Hell's Angels (United Artists) (1930)

Reviews and Current Stories Breath-Taking Air Spectacle and Absorbing Entertainment Provided by "Hell’s Angels” Unparalleled spectacle vitalized the screen of the. theatre last night when “Hell’s Angels,” the stupendous four million dollar picture began its run. That nothing like it had ever been seen, before was appar¬ ent from the reaction of the audience. As the war in the clouds began and a monstrous Zeppelin nosed its way through clouds suddenly to confront squadrons of hostile planes raa noeuvering for an attack, enthusiasm ran high. There was an audible appreciation of the grandeur and daring of these mar¬ velous scenes, but when the conflict actually began and planes crashed in the skies, zoomed down into giant dirigibles and went hurtling through space a mass of flaming ruins, the audi¬ ence was stunned. Only after the picture was over and they were filing out of the theatre did the spectators actually begin to marvel at the extraordinary had seen. “Hell's Angels” tells the story of aerial warfare so thoroughly that all subsequent pictures of this type can be but feeble anti-climaxes. Never again will a producer take the trouble or spend the money to get the effects or catch the feeling of magnitude that characterizes this multi-million dollar sensation. From all accounts the picture was not made without great difficulty. It took three years to film. First it was made as a silent film. Then with the advent of sound, Producer- Director Howard Hughes refilmed the entire production with dialogue and sound. Not wishing to fall down on the smallest detail, Pro¬ ducer Hughes scoured the aviation centers here and abroad to get counterparts, and in some cases the originals of war planes actually fig¬ uring in the war. Here was an attempt to give the world the immortal drama of avia¬ tion, an attempt to produce some¬ thing stirring, beautiful, virile. There is a depth and power in every one of these air scenes which is unforgettable. There is a grace and a speed to the aerial battalions as they graze the mountains and float off to become smaller and smaller in the infinite distance. Then come the clarions of war, whirring motors purring a steady whine of death. Sublime drama marks the clash of these giants of the sky as they pour a steady stream of lead into one another’s planes, and the machines sizzle, flare up and plunge down to earth with their helpless victims entrapped in blazing pris¬ ons. One is left spellbound as this gorgeous panorama brings home the thrills of sky warfare. The story which leads up to this astounding spectacle is as absorbing as it is unusual. War is on and two brothers—one a noble and self- sacrificing, the other a scapegrace eager only for wine, women and song—enlist in the Royal Flying Corps. Roy, the finer brother, is in love with a girl unworthy of his high ideals; the other loves all girls, but no one so much as himself. The night that they are scheduled to leave on a dangerous attack against a munitions plant, Roy finds his sweetheart in another man’s arms. Following a terrific bombardment, in which the munitions plant is de¬ stroyed, they encounter Richthofen's “Flying Circus.” English reinforce¬ ments arrive and a terrific “dog¬ fight” of the skies follows in which the giant plane of the brothers is cracked up, and they are taken cJames Stall, featured mffHeiTs cJtngels'L^ 42—One Col. Player Scene Head (Mat 05c; Cut 30c) and magnificent spectacle they prisoners. There is a tremendously strong scene when the Germans threaten to shoot both men unless they divulge the Allied plans. How Roy saves the situation, despite Monte’s desire to reveal everything and his triumphant courage at the close of the picture, result in a stirring and inspiring climax. Ben Lyon as the cowardly brother and James Hall as the heroic one, both contribute exceptionally fine per¬ formances. Their work in the air¬ plane sequences is deserving of the highest praise. No miniatures were used for any of these shots, inci¬ dentally. Every hazard risked by the actors was genuine. In the big battle sequences where several Zeppelins and many dozen of air¬ planes took part, both men almost lost their lives. As it was their injuries confined them to bed for several weeks. Jean Harlow, a newcomer to the screen, plays the part of the volup¬ tuous sweetheart. Beautiful, young, talented, it is generally admitted that she is destined to do big things on the screen. Other important roles in this United Artists picture are taken by John Darrow, Lucien Prival, Douglas Gilmore, Jane Win- ton, F. Schumann Heink, Pat Som¬ erset, Roy Wilson, Evelyn Hall, William B. Davidson and Wyndham Standing. “Hell’s Angels” is a thrill of thrills and is bound to be the town talk for weeks to come. "Hell’s Angels” Tells Daring Story of Love One of the most daring love stories ever screened provides the romantic background for the thrill¬ ing air scenes in “HeTl’s Angels," Howard Hughes’ super-spectacle of war-time aviation now playing at the .theatre. Amazing and unconventional love scenes are depicted