a personal adventure for you, hasn't it, full of boom! and glory. As an individual flyer, you've been admirable, and you've evaded responsibility with equally supreme skill. Disobeyed orders? Blamed me? Accused me of putting kids into canvas coffins? Well, listen to this, my lad. Headquarters liked your raid this morning. They liked it so well that they've appointed me up to Wing! . . . And before I go, I'm ordered to appoint someone in my place. Here, in my place at this little desk . . . See how you like it, Mr. Squadron Commander Courtney. Right!
And he salutes the dumbfounded flyers as sharply and sardonically as ever Courtney did him and disappears out the door, possibly happier than I've ever seen Basil Rathbone in my life.4 The remainder of the film follows Courtney's discovery that what looked like callousness from the other side of the desk only looks like necessity from this one: he has his orders and he can't shirk them and it's just as bad for him as it was for Brand. He was the darling of the 59th when he was their insubordinate hotshot. Now he's the "dirty butcher" who can't spare a day for his best friend's kid brother to get his feet under him before being shot out of the sky. He drinks more than ever, and alone. Flynn is very good all through, don't get me wrong. It's nice to see him in a part that demands more from him than swashbuckling; he's as convincing in the exhausted later scenes as he is in the earlier, recklessly daring ones, and he has several quiet moments with Niven that can't have been improvised but feel as relaxed and affectionate as if they were. Nonetheless, I know I perked up when Brand reappeared late in the third act, bearing some sensitive and extraordinarily bad news for Courtney and his old flight. It's an understated reunion. There are emotional tangles that never clear. He could have sent a courier with these orders that are "too important to telephone about," but he's come himself for reasons that could be kindness or curiosity or schadenfreude or all of the above; he's brought a diffident, unexpectedly thoughtful present of Courtney's favorite brand of cigarette ("those gyppy cork-tips that you used to scream about—I found a tin of them in the mess") and hands it over after a moment of nervous fidgeting, which he apologizes for. He is sympathetic toward Courtney, who in turn understands intimately what his former superior was living with all those months, but they do not have a conversation about it, because Brand appears to be a naturally reticent person as well as a combat-stressed one and it wouldn't help Courtney if he tried. He greets the rest of the squadron as cheerfully as if he's been on vacation, whatever they thought of him when he left. And he watches without a trace of gloating as Courtney has to accept a volunteer for an effective suicide mission, only a slight, sad look of recognition: he can't shield Courtney from this responsibility any more than he could keep novice pilots out of German skies.
I know artists' lives are not their work; it remains impossible for me not to wonder how one informs the other, especially when biography and subject material overlap conspicuously. Major Brand is seen to wear the ribbon of the Military Cross. Rathbone had won the same decoration in 1918 for actions as crazily reckless as anything in The Dawn Patrol, leading daylight raids through no man's land disguised, like Birnam Wood, with branches and leaves. His younger brother had been killed in action the month before. He doesn't sound, two decades later when he talks about his postwar experience, as though he dodged quite as much PTSD as he makes it sound to Photoplay. Of the three principals of The Dawn Patrol, he was the only one with combat experience. I don't want to pretend that I can see more of Rathbone in Brand than he made visible, but I don't want to imagine that acting just happens in a vacuum, either. Anyway, something clicked between the actor and the part: he's third-billed, but he's the one I just wrote 2100 words about. This admiration brought to you by my better-adjusted backers at Patreon.
1. Hughes had been developing the similarly themed Hell's Angels since 1927; he sued Warner Bros. for plagiarism with the result that The Dawn Patrol beat Hell's Angels into theaters by four months and Hughes lost the lawsuit. I haven't seen Hell's Angels myself, but since it was partly directed by James Whale and stars Ben Lyon and Jean Harlow, I expect it's only a matter of time.
