| Wings | |
|---|---|
_poster.jpg) Film poster | |
| Directed by | William A. Wellman |
| Written by | Titles: Julian Johnson |
| Screenplay by | |
| Story by | John Monk Saunders |
| Produced by | |
| Starring | |
| Cinematography | Harry Perry |
| Edited by |
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| Music by | J.S. Zamecnik (uncredited) |
Production company | |
| Distributed by | Paramount Famous Lasky Corporation |
Release dates |
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Running time | |
| Country | United States |
| Languages |
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| Budget | $2 million[4] |
| Box office | $3.8 million (US and Canada rentals)[5] |
Wings is a 1927 American silent andsynchronized soundwar film which won the firstAcademy Award for Best Picture. While the sound version of the film has no audible dialogue, it was released with a synchronized musical score with sound effects. The original soundtrack to the sound version is preserved at UCLA.[6]
The film starsClara Bow,Charles "Buddy" Rogers, andRichard Arlen. Rogers and Arlen portrayWorld War I combat pilots in a romantic rivalry over a woman. It was produced byLucien Hubbard, directed byWilliam A. Wellman, and released byParamount Famous Lasky Corporation.Gary Cooper appears in a small role, which helped launch his career inHollywood.
The film, a romantic action-war picture, was rewritten by scriptwritersHope Loring andLouis D. Lighton from a story byJohn Monk Saunders to accommodate Bow, Paramount's biggest star at the time. Wellman was hired, as he was the only director in Hollywood at the time who had World War I combat pilot experience, although Richard Arlen and John Monk Saunders had also served in the war as military aviators. The film was shot on location on a budget of $2 million (equivalent to $28 million in 2024) atKelly Field inSan Antonio, between September 7, 1926, and April 7, 1927. Hundreds of extras and some 300 pilots were involved in the filming, including pilots and planes of theUnited States Army Air Corps which were brought in for the filming and to provide assistance and supervision. Wellman extensively rehearsed the scenes for theBattle of Saint-Mihiel over ten days with some 3,500 infantrymen on a battlefield made for the production on location. Although the cast and crew had much spare time during the filming because of weather delays, shooting conditions were intense, and Wellman frequently conflicted with the military officers brought in to supervise the picture.
Acclaimed for its technical prowess and realism upon release, the film became the yardstick against which future aviation films were measured, mainly because of its realistic air-combat sequences. It went on to win the inauguralAcademy Award for Outstanding Picture at the firstAcademy of Motion Picture Arts and Sciencesaward ceremony in 1929,[7] the only fully silent film to do so.[b] It also won theAcademy Award for Best Engineering Effects (Roy Pomeroy).Wings was one of the first widely released films to shownudity. In 1997,Wings was selected for preservation in the United StatesNational Film Registry by theLibrary of Congress as being "culturally, historically, or aesthetically significant", and the film was re-released toCinemark theaters to coincide with the 85th anniversary for a limited run in May 2012. The film was re-released again for its 90th anniversary in 2017. TheAcademy Film Archive preservedWings in 2002.
The film entered thepublic domain in the United States in 2023.[8]
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Jack Powell and David Armstrong are rivals in the same small American town, both vying for the attentions of pretty Sylvia Lewis. Jack fails to realize that "the girl next door", Mary Preston, is desperately in love with him. The two young men both enlist to become combat pilots in theArmy Air Service. When they leave for training camp, Jack mistakenly believes Sylvia prefers him, but she actually prefers David and lets him know about her feelings, but is too kindhearted to turn down Jack's affection.
The two men endure a rigorous training period, where they are enemies. But during a bloodyboxing match, they realize each other's courage and become best friends. Upon graduating, they are sent toFrance to fight againstImperial Germany.
Jack and David arebilleted together. Their tent mate is Cadet White, but their acquaintance is all too brief; White is killed in an air crash the same day.
Mary joins the war effort by becoming anambulance driver. She later learns of Jack's reputation as the ace known as "The Shooting Star" and encounters him while on leave in Paris. She finds him, but he is too drunk to recognize her. She takes him back to his room and puts him to bed, but when twomilitary police barge-in while she is innocently changing from a borrowed dress back into her uniform in the same room, she is forced to resign and return to the United States.