for the first time with unvarnished realism, present¬ ing a war-time heroine in a frank and astounding characterization. Jean Harlow, who plays the lead¬ ing feminine role in “Hell’s Angels,” opposite Ben Lyon and James Hall, became a star overnight as a result of her performance in this picture, which marks her inaugural appear¬ ance on the screen. Her performance was so vivid and realistic that a nationally known dramatic critic declared she was “the most sensuous personality that has ever graced the screen." The modernistic treatment of sex in “Hell’s Angels” has created wide discussion among women fans, and the feminine element is always well represented at all performances. AIRSTUNTMEN DO STUFF FOR MOVIES America’s foremost stunt men and aerial dare-devils took part in the Howard Hughes’ air spectacle “Hell’s Angels,” which comes to the .theatre, Frank Clark, Roy Wilson, Mau¬ rice “Loop the Loop" Murphy, Leo Nomis, Frank Tomick, A1 Wilson, Roscoe Turner, and many others, are among the noted air devils who performed in the film thriller. Clark is considered the ace of stunt-flyers, having won more prizes at air meets than any other aviator in the country. Murphy is regarded as the best "loop” and "tail-spin” artist in the business. Wilson and Nomis are ranked among the most daring and expert stunt men in the United States, and Tomick was one of America’s foremost flyers during the World War. More than 200 pilots, in all, took part in filming the air sequences of "HeU’s Angels." AN ARTIST’S CONCEPTION 39—Two Col. Scene (Mat 10c; Cut 50c) "Hell’s Angels” Holds Audience Spell-Bound as Thrill Tops Thrill in Smashing Air Drama One of the most glorious picture entertainments it has ever been this reviewer’s privilege to see was flashed on the screen at the. theatre. It is called “Hell’s Angels" and it’s the film that Producer- Director Howard Hughes took three years to make at a cost of $4,000,- 000. But the magnitude, the spec¬ tacle the grandeur of this breath¬ taking air drama, with its countless droning planes, mighty Zeppelins and stirring sky conflicts more than justifies everything that has been put into it. It had last night’s audi¬ ence gasping for breath when it was all over. As an achievement it is doubtful whether it will ever have an equal; as a dramatic account of the aviators’ part in the war it tells the story on such a grandiose scale that all future pictures of this sort can be but feeble anti-climaxes. Never have there been such thrills as those provided by the sensational stunts of the flying circus. There is no question but that the aviators were risking life continually as were the cameramen who, besides catch¬ ing remarkable long shots and close- ups, of the amazing air encounters have contributed a magnificent piece of photography as well. The Zep¬ pelin raid, the daring dog-fights, the crack-ups, the head-on collisions and the 10,000-foot plunges to earth are reproduced so vividly as to make you forget it is a picture. There were no miniature or fake shots used in these sequences. Ev¬ erything is genuine. Many of the best known war aces piloted the dif¬ ferent planes. Three men were killed and a cameraman expired as a result oi the terrific nerve tension under which he was working. There will not be another picture like "Hell’s Angels" for a long time, if ever. No matter what you’ve seen before, you’ll be elec¬ trified by its three terrific high¬ lights—the raid on London, the bombing of the German munitions factory and the free-for-all dog¬ fight high in the clouds. Night has fallen over London. Suddenly a Zeppelin noses its way out of the clouds. The crew is testing the bombing apparatus. Crisply, orders are barked out. The British sound-detectors pick up the sounds of the monster’s motors. And defending planes zoom off to disperse the enemy. A terrific bat¬ tle is waged in which all planes but one is forced down. The machine gun of the last one has jammed. A steady stream of lead belches forth from the angry mouth of the sky whale. In desperation, the helpless pilot points his plane toward the big ship and rams into her at top speed. Thunderous noises, sizzling, leaping flames, and down go the entangled masses of steel and matter with the crew caught like rats in a trap. What a thrill! What drama! The blowing up of the munitions plant and the terrific dog-fight be¬ tween 50 planes or more, zooming, plunging, crashing, somersaulting cjown to destruction provide the most astounding thrills that have ever captivated an audience. There is a colorful story running through the film about two brothers of totally different natures, one fine and noble, the other bon vivant who loves himself and his good times. They join the Royal Air Corps and become major factors in the aerial adventures that make “Hell’s An¬ gels” the astounding air spectacle it is. Ben Lyon, James Hal! and Jean Harlow, a striking blonde beauty who makes her first scre« a appear¬ ance in this picture, head a splendid cast of well-known actors and avia¬ tors. “Hell’s Angels” is contparable to nothing you’ve ever se<Sn