“Gentlemen, keep the war going please. We are going out to roam in a few gutters.” — Flynn

During the first decade of sound films, it offered an opportunity to remake great silent films and some early talkies which were made before there was a firm grasp on the new medium. It usually proved to be a disappointment, however, as the magic captured so beautifully in one art form, or the beginning stages of another, rarely could be recaptured. Such is not the case with The Dawn Patrol. The great Howard Hawks had helmed the original 1930 version of John Monk Saunders' story starring Richard Barthelmess and Douglas Fairbanks, Jr. The 1938 version directed by Edmund Goulding for WB is quite fabulous on its own merits, thanks in large part to the performances of Errol Flynn and David Niven, and the faithfulness shown to the original source material.

Seton I. Miller and Dan Totheroh stayed true to Saunders' story the first time around, and WB stayed true by reusing it. While this version of a beleaguered squadron during WWI and the camaraderie of its weary pilots doesn’t have the majestic ariel footage of Wellman’s silent masterpiece, Wings, it isn't that far behind. Flynn and Niven are terrific as the veterans who keep watching younger and younger replacements to their squadron go down to Von Richter’s more experienced pilots across enemy lines in 1915 France. Courtney (Flynn) knows it's suicide sending them up in ariel combat with only a few hours training under their belt, but he must follow orders. Their resentment for Brand (Basil Rathbone), who gives those orders, is palpable. But neither know the heavy burden on Brand, who behind the scenes is constantly fighting with headquarters to give the young men more training time. But he too, must also follow orders.

Flynn is quite solid as the quiet hero but Niven truly sparkles as the happy-go-lucky Scott. When Courtney and Scott make a daring but foolhardy raid on a squadron, destroying them while they are still on the ground, it sets in motion a promotion which changes Courtney’s perspective, who is now suddenly in Brand’s shoes. When Scott’s young brother shows up as one of the green replacements, Courtney can not show favoritism and in the fallout the two friends stop speaking. Goulding shows the camaraderie of the pilots, which runs so deep it even extends to the enemy. During better times, there are hilarious references to a wild night as Courtney and Scott paint the town red, related to Brand by the furious top brass.

A dire one-pilot mission deep across enemy lines punctuates this film with a spectacular ariel battle. This is a fine film which kept the atmosphere of its predecessor and makes for a very entertaining and quietly moving film about WWI and the toll it took on men who flew in planes shot up and patched together with whatever was available. It says a great deal about courage and male bonding, and war itself. A marvelous and worthy remake. ( )