This watchable flagwaver (made prior to the Pearl Harbor attacks) actually the first of seven films I'll be watching to commemorate the 50th anniversary of Tyrone Power's death has a cocky American mail flyer itching for action and joining the R.A.F. in England; though his first mission consists in merely spreading anti-Nazi leaflets across Berlin skies, he then hits upon the idea of throwing out the packages outright in order to smash the German searchlights underneath!
While stationed in London, he conveniently runs into dancer-cum-nurse Betty Grable (amusingly drawing her attention by affecting a Cockney accent conveniently filmed from behind, so that the actor could be dubbed! soon after his arrival) and, despite the girl's 'reluctance', rekindles their affair from back home. Of course, during the course of the film, she also contrives to perform a couple of brief musical numbers and show off her famous legs a lot. Equally predictable, though, is the romantic complication wherein Power's British superior (John Sutton) also falls for the heroine, going so far as to propose to her while amiably pompous/cynical sidekick Reginald Gardiner provides the comedy relief (just as obligatory in films of this era).
Even if the film is nowadays rightly criticized for the unrealistic depiction of war-torn England, the film succeeds well enough at what it set out to do entertain (via action, drama and laughs), but also instill in home-grown audiences a sense of duty for the war effort in Europe. During aerial sequences, shots of the actors in the studio are skillfully blended via special effects with stock footage of actual battles; still, having Power bloodily shot down at Dunkirk and then making a mockery of his so-called war wounds simply to dupe Grable into submission is a bit much! Director King helmed several of the best vehicles tailored for Fox's reigning male star of the era but, being essentially lightweight, this isn't one of them if still emerging to be "not essential but very enjoyable" (to quote a line spoken by John Sutton in the film in respect to his invitation to walk Grable home) and that's mainly due to the undeniable Power-Grable chemistry displayed via their comic/romantic banter throughout the film.
While stationed in London, he conveniently runs into dancer-cum-nurse Betty Grable (amusingly drawing her attention by affecting a Cockney accent conveniently filmed from behind, so that the actor could be dubbed! soon after his arrival) and, despite the girl's 'reluctance', rekindles their affair from back home. Of course, during the course of the film, she also contrives to perform a couple of brief musical numbers and show off her famous legs a lot. Equally predictable, though, is the romantic complication wherein Power's British superior (John Sutton) also falls for the heroine, going so far as to propose to her while amiably pompous/cynical sidekick Reginald Gardiner provides the comedy relief (just as obligatory in films of this era).
Even if the film is nowadays rightly criticized for the unrealistic depiction of war-torn England, the film succeeds well enough at what it set out to do entertain (via action, drama and laughs), but also instill in home-grown audiences a sense of duty for the war effort in Europe. During aerial sequences, shots of the actors in the studio are skillfully blended via special effects with stock footage of actual battles; still, having Power bloodily shot down at Dunkirk and then making a mockery of his so-called war wounds simply to dupe Grable into submission is a bit much! Director King helmed several of the best vehicles tailored for Fox's reigning male star of the era but, being essentially lightweight, this isn't one of them if still emerging to be "not essential but very enjoyable" (to quote a line spoken by John Sutton in the film in respect to his invitation to walk Grable home) and that's mainly due to the undeniable Power-Grable chemistry displayed via their comic/romantic banter throughout the film.