2. Major Brand is as far up the chain of command as we ever see. The "brass hats" above him are blaring, blurry voices on the other end of a telephone line, like Colonel Blimp by Charles Schultz. You can make out their dialogue if you concentrate, but it's oddly just as effective if you don't: they aren't speaking the same language anyway.
3. The dark-browed, gangly leader of the first set of new recruits is Lieutenant Russell, played by an uncredited John Rodion—otherwise known as Rodion Rathbone, born 1915, just before his father was called up to the Western Front. He doesn't last one mission, his proud eighteen hours in the air nothing against veteran enemies. "Poor little Cleaver went first—I don't believe he fired a shot. Russell must have gone about the same time. I didn't see." I don't know who in the audience would have caught it at the time, or if the general public was even intended to, but it's a biting in-joke, like subliminal Wilfred Owen: But the old man would not so, but slew his son / And half the seed of Europe, one by one. [edit] According to a 1938 issue of Hollywood, Basil and Rodion were supposed to share a scene, but the experience was so "unnerving" that "Basil blew up in his lines."
4. Obviously the best thing for Brand would be getting sent home where no one needs him to make any decision more serious than how much sugar he wants in his tea—he reminds me of Wimsey in Whose Body? (1923) and Busman's Honeymoon (1937) and I'm not surprised—but getting kicked upstairs at least seems to remove him from his intolerable bind of too much responsibility and too little power and put him somewhere he might have a chance of arguing for less sweepingly wasteful tactics and being listened to. Since it keeps him alive and in presumably better mental health, anyway, I'll take it.
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Most excellent. (Clearly, riding on roller coasters invigorates your brain.)
Thank you.
Nine
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Well, I need to get back on a cycle where I get sleep, because I think that really made a difference. But I am enjoying not only wanting to talk about things, but having the brain and the time.
Thank you for reading!
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Those actors, that director, world war I biplanes- it could hardly be cooler.
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It's the best dramatic work I've seen from Flynn, Niven is delightful, and Rathbone walks off with all of his scenes, if not the picture. Enjoy!
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I know! I have no idea who he was named for. He seems to have appeared in two movies with his father (The Dawn Patrol in 1938 and, the next year, Tower of London, which looks like a ridiculous Grand Guignol Richard III) and after that I can't find much information about him. Nice-looking kid, though.
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The producers apparently wouldn't pay for a proper Battle of Bosworth Field (they didn't think it mattered), so Corman mixed stock footage from the earlier Tower of London, close-ups of Price fencing with the camera, and a camera tracking across a map until it reaches the word BOSWORTH. It's all surprisingly effective.
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That's kind of a summary of why I enjoy Roger Corman.
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Thank you!
I'm sorry to read that Rodion's relationship with his father was not good (I'm sorry that Basil wasn't as good a parent as he was an actor), but I like the thought of him staging fencing duels in the barracks during World War II. Apparently his son of the same name ran computers at Yale School of Medicine.
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That's a wonderful story!
I am familiar with Rattigan as a playwright only through The Browning Version and The Deep Blue Sea, but I like both of those a lot. I've read about Flare Path, but never seen it.
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He walks off with the film as far as I'm concerned. I know Neil Hamilton was the original Major Brand, but I have trouble picturing anyone but Rathbone behind that desk.
I imprinted on his Sherlock Holmes when I was a kid, but my favorite performance of his is probably in Son of Frankenstein.
I've never seen that! He really was a proto-Peter Cushing. What's his Frankenstein like?
(What's his Holmes like, for that matter? I imprinted on Jeremy Brett.)
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It's hard for me to talk about Rathbone's Holmes, because all I keep wanting to say is, "He's Sherlock Holmes!" Some of his Holmes films are a little dicey, in particular the ones updated to the WWII era (and of course Nigel Bruce's sweetly bumbling Watson is nothing like the Conan Doyle character), but Rathbone's Holmes is always pitch perfect.
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I can see that this movie may be difficult to watch after Young Frankenstein, but I'm going to give it a try.
