User reviews

In the only time that Darryl F. Zanuck teamed his two leading adult stars in the forties, Tyrone Power and Betty Grable co-star in A Yank in the RAF. I think the title explains all in terms of the location.

Power plays one of his patented hero/heel types, a lot like Dion O'Leary in In Old Chicago. If you'll remember Alice Faye was being courted by the two O'Leary brothers, sober and industrious Don Ameche and devil may care Tyrone Power.

Now it's Betty as an entertainer over in the United Kingdom to entertain and otherwise help out in the war effort. She meets Ty who is also over there as an American volunteer in the RAF. Ty's someone who really isn't that crazy about military and other kinds of discipline, but he's one charming rogue and Betty can't get her fill of him.

Taking the Ameche part is very British and very stiff upper lip John Sutton. He's totally flipping out over Grable and who could blame him. Still it's Tyrone who powers the Grable engine.

John Sutton would co-star again with Ty Power after World War II in a vastly different part in Captain from Castile. He plays the cowardly and malevolent Diego DeSylva and that particular part from him might have been his career role. In my book it's one of the most evil villains the screen has ever had.

Reginald Gardiner and a whole flock of other British actors from Hollywood's British colony lend support. The RAF flying sequences were shot over in the war theater and were nominated for Best Special Effects.

Betty sings some forgettable tunes as an entertainer by Leo Robin and Ralph Rainger. But heard throughout the film is the standard These Foolish Things. That song, as popular in Great Britain where it originated as in the United States, is one of the best ballads ever written. Why Zanuck didn't have Betty sing it is a mystery.

It's by no means clear who Betty winds up with in the end. I could make a case for either Power or Sutton. You'll have to see the film and make your own mind up. One thing for sure is that Ty is far from reforming. You'll have to see the film to see what I'm talking about there.

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.

A Yank in the R.A.F. (1941)

This is pretty thin going stuff, and yet it's fun and warm-hearted and tinged with the drama of the times.

Context is everything here. 1941. The war is raging in Europe and Britain is being bombed by the Germans and they are trying to build up their forces to resist what seems to be an unstoppable foe. The U.S. is not yet in the war (that would happen in six months, but the movie makers couldn't know that for sure). All the U.S. is doing is supplying their future allies, Canada and Great Britain.

But in the air here at home (I write this from New York) was a sense of inevitability--we would eventually be drawn in to fight. This movie is part of the gearing up for that fact.

The lead is an American paradigm, Tyrone Power playing a cocky, charming, good-natured, and well-meaning young man who happens to be a pilot. What happens to him is what was happening to the country as a whole. And it boils down to this: he starts with innocence and selfishness and gets involved in stages, helping sell planes, helping fly planes, then actually doing battle runs over enemy territory.

That gives nothing away--it's the title of the movie.

What pulls him along? First just making some money. But then he meets an old flame played by Betty Grable (the number one pin-up girl for U.S. soldiers once they get involved) and Grable represents the U.S., too, because she's already in Britain helping the cause. Love ensues, but the problem is a handsome British soldier who begins to steal Grable's heart. A love triangle.

And because this is practically al propaganda film (not officially of course) you know that it will leave the audience (us) with the proper message of about doing the right thing and supporting the cause against the Nazi regime. There is even the shocking if not surprising current event built into the movie of the Germans vowing not to invade certain lowland countries and then, of course, invading them anyway.

Is this a great movie? Not by any means. But it's very well paced and the characters are warm and well-drawn, at least for such a "tale" as this. I wouldn't watch it a second time, but I'm glad I did this first one. And if you are the least bit interested in how Hollywood primed America for the war this slight film (along with "Casablanca" and many other movies) is a must-see.

And for those who care, the airplane scenes were done with the really R.A.F. (and a different film crew than the rest of it). The director (except for those scenes) is Henry King, who got his pilot's license in 1918, and who lived so long that in his last years he was the oldest active pilot in the U.S. I'm sure he gave some authenticity to the film at least in spirit.

This PearL Harbor like story that was released before the actual bombing of Pearl Harbor occurred does not have much going for it. Tyrone is roguishly handsome and gives all his scenes the necessary spark of a golden boy daredevil but it all comes across as very hollow as he jets off to London to join the war for monetary purposes to deliver bombs or is it flyers? over Germany. John Sutton, his boss and arch-rival with a very charming voice and demeanor provides good support to no avail. Betty Grableas the girl in one of her few dramatic parts (if this could be called a dramatic part)is fine but the probably with this movie is that it intends to only entertain and is afraid to dig any deeper than a few inches. Hammy speeches are delivered, strong scenes killed with ill-advised laughter and everybody talks and acts like children while playing grown adults. The battle of Dunkirk filmed in a swerving and swelling wide shot is gorgeous to look at. It is like a real life video game as filmed using models of the real thing by the technical crew. Such,it was nominated for a special effects Oscar. This is a typical DFZ production with not much to offer to the body or the soul.

