As probably many others have been, I am surprised with how well this film has aged over almost a century. I've since seen a few silent films and have gotten used to, and have even grown to expect, some elements of stage acting being featured in them, and maybe bits of what some might say is overacting, due to the fact that the films have no sound. Despite that, this film still feels, more like a modern film and I was surprised to have experienced that. It's probably what makes these performances by all the actors feel exceptional as, indeed, they all are.
The cinematography is quite impressive in some spots, especially for its time. Although I'll admit I don't know exactly how difficult it was to film some of the more complex shots, I was still impressed by the swing scene in the beginning since I don't believe any of the modern films I've seen have shots quite like that. I was especially impressed with that, as well as, of course, the aerial combat scenes.
I will admit some of the drama felt a bit forced. There's a near-constant one-sided competition for Sylvia between Jack and David and while it seems that they end up leaving that behind early on, they get into one of those early, third-act fights where it becomes a tad bit predictable afterwards. It seems contrived because it's what the plot is asking for.
Also, I can't help but feel that the bubbles sequence existed in this film because they figured out how to do the special effects for bubbles and wanted to get the most out of it they possibly could. I don't think it's a stain on the film like it might be for some, but it definitely had me wondering why else they would put so much emphasis on it.
I have to say that some of the physical comedy in this film had me laughing, especially the comedy around Herman Schwimpf, whether it's that joke with him and the American flag tattoo on his arm or any of the multiple times he get hit and falls down. Maybe it's just the kid in me, but physical comedy has rarely been something I found particularly funny until this film came along. Not sure what it is but it's great.
After reading about this film, it doesn't surprise me that this is an early example of a Hollywood studio brokering a deal with the military for additional funds because the military sees it as a good recruitment tool. Indeed, this film does paint military life to be ideal with such things as saying that Jack left America as a boy and came back as a man- suggesting that men are made by being the survivors of an incredibly destructive war and becoming a hero because of it. Of course, in historical context, this attitude makes sense coming from Americans. I reckon a European perspective would have a more cynical and grim outlook but that's besides the point.
This film has the distinction of being a film that is part-recruitment tool for the military and still having its own merit as an aesthetic work of art that it still stands firm in spite of the former. It's a well-made film and one that I think is still worth seeing nearly 93 years later.
The cinematography is quite impressive in some spots, especially for its time. Although I'll admit I don't know exactly how difficult it was to film some of the more complex shots, I was still impressed by the swing scene in the beginning since I don't believe any of the modern films I've seen have shots quite like that. I was especially impressed with that, as well as, of course, the aerial combat scenes.
I will admit some of the drama felt a bit forced. There's a near-constant one-sided competition for Sylvia between Jack and David and while it seems that they end up leaving that behind early on, they get into one of those early, third-act fights where it becomes a tad bit predictable afterwards. It seems contrived because it's what the plot is asking for.
Also, I can't help but feel that the bubbles sequence existed in this film because they figured out how to do the special effects for bubbles and wanted to get the most out of it they possibly could. I don't think it's a stain on the film like it might be for some, but it definitely had me wondering why else they would put so much emphasis on it.
I have to say that some of the physical comedy in this film had me laughing, especially the comedy around Herman Schwimpf, whether it's that joke with him and the American flag tattoo on his arm or any of the multiple times he get hit and falls down. Maybe it's just the kid in me, but physical comedy has rarely been something I found particularly funny until this film came along. Not sure what it is but it's great.
After reading about this film, it doesn't surprise me that this is an early example of a Hollywood studio brokering a deal with the military for additional funds because the military sees it as a good recruitment tool. Indeed, this film does paint military life to be ideal with such things as saying that Jack left America as a boy and came back as a man- suggesting that men are made by being the survivors of an incredibly destructive war and becoming a hero because of it. Of course, in historical context, this attitude makes sense coming from Americans. I reckon a European perspective would have a more cynical and grim outlook but that's besides the point.
This film has the distinction of being a film that is part-recruitment tool for the military and still having its own merit as an aesthetic work of art that it still stands firm in spite of the former. It's a well-made film and one that I think is still worth seeing nearly 93 years later.