The climax of the story comes with the epicBattle of Saint-Mihiel. David is shot down and presumed dead. However, he survives the crash landing, steals a Germanbiplane, and heads for theAllied lines. By a tragic stroke of bad luck, Jack spots the enemy aircraft and, bent on avenging his friend, begins an attack. He is successful in downing the aircraft and lands to retrieve a souvenir of his victory. The owner of the land where David's aircraft crashed urges Jack to come to the dying man's side. He agrees and becomes distraught when he realizes what he has done. David consoles him, and before he dies, forgives his comrade.
At the war's end, Jack returns home to a hero's welcome. He visits David's grieving parents to return his friend's effects. During the visit, he begs their forgiveness for causing David's death. Mrs. Armstrong says it is not Jack who is responsible for her son's death, but the war. Then, Jack is reunited with Mary and realizes he loves her.
| George Irving | Mr. Powell |
|---|---|
| Hedda Hopper | Mrs. Powell |
| Evelyn Selbie | dressing room attendant |
| Robert Livingston | recruit in examination office |
| William A. Wellman | doughboy |
| Nigel De Brulier | French peasant |
| Zalla Zarana | French peasant girl |
| Douglas Haig | little French boy |
| Thomas Carrigan | aviator |
| Charles Barton | soldier flirting with Mary |
| James Pierce | military policeman |
| Carl von Haartman | German officer |
| Thomas Carr | aviator |
| Dick Grace | aviator |
The film featured a theme song entitled "Wings" which was composed by J. S Zamecnik and Ballard Macdonald.[9]
The film was written byJohn Monk Saunders (with uncredited story ideas contributed by Byron Morgan),Hope Loring andLouis D. Lighton (screenplay), produced byLucien Hubbard (who also did uncredited co-editing), directed byWilliam A. Wellman, with an original orchestral score byJ.S. Zamecnik, which was also uncredited. It was rewritten to accommodate Clara Bow, as she was Paramount's biggest star, but she wasn't happy about her part: "Wings is...a man's picture and I'm just the whipped cream on top of the pie".[10]
Producers Lucien Hubbard andJesse L. Lasky hired director Wellman as he was the only director in Hollywood at the time who had World War I combat pilot experience.[11][12] Actor Richard Arlen and writer John Monk Saunders had also served in World War I as military aviators. Arlen was able to do his own flying in the film and Rogers, a non-pilot, underwent flight training during the course of the production, so that, like Arlen, Rogers could also be filmed in closeup in the air. Lucien Hubbard offered flying lessons to all, and despite the number of aircraft in the air, only two incidents occurred—one involved stunt pilotDick Grace, who broke his neck falling out of the cockpit after a controlled crash;[13] while the other was the fatal crash of anArmy Air Service pilot.[14] Wellman was able to attract War Department support and involvement in the project, and displayed considerable prowess and confidence in dealing with planes and pilots onscreen, knowing "exactly what he wanted", bringing with it a "no-nonsense attitude" according to military film historian Lawrence H. Suid.[15]
Wings was shot and completed on a budget of $2 million atKelly Field,San Antonio,Texas between September 7, 1926, and April 7, 1927.[12] Primary scout aircraft flown in the film wereThomas-Morse MB-3s standing in for American-flownSPADs andCurtiss P-1 Hawks painted in German livery. Developing the techniques needed for filming closeups of the pilots in the air and capturing the speed and motion of the planes onscreen took time, and little usable footage was produced in the first two months.[16] Wellman soon realized that Kelly Field did not have the adequate numbers of planes or skilled pilots to perform the needed aerial maneuvers, and he had to request technical assistance and a supply of planes and pilots from Washington. The Air Corps sent six planes and pilots from the1st Pursuit Group stationed atSelfridge Field near Detroit, including then-2nd Lt.Elmer J. Rogers Jr. and 2d Lt.Clarence S. "Bill" Irvine who became Wellman's adviser. Irvine was responsible for engineering an airborne camera system to provide close-ups and for the planning of the dogfights, and when one of the pilots broke his neck, performed in one of the battle scenes himself.[14][16][c]