You know from the beginning that TYRONE POWER had better shape up as more than a playboy if he wants to win BETTY GRABLE's love in this entertaining wartime romance from Fox. Betty acquits herself very well in all the dramatic moments and looks as fresh as a daisy. Tyrone is at his handsomest and has some stiff competition in the "other man" department from JOHN SUTTON, who finally had a more substantial romantic role than usual.

What with the romance between Grable and Power being shaky at best, you just know he's gonna have to reform himself with some wartime heroics as an R.A. F. flier before there can be a final clinch between the two.

Crisply written with some good, natural dialog, beautifully filmed in glorious B&W, it's a well crafted film that deserves more attention from Betty's fans in particular. There's some nice chemistry going on between the three mentioned stars and it's certainly a worthwhile film to watch for fans of nostalgia. REGINALD GARDINER does a nice supporting role job as Power's debonair best friend.

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.

Just saw it today for the first time, and I really loved it. I don't care if its labeled "propoganda" and I don't care if a bunch of guys here don't like it because its not some boring war movie with hours of flying sequences. I especially loved the review that mourned the fact that we didn't get to see more planes refueling. Honey, it's not a documentary!

It's charming and Grable's musical numbers are so fun! (And this is the first time I have ever liked Grable).. The tunes are fantastic. Today's Hollywood on its best day couldn't put together a movie have as cohesive or fun.

Best of all, it's got Tyrone Power who, along with Errol Flynn, are the two best looking, most charming male actors ever. Love love love it!

This entertaining propaganda piece made before the US entered the war,was designed to rally support for the British war effort. Tyrone Power and Betty Grable,the biggest stars of 20th Century Fox,are teamed here for the only time in their career.Tyrone Power plays the typical daredevil pilot who is as egotistical as they come.But he also has devilish charm over women which I must say escapes me in this movie because he's so unlikeable.Betty Grable gives by far the best performance. I found her acting very natural,except for the script calling for her to love the slime ball character of Power.John Sutton as Power's rival is quite boring,so maybe Betty's choice of man wasn't too bad.

A very poor movie constructed of silly domestic scenes, false heroics, and unabashed chauvinism. Very typical of early World War Two movies which saw war as a cross between a sport and an obligation, with rules dictated by cricket and tea time. All this is in a period of history when a British defeat seemed more likely than a British victory. Dunkirk was a narrow escape for about 350,000 British and French troops, a tragedy which contrasts with the cavalier attitude of Spitfire pilot Tim Baker, in a war which proved to be more horrid than almost anyone could anticipate when the film was released in September of 1941--a few months before the attack on Pearl Harbor. The realtime scenes of Spitfires taking off and the portrayal of Dunkirk lend credibility to the action, but the animated dogfights remind one of little more than cartoon chaos.

Despie what some writers say, this entire thing was filmed in the US with some stock footage also used.

BEWARE FOLKS: The nut baf left wind agenda is out again.

Contemporary reviewers have critical of this film, decrying the unrealistic portrayal of a nation at war. Recent re-releases in video and 2002 DVD have similarly brought negative reviews concerning the content and filmmaker's approach to a serious subject.

Meanwhile it's a comedy/drama. PLUS what movie IS realistic>

These clowns just hate America. Plain and simple. Rise and resist

Despite hearing and reading very mixed to negative opinions on it, decided to see 'A Yank in the R.A.F.' on the basis of having immense respect for the Royal Air Force, liking some of Henry King's other work as director ('The Song of Bernadette' is a favourite of mine) and liking other works of Tyrone Power and Betty Grable.

'A Yank in the R.A.F.' to me was not a bad film at all, though can see why others would not like it while sharing the same praises of those who did like it. Was also not wholly enamoured by it either and considering what it had going for it it should have been much better. While finding it to have a number of good qualities it did have major faults that were very difficult to ignore.

The film does look great, the photography is especially good. It looks beautiful and is also very clever in some quite thrilling aerial shots. Stock footage does not always lend itself well to film, many times jarring and looking cheap, it is though used effectively in 'The Yank in the R.A.F.' and seamlessly done.

Music fits well and has some pleasurable song contributions from Grable giving it her all and bringing some welcome levity. There is tension and thrills in the war scenes and there is emotion, regardless of the inaccuracy and whether it's realistic or not. King directs very competently in these scenes, though not his best work by any means. The cast are fine. Tyrone Power is charismatic and plays his role to the hilt while Grable is in one of few dramatic roles and proves herself to be more than comfortable. John Sutton is charming.

It is though in the domestic-oriented scenes where 'A Yank in the R.A.F.' is less successful. The script felt underwritten and lacking in subtlety, things getting melodramatic all too often that it becomes almost too silly. Some scenes came over heavy-handedly and descended into ham.

