Men of the Sky (1942, B. Reeves Eason)

Men of the Sky opens with General Henry H. Arnold addressing a graduating class of air cadets. Charles P. Boyle’s Technicolor photography is glorious and Harold McKernon’s editing is outstanding and Sky feels like an almost too precious time capsule.

Only then the realism shatters when Arnold starts directly addressing actors, not actual air cadets. All of a sudden, though Boyle’s photography remains wondrous throughout, Sky‘s propaganda becomes a chore to stomach. The problem’s Owen Crump’s script. Crump also narrates the short, so he’s at least enthusiastic in that responsibility, but he can’t string the elements together.

I think Eleanor Parker–as the wife of one of the pilots–has the most lines (like two of them); she’s only in it for thirty seconds. None of the cast are particularly distinctive, not even with Crump trying so hard.

Even as propaganda, Sky is bad. Crump’s too awful a writer.

Soldiers in White (1942, B. Reeves Eason)

Everett Dodd’s editing makes Soldiers in White painful to watch. Some of the fault is director Eason’s, of course. His insert close-ups are awful. Given Soldiers is half comedy and half Army propaganda film (the titular soldiers are Army doctors), it’s hard to believe Eason was worried about running short and felt the need for more footage.

The narrative concerns William T. Orr as a whiny little intern who gets drafted. He harasses nurse Eleanor Parker and, once he’s wounded, is inspired by fatherly John Litel to knock off the wiseacre stuff and be an army doctor. Orr’s real bad. I kept hoping the moral of the story was he’d get run over.

Parker manages to make Owen Crump’s lame script seem good. Litel, who isn’t bad, can’t manage that feat.

Eason’s direction is weak.

The short’s tepid, of note only for Parker and Wilfred M. Cline’s Technicolor photography.