robertguttman while admittedly far from the best Hollywood effort of the period, it is interesting to note that "A Yank in the RAF" was produced and released well before the U.S. entered World War II. Although legally neutral, there was little doubt in which direction Hollywood's sympathy lay at that time, as well as that of the majority of the American people. President Franklin Roosevelt was doing all he legally could to enable supplies to reach Britain and France. Nevertheless, there did exist a highly vocal and politically influential movement to keep the nation out of the war, for whom the famous aviator Charles Lindbergh served conspicuously as spokesman. Those "Isolationists" were impelled not so much by a desire to preserve peace as they were by a desire to prevent the U.S. from aiding the European democracies against Nazi aggression, and they denounced films such as "A Yank in the RAF" as provocative propaganda. While most of the film is Hollywood fiction there are a few things in it that actually did occur. An example is the episode at the beginning of the movie about landing American-built planes on the US side of the Canadian border and then towing them across the border on their wheels. Absurd as that may seem it actually did happen, the screen writers did not make that up! In addition, while most of the movie was produced on the Hollywood sound stages it does include some footage filmed early in 1941 on RAF air bases in Britain, using real RAF aircraft and personnel. A typical Hollywood touch of the period is the depiction of RAF Lockheed Hudson bombers. In fact large numbers of Hudsons really were exported to Britain at that time, although the RAF actually employed them as maritime reconnaissance aircraft, not for bombing missions. However, since the planes were manufactured at the Lockheed plant located near Hollywood, Hudsons were readily available for use as movie props, so they frequently appeared in Hollywood movies to depict RAF bombers.

ejewett1 On the one hand we have Tyrone Power and Betty Grable, and they make a great couple.On the other hand we have the typical 1940s disregard for anything remotely resembling accuracy about airplanes and the military. As an example, an early scene involves a leaflet drop over Berlin from Lockheed Hudson coastal patrol bombers, which sported four (or five) .30 cal machine guns - two fixed firing forward, two in a dorsal turret, and (MK II on) one firing down and aft.The Luftwaffe would have had the airliner-derived patrol bombers for lunch, as they were pretty much defenseless from below except from behind.

Robert J. Maxwell I don't know why, but I always find myself enjoying this. It sounds like a typical war movie but it's mainly the story of a love triangle involving the cocky young pilot Tyrone Power, the sober but smitten Squadron Leader John Sutton, and the scrumptious Betty Grable. There are a few action scenes, well done for the period, but they provide background material. The focus is on the on-again off-again relationship between Power and Grable.One of the reasons it's so likable is that there are no villains except the Germans. Reginald Gardiner provides some comic relief as a pilot who is dying to meet chorine Grable but whose attempts to do so are always frustrated. Gardiner's self sacrifice is one of a few events that bring Tyrone Power to his senses and cause him to take both the war and his responsibilities to others seriously.Power himself was rarely more handsome or dashing. Over at Warners', Erroll Flynn was handling similar parts. Betty Grable has never looked better, more Midwestern, more cream fed, more succulent, more lustrously blond, more plump lipped and nubile. She was THE pin up girl of World War II. In her most famous photograph, she wears a modest one-piece white bathing suit, hands on hips, back to the camera, smiling at the camera over her right shoulder. Today the photo is an historical curiosity, but in its day the censors felt compelled to airbrush even the hint of her gluteal sulcus into nonexistence. Her legs were insured for a million dollars, according to legend, and those were days when a million dollars was still a lot of moolah.I always feel a little sorry for John Sutton, Powers' boss. He's respectful, polite, manly, brave -- and he loses the girl he loves because Tyrone Power was a bigger Hollywood star. Used to happen to me in high school all the time. I was a better kid than the coarse and vulgar captain of the football team, and I still can't understand why Evelyn Ritzko was more interested in him. However, Sutton, good man that he is, takes his ultimate rejection in stride.God, those Spitfires were beautiful airplanes, with their broad elliptical wings, and they were a pleasure to fly. Pilots used to other fighters complained that you couldn't GET them to drop their noses and dive. They simply floated along like a child's paper airplane.

MARIO GAUCI 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.