Felt too that the pace wasn't as secure sometimes and count me in as another person who never believed in the central relationship, not because of the performances of Power and Grable or that there wasn't any chemistry (there was) but it was more to do with the relationship itself and how it's written. Others have found it to not make sense due to finding it hard to believe that Grable's character sees something in a character so impossible to like, have to agree.

Overall, not a bad film but not great. 6/10 Bethany Cox

In an effort to gain sympathy from the American public during the early years of World War Two before Pearl Harbor, the English government cooperated with Hollywood studios on many of its war films. The British gave as much of its military resources it could spare, such as its Royal Air Force, in the midst of battling the German Luftwaffe, assisted in the production of September 1941 "A Yank in the R. A. F."

The British Air Ministry arranged its aerial crews to equip some of the RAF fighter planes with mounted cameras tethered to their gun carriages so they would trigger the film when firing. In the six months of operating, these cameras captured thousands of feet of aerial footage of actual dogfighting over England and Germany. So perilous was the assignment two cameramen flying as pilots were killed when their planes were shot down by the Germans.

Henry King, director for "A Yank in the R. A. F.," claimed the 20th Century Fox picture "was not a propaganda picture. It was a story worth telling, a story that was happening right up to the minute." Studio head Darryl Zanuck, a writer of several previous scripts who leaned heavily pro-British, composed under the pen name Melville Crossman a light-hearted screenplay containing a number of stirring war moments, starring Bette Grable and Tyrone Power. Originally, Zanuck's early drafts were anything but light. Grable insisted on a few song-and-dance numbers be included in the film. Meanwhile British Air Minister Lord Beaverbrook advised Zanuck "We have enough drama these days;" he should put more comedy in the picture.

Zanuck did. Power is American pilot Tim Baker who enlists in the Royal Air Force, partly to be near his former girlfriend Carol Brown (Grable), a Women's Auxiliary Air Force volunteer in England. Brown's beauty and charm attract a couple of R. A. F. Pilots, including Wing Commander John Morley (John Sutton). Morley is persistent in chasing after Brown, even though she rebukes his advances because he's such a "worm."

"The film has some very intense sequences mixed with lighter moments," describes film reviewer Laura Grieve. "The air battle footage is exciting, particularly the climactic sequence at Dunkirk." The scenes of R. A. F.'s battle with the Lufftwaffe over the beaches of Dunkirk earned "A Yank in the R. A. F." an Academy Awards nomination for special effects. Taking a month to film, the battle sequences were filmed in Point Mugu, California, with over 2,000 explosions involving over 1,100 extras. Many of these extras were American Legion members who were withdrawn from the production for a few days to be in John Ford's "How Green Was My Valley" shooting nearby.

"A Yank in the R. A. F." was a departure from Grable's usual frothy musicals. In one scene requiring Bette to cry, it took her six hours to film, prompting Henry King to give her a couple of days to recuperate. Said the actress about the experience, "I've danced for days on end and never been so tired," Grable confessed. "Hoofing is easy work compared to crying." The war movie paralleled Power's flying experience in WW2 when he enlisted in the United States Marine Corps a year later. He became an officer after completing the Officer's Candidate School in Quantico, Virginia. As a pilot, he flew cargo planes in hot spots such Iwo Jima and Okinawa.

"A Yank in the R. A. F." was popular with the public, ranking sixth at the box office for 1941, the second highest grossing film for 20th Century Fox just behind "How Green Was My Valley."

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.

'Hoppy' was not a writer or gag man but an early master of the one line pitch, he had an incredible nose for money making ideas. He stopped Zanuck once in the hallway and poking him in the shoulder and said,. TYRONE POWER.....call it A YANK IN THE R. A. F. Zanuck was immediately smitten with the idea and though not a masterpiece it was so damned TIMELY that it made a LOT of money.

Tyrone Power is so charismatic in this film that the rest of it hardly matters. His astonishing good looks and easy charm really make this film. But there is also good direction, a witty script, great Oscar-winning special effects and fine cinematography.

Betty Grable has never done much for me, but she's pleasant enough in this. But the aerial work, done mostly with models, is exceptionally strong particularly in a spectacular and believable recreation of the evacuation at Dunkirk. This is a war propaganda film, designed to encourage the USA to join the war in Europe - but it is not cloyingly over patriotic. And there are some very original moments - look at the scene where Power wakes up and doesn't know where he is. The camera stays in extreme close-up on his face for a long time, so we don't know where he is either. We see him go through fear and bewilderment as we hear strange sounds. Finally his face relaxes and the camera pulls back to reveal...well I don't want to spoil it for you, but this is a very strong directorial decision. Henry King is to be praised.

You'll enjoy this film.