before. Unsurpassed in its quality to enter¬ tain and amaze, it is one picture you will want to see at least once, if not two and three times. Hit Producer Goes . Limit for Latest Howard Hughes, whose $4,000,- 000 air-war film, “Hell’s Angels,” is playing currently at the. theatre, is the youngest producer and director in the businesjf of mo¬ tion pictures. Although he is only 25 years old, he is recognized as the outstanding independent producer in the indus¬ try, and as a result of the sensa¬ tional success of "Hell’s Angels” he has been acclaimed the "Man of the Hour” in Hollywood. Every picture which Howard Hughes has given to the public has been a box-office sensation, and his latest film has been pronounced by critics the most spectacular enter¬ tainment of all time. Mr. Hughes, with an enormous personal fortune, entered the pic¬ ture business four years ago. His first film, “Two Arabian Knights,” was almost unanimously procla’ ^gd by the critics as one of the out¬ standing pictures of that season. His second production, "The Racket," was equally popular with the public, and won awards of merit from the Academy of Motion Pitj; ture Arts and Sciences. "Hell’s Angels,” his latest presen¬ tation, has already created more dis-^ cussion and evoked more praise', than any previous picture to come? out of Hollywood. Mr. Hughes spent three years of his youth and $4,000,000 of his for¬ tune in making “Hell’s Angels.” This is the most time and money ever put into a film spectacle, silent or talking. Without exception, observers ev¬ erywhere have declared that “Hell’s Angels” more than justifies this un¬ precedented outlay of time and money. Mr. Hughes is probably the only producer in Hollywood with the courage to sink so much money into a single picture, and there are scenes in “Hell's Angels.” which it is generally agreed will never again be duplicated on the screen. The three terrific highlights in the picture consist of a Zeppelin raid on London; the bombing <>f a munitions plant in Germany and a dog-fight on a grand scale in which fifty planes take part. Many inter¬ national famous aviators were en¬ gaged to play in these scenes. Jean Harlow, Ben Lyon and James Hall play the leading roles. 87 Planes in "Hell’s Angels” Battle Scenes “Hell's Angels,” e most extrav¬ agant film spe'- of all time, is now playing theatre fr-,a aer- of. f < ,-ls” is the sensational a; .a which was produced a*- -cted by Howard Hughes at j t > of $4,000,000 and after three yr -s of continuous filming. This widely-heralded production was given a spectacular dual pre¬ miere in New York at the Criterion and Gaiety Theatres. The critics unanimously and enthusiastically ac¬ claimed it, while millions flocked to both theatres and set up new box- office records for Broadway. Howard Hughes, 25-year-old mul¬ ti-millionaire, began the filming of Hell s Angels” three years ago, when he determined to create the most lavish and realistic film-drama ever attempted. Critics everywhere agree he has accomplished his aims, and today he is the most spectacu¬ lar and colorful individuality in the film industry. Exactly 87 airplanes of true war¬ time vintage, assembled from all parts of the world, were used in the filming of "Hell’s Angels,” and in one scene alone 50 planes are shown in action simultaneously on the screen. A Zeppelin sequence, which tech¬ nicians and laymen alike agree is the most impressive sequence ever screened, is another highlight of Hughes aerial extravaganza. More than I 00 pilots and upwards of 20,000 players and technicians took part in the making of "Hell’s Angels,” which is admittedly the first authentic and realistic repro¬ duction of the world war in the air. Ben Lyon, James Hall, Jean Har¬ low, Lucien Prival and John Darrow head the cast. Producer of "Hell’s Angels” A-l Aviator Howard Hughes, the producer and director of “Hell’s Angels," spectacular air film now playing at the .theatre, is him¬ self one of the best licensed air pilots in the west. During the three years devoted to filming of “Hell’s Angels” Mr. Hughes personally devoted all of the action in the air from his pri¬ vate plane, at that time, a Waco, equipped with a Wright whirlwind motor. Recently Mr. Hughes purchased a Model 100, fast pursuit plane, from the Boeing Airplane Company, Seattle, for his private use. More than 100 planes and pilots were used in photographing the thrilling air battles in “Hell’s An¬ gels,” and 50 planes are shown in action simultaneously on the screen. "HeU’s Angels” is the first air picture in which there are no faked or processed shots, and every foot of action is authentic and realistic. This accounts for the tremendous time and money laid out in produc¬ ing “Hell’s Angels,” which Mr. Hughes was determined to make the most realistic entertainment ever put on a screen. Ben Lyon and James Hall, who play the male leads in “Hell’s An¬ gels” are also expert pilots and ac¬ tually flew in the thrilling scenes in which they appear on the screen. cJean Gtartoiu, featured in “ Oteif s wAngelsL ^ ^ 40—One Col. Player Scene Head (Mat 05c; Cut 30c)