It's hard for me to talk about Rathbone's Holmes, because all I keep wanting to say is, "He's Sherlock Holmes!"
Fair enough! My default image of Rathbone before The Dawn Patrol was swashbuckling: Captain Blood (1935), The Adventures of Robin Hood (1938), The Court Jester (1955). Major Brand would have been much happier dueling than sitting behind a desk.
[edit] Some of his Holmes films are a little dicey, in particular the ones updated to the WWII era (and of course Nigel Bruce's sweetly bumbling Watson is nothing like the Conan Doyle character), but Rathbone's Holmes is always pitch perfect.
I know the first two are Victorian adaptations; do you recommend them first?
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It's less difficult than one might think, because there's a lot of intentional humor in Son of Frankenstein! And it's really a joy to see Rathbone, Lugosi, Atwill, and Karloff working together. Such a great cast (aside from an extremely annoying child actor!).
My default image of Rathbone before The Dawn Patrol was swashbuckling
Rathbone is a great swashbuckler!
I know the first two are Victorian adaptations; do you recommend them first?
Most definitely.
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Cool! What's his name?
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I have seen him credited in Mutiny on the Bounty (1935) and then uncredited in a variety of movies, some of which I can even remember him in, like The Canterville Ghost (1944). I will look forward to seeing him in a part where I can evaluate his Campion-ness. Thank you!
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The fact that it's not the man caught in the middle, the fact that it's shadowy commanders further up, or perhaps just War itself, cut free of the humans waging it, that's responsible, reminds me of this, from Grapes of Wrath:
We're sorry. It's not us. It's the monster. The bank isn't like a man.
Yes, but the bank is only made of men.
No, you're wrong there—quite wrong there. The bank is something else than men. It
happens that every man in a bank hates what the bank does, and yet the bank does it. The bank is something more than men, I tell you. It's the monster. Men made it, but they can't control it.
And then the correspondences with Basil Rathbone's own life--amazing.
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It's not available on Netflix, but it is on DVD. I hope you can get it from a library. I think Brand would have been the character who interested me most no matter what the narrative thought of him, but to discover that his conflict is the point of the story, especially when it passes to the hitherto careless Courtney, only made me more impressed with the film. And Rathbone is so very good. There's a wonderful small scene where Brand's adjutant (Donald Crisp) tries to distract him by daydreaming about a dog—"to sort of cheer us up, you know?"—and it is heartbreaking how long it takes Brand to catch on to the fantasy, even worse to see him begin to lighten just a little, just as the flight comes back.
or perhaps just War itself, cut free of the humans waging it
Never let Ares out of that bronze jar. It's never a good idea.
"It happens that every man in a bank hates what the bank does, and yet the bank does it. The bank is something more than men, I tell you. It's the monster. Men made it, but they can't control it."
That's very good. And a very good way of describing how people transfer their responsibility into institutions—and are then horrified at the results.
And then the correspondences with Basil Rathbone's own life--amazing.
It was a very strange kind of ghosting: not quite at the level of The Last Command (1928), but I had to wonder if it was close enough to raise echoes for him, or if the RFC was far enough from the Army and soundstages different enough from the real war that it wasn't an issue. I don't see how it couldn't have informed some of his performance, but I know everyone divides their lives differently. I think it would have raised ghosts for me. It did, watching.
[edit] If this interview in any way represents Rathbone's actual views—it's highly colored language throughout, with all four interviewees, so I'm willing to believe they volunteered the opinions, but I'm not convinced of the prose which presents them—that's not so far off from Steinbeck: "We go [to war] because we cease to be individuals. We become a mass machine." And if war was his definition of true horror, then it must have been part of his acting of Brand, because the character is in exactly that inconceivable trap which twenty years later Rathbone still hadn't shrugged off. Interesting of him to take the role, then. I'm glad he did; the results were the most compelling thing in the movie. No wonder the scene with his son was impossible to play, though.
Lugosi's definition of horror is indeed very scary.
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