As the inaugural Academy Award winner, "Wings" stands as a historical curiosity that merits viewing despite being an average film at best. As one of the most costly productions of its era, the film is celebrated for its realistic aerial combat sequences. Director William Wellman, leveraging his experience as a World War I aerial combat veteran, skillfully orchestrated numerous scenes, both aerial and terrestrial, that convincingly mimic actual wartime footage.
"Wings" holds the distinction of being the sole silent film to win an Academy Award. By the time of its release in 1928, it had been enhanced with a synchronized music score. The film underwent a meticulous restoration in 2012, and it now appears remarkably pristine for a piece from the silent era.
The era's leading star, Clara Bow, was cast as the love interest, Mary Preston. Initially, the narrative follows fledgling pilots Jack Powell and David Armstrong as they compete for Sylvia Lewis's affections-Jack mistakenly believes Sylvia is enamored with him, whereas she actually harbors feelings for David. Throughout, Mary silently harbors her own unrequited affection for Jack.
Bow herself was critical of her role, rightly perceiving that "Wings" predominantly catered to a male audience with its focus on war. Nevertheless, the screenwriters managed to integrate her into the European setting, where she served as an ambulance driver.
A memorable scene at boot camp features a boxing match that highlights the rivalry-and eventual reconciliation-between Jack and David, acknowledging each other's bravery.
The plot thickens when the protagonists, now friends, are stationed in France, sharing quarters with Cadet White, portrayed by Gary Cooper, whose brief appearance ends tragically in an aerial training accident.
In an extended scene set in Paris, Mary encounters a heavily intoxicated Jack on leave. During his drunken stupor, Jack persistently hallucinates bubbles, impairing his ability to recognize Mary. The situation escalates when military police discover Mary attempting to change back into her uniform after temporarily donning a borrowed dress. This incident forces her to resign and return home, a harsh consequence for trying to help Jack.
The film culminates in the technically impressive but emotionally subdued Battle of Saint-Mihiel. Unlike the visceral depiction of war in "All Quiet on the Western Front," this battle scene lacks the profound horror of war, reflecting the limitations of its silent film format.
The narrative concludes melodramatically when David, after being shot down behind enemy lines and stealing a German biplane, is tragically mistaken for the enemy and shot down by Jack. Upon returning home, Jack delivers David's keepsakes to his grieving parents, who forgive him during a ceremonious welcome. As expected, Mary ultimately reveals her feelings to Jack.
Charles "Buddy" Rogers, portraying Jack, had no prior flight experience and underwent training for the realistic aerial shots. Conversely, Richard Arlen, who played David, was an experienced pilot, contributing to the authenticity of the flying scenes. Both actors effectively maintain the film's dynamic pace.
As a dramatic work, "Wings" suffers from the inherent limitations of silent films, where title cards struggle to convey complex narratives-a stark contrast to silent comedies, which thrive on visual action.
"Wings" serves as an appropriate farewell to the silent film era, underscoring the significant advancements brought by the introduction of sound in films.
"Wings" holds the distinction of being the sole silent film to win an Academy Award. By the time of its release in 1928, it had been enhanced with a synchronized music score. The film underwent a meticulous restoration in 2012, and it now appears remarkably pristine for a piece from the silent era.
The era's leading star, Clara Bow, was cast as the love interest, Mary Preston. Initially, the narrative follows fledgling pilots Jack Powell and David Armstrong as they compete for Sylvia Lewis's affections-Jack mistakenly believes Sylvia is enamored with him, whereas she actually harbors feelings for David. Throughout, Mary silently harbors her own unrequited affection for Jack.
Bow herself was critical of her role, rightly perceiving that "Wings" predominantly catered to a male audience with its focus on war. Nevertheless, the screenwriters managed to integrate her into the European setting, where she served as an ambulance driver.
A memorable scene at boot camp features a boxing match that highlights the rivalry-and eventual reconciliation-between Jack and David, acknowledging each other's bravery.
The plot thickens when the protagonists, now friends, are stationed in France, sharing quarters with Cadet White, portrayed by Gary Cooper, whose brief appearance ends tragically in an aerial training accident.
In an extended scene set in Paris, Mary encounters a heavily intoxicated Jack on leave. During his drunken stupor, Jack persistently hallucinates bubbles, impairing his ability to recognize Mary. The situation escalates when military police discover Mary attempting to change back into her uniform after temporarily donning a borrowed dress. This incident forces her to resign and return home, a harsh consequence for trying to help Jack.
The film culminates in the technically impressive but emotionally subdued Battle of Saint-Mihiel. Unlike the visceral depiction of war in "All Quiet on the Western Front," this battle scene lacks the profound horror of war, reflecting the limitations of its silent film format.
The narrative concludes melodramatically when David, after being shot down behind enemy lines and stealing a German biplane, is tragically mistaken for the enemy and shot down by Jack. Upon returning home, Jack delivers David's keepsakes to his grieving parents, who forgive him during a ceremonious welcome. As expected, Mary ultimately reveals her feelings to Jack.
Charles "Buddy" Rogers, portraying Jack, had no prior flight experience and underwent training for the realistic aerial shots. Conversely, Richard Arlen, who played David, was an experienced pilot, contributing to the authenticity of the flying scenes. Both actors effectively maintain the film's dynamic pace.
As a dramatic work, "Wings" suffers from the inherent limitations of silent films, where title cards struggle to convey complex narratives-a stark contrast to silent comedies, which thrive on visual action.
"Wings" serves as an appropriate farewell to the silent film era, underscoring the significant advancements brought by the introduction of sound in films.