Hundreds of extras were brought in to shoot the picture, and some 300 pilots were involved in the filming.[17] Because the aerial battles required ideal weather to shoot, the production team had to wait on one occasion for 18 consecutive days for proper conditions in San Antonio.[12] If possible, Wellman attempted to capture footage in the air in contrast to clouds in the background, above or in front of cloud banks to generate a sense of velocity and danger. Wellman later explained, "motion on the screen is a relative thing. A horse runs on the ground or leaps over fencers or streams. We know he is going rapidly because of his relation to the immobile ground".[16] Against the clouds, Wellman enabled the planes to "dart at each other", and to "swoop down and disappear in the clouds", and to give the audience the sense of the disabled planes plummeting. During the delay in the aerial shooting, Wellman extensively rehearsed the scenes for theBattle of Saint-Mihiel over ten days with some 3500 infantrymen.[18] A large battlefield with trenches and barbed wire was created on location for the filming. Wellman took responsibility for the meticulously planned explosions himself, detonating them at the right time from his control panel.[18] According to Peter Hopkinson, at least 20 young men, including cameramanWilliam Clothier, were given hand-held cameras to film "anything and everything" during the filming.[19]
Wellman frequently conflicted with the military officers brought in to supervise the picture, especially the infantry commander whom he considered to have "two monumental hatreds: fliers and movie people". After one argument Wellman retorted to the commander, "You're just a goddamn fool because the government has told me you have to give me all your men and do just exactly what I want you to do."[16] Although Wellman paid much attention to technical details in shooting, he used cars and clothing of the year during the filming, forgetting to use those of World War I.[20] He took six weeks to fully edit the film and prepare it for release.[21]
Whereas most Hollywood productions of the day took little more than a month to shoot,Wings took approximately nine months to complete in total. Although Wellman was generating spectacular aerial footage and making Hollywood film history, Paramount expressed concerns with the cost of production and expanding budget. They sent an executive to San Antonio to complain to Wellman who swiftly told him that he had two options, "a trip home or a trip to the hospital".[18] According to biographer Frank T. Thompson, Wellman approached producerDavid O. Selznick regarding a contract predicament asking him what he should do to which Selznick replied, "Just keep your mouth shut. You've got 'em where it hurts."[21] Otto Kahn, the financier bankrolling the production, arrived on set as Wellman was filming the St-Mihiel battle sequence, inadvertently disrupted Wellman's detonation timings, and caused several extras to be seriously injured. Wellman loudly and profanely ordered Kahn off the set. That evening, Kahn visited Wellman in his hotel room, told him he was impressed with his direction, and he could have whatever he needed to finish the picture.[13]
The cast and crew had a lot of time on their hands between shooting sequences, and according to director Wellman, "San Antonio became the Armageddon of a magnificent sexualDonnybrook". He recalled that they stayed at the Saint Anthony Hotel for nine months and by the time they left the elevator girls were all pregnant.[12] He stated that Clara Bow openly flirted with the male cast members and several of the pilots which was reciprocated, despite having become engaged toVictor Fleming the day after arriving in San Antonio on September 16, 1926.[22]Gary Cooper, appearing in a role which helped launch his career in Hollywood, began a tumultuous affair during the production with Bow.[23] Cooper reportedly showedHoward Hughes the script to the film and he was not impressed, considering the drama in it to be "sudsy", although he informed Cooper that he looked forward to seeing how Wellman would accomplish the technical aerial sequences.[23] Bow strongly detested the wardrobe that Paramount designerTravis Banton made for the film. She slit the necklines and cut off the sleeves of her costumes, much to Banton's chagrin.[24]
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Wings is also one of the first widely released films to shownudity. In the enlistment office, nude men are visible from behind undergoingphysical exams, through a door which opens and closes several times.[25] In the scene in which Rogers becomes drunk, the intoxication displayed on screen was genuine, as although 22 years of age, he had never tasted liquor before, and quickly became inebriated from drinking champagne.[26] During David's death scene, Jack is plainly observed kissing him on the left cheek near the left corner of Dave's mouth, which has led to interpretations of this film as depicting cinema's first male-to-male kiss.[27][28] While there is no general consensus about which film achieves thisLGBT milestone,D.W. Griffith'sIntolerance (1916),Cecil B. DeMille'sManslaughter (1922), andJosef von Sternberg'sMorocco (1930) have also been suggested.[29][30]
Wellman dedicated the film "to those young warriors of the sky whose wings are folded about them forever".[20] A sneak preview was shown May 19, 1927, at the Texas Theater on Houston Street inSan Antonio. The premiere was held at the Criterion Theater, in New York City, on August 12, 1927, and was screened for 63 weeks before being moved to second-run theaters.[31] The film eventually opened in Los Angeles on January 15, 1928. The original Paramount release ofWings was color tinted and had some sequences in an earlywidescreen process known as Magnascope, also used in the 1926 Paramount filmOld Ironsides. The original release also had the aerial scenes use theHandschiegl color process for flames and explosions. Late in 1928, a sound version was prepared with synchronized sound effects and music, using theGeneral Electric Kinegraphone (laterRCA Photophone)sound-on-film process.[4]
Wings was an immediate success upon release and became the yardstick against which successive aviation films were measured for years thereafter, in terms of "authenticity of combat and scope of production".[20] One of the reasons for its resounding popularity was the public infatuation with aviation in the wake ofCharles Lindbergh'stransatlantic flight.[32] The Air Corps who had supervised production expressed satisfaction with the end product.[20] The critical response was equally enthusiastic and the film was widely praised for its realism and technical prowess, despite a superficial plot, "an aviation picnic" as Gene Brown called it.[33][34] The combat scenes of the film were so realistic that one writer studying the film in the early 1970s was wondering if Wellman had used actual imagery of planes crashing to earth during World War I.[35] One critic observed: "The exceptional quality ofWings lies in its appeal as a spectacle and as a picture of at least some of the actualities of flying under wartime conditions."[20] Another wrote: "Nothing in the line of war pictures ever has packed a greater proportion of real thrills into an equal footage. As a spectacle,Wings is a technical triumph. It piles punch upon punch until the spectator is almost nervously exhausted".[35]Mordaunt Hall ofThe New York Times praised the cinematography of the flying scenes and the direction and acting of the entire cast in his review dated August 13, 1927. Hall notes only two criticisms, one slight on Richard Arlen's performance and of the ending, which he described as "like so many screen stories, much too sentimental, and there is far more of it than one wants."[36]
By June 1932,Wings had earned $3.6 million in worldwidetheatrical rentals.[37]
On review aggregatorRotten Tomatoes, the film holds a score of 93% based on 61 reviews, with an average rating of 7.6/10. The website's critics consensus reads, "Subsequent war epics may have borrowed heavily from the original Best Picture winner, but they've all lacked Clara Bow's luminous screen presence and William Wellman's deft direction."[38]
On May 16, 1929, thefirst Academy Award ceremony was held at theHotel Roosevelt in Hollywood to honor outstanding film achievements of 1927–1928.Wings was entered in a number of categories and was the first film to win theAcademy Award for Best Picture (then called "Best Picture, Production") andBest Engineering Effects forRoy Pomeroy for the year. It remains the only silent film to win Best Picture.
Sunrise: A Song of Two Humans, which won Unique and Artistic Production, was considered an equal top winner of the night but the following year, the academy dropped the Unique and Artistic Production award and decided retroactively that the award won byWings was the highest honor that could be awarded.[39] The statuette, not yet known as the "Oscar", was presented byDouglas Fairbanks to Clara Bow on behalf of the producers, Adolph Zukor and B.P. Schulberg.[40]
TheCross and Cockade, a World War I pilots association, decided to host a tribute toWings in 1968. They found Paramount did not even have photos. They recreated stock film, reprinted the picture and had a retrospective inviting the director and stars Richard Arlen and Buddy Rogers. The brochure was available for a small period of years but is reprinted in a book narrated by Richard Arlen, published by Judy Watson, titledWings and other Recollections of Early HollywoodISBN 1507552386 andLCCN 2015-900786.
For many years,Wings was considered alost film until a print was found in theCinémathèque Française film archive in Paris and quickly copied fromnitrate film tosafety film stock.[4][41] It was again shown in theaters, including some theaters where the film was accompanied byWurlitzer pipe organs.[42]
In retrospect, film scholarScott Eyman in his 1997 bookThe Speed of Sound: Hollywood and the Talkie Revolution 1926–1930 highlights both the diverse structure and adapted aspects ofWings in that transitional period in Americancinematography:
Ironically, a mass-market silent spectacular like William Wellman'sWings effortlessly showcases far more visual variety than mainstream American films have offered since: it displays shifts from brutal realism to nonrealistic techniques associated with Soviet avant-garde or impressionistic French cinema – double exposures, subjective point-of-view shots, trick effects, symbolic illustrations on the titles, and so on.[43]
In 1997,Wings was selected for preservation in the United StatesNational Film Registry by theLibrary of Congress as being "culturally, historically, or aesthetically significant".[44][45][46] In 2006, director Wellman's son, William Wellman Jr., authored a book about the film and his father's participation in the making of it, titledThe Man and His Wings: William A. Wellman and the Making of the First Best Picture.[47]
The film was the focus of an episode of the television seriesPetticoat Junction that originally aired November 9, 1968, the show's sixth season. Arlen and Rogers were scheduled to appear during the film's opening at one of the local cinemas in 1928. They opted instead to attend the New York screening that was held the same night.Uncle Joe writes a letter chiding the pair for forsaking the town. To atone and generate publicity, they agreed to attend a second opening, 40 years later. This episode features actual clips from the film.[48][49]
Arlen and Rogers also appeared together as themselves on a December 18, 1967, episode ofThe Lucy Show titled "Lucy and Carol Burnett: Part 2". They are introduced as the stars ofWings at a ceremony to mark the graduation ofLucille Ball andCarol Burnett from stewardess training. They appear on stage beneath stills taken from the film and later in the ceremony, star in a musical with Ball and Burnett, as two World War I pilots.[50]
Shortly after the film entered the public domain, it was adapted into a stage play by Alaina Tennant. A workshop production was held at Ohio University in 2024.[51][52][53]
As the original negatives are lost, the closest to an original copy is a spare negative rediscovered in Paramount's vaults subsequent to the Cinémathèque Française print. Suffering from decay and defects, the negative was fully restored with modern technology. The original synchronized soundtrack to the sound version survives at UCLA.[6] For the restored version ofWings, it was decided not to use the original, now public-domain, synchronized score so that a new modern soundtrack could be used. The original music score was re-orchestrated. The sound effects were recreated atSkywalker Sound using archived audio tracks. The scenes using theHandschiegl color process were also recreated for the restored version.[54]
The first restored version was released on Laserdisc in the US in 1985, was one of the earliest discs with digital sound, and featured an organ score byGaylord Carter. This version would be released in a double feature withThe Big Parade for its Japanese Laserdisc release.
In 1996, Paramount issued aVHS release.[55] In 2012, the company issued a "meticulously restored" version forDVD andBlu-ray.[54] The remastered version inhigh definition coincided with the centennial anniversary of Paramount. It opens with a logo montage, which starts with the 2010–2013 version of the previous logo or the 2011–2012 "100 Years" version of the current logo and looks back at previous logos from the past 100 years, starting with the 1990 version of the 1986 logo, up into the opening logo of the film.[54] On May 2 and 16, 2012, selectCinemark theaters screened an exclusivelimited re-release twice daily to coincide with the film's 85th anniversary. It received a worldwide limited release for its 90th anniversary celebration.[56][57]
The film was preserved by theAcademy Film Archive, in conjunction with theLibrary of Congress and Paramount Pictures, in 2002.[58]
The sound version of the film was created late in 1928 due to the public's apathy towards silent films and therefore this was the version that most audiences saw back in 1928 and 1929. Even though the original synchronized soundtrack survives at UCLA it has not yet been restored to the film and released.
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