MamaGravity good back-story, and good acting

Allison Davies The film never slows down or bores, plunging from one harrowing sequence to the next.

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

LeonLouisRicci Hawksian Worshipers can Deflect Blame for this Really Bad Movie all They want, the Authorship must be Attributed to the Director without Apology. The "he can do no wrong" Hordes of Howard Hawks Admirers must, in this and other Films, Concede that the "Man" is Overrated.In this One He Borrows from Other Movies, even His own, for the War Footage and Delivers an Awkward (a Hawks trademark) Film Filled with Braggadocio He-Man Flourishes. You see it's Tough Stuff when Characters Speak in Clipped Sentences that are Supposed to be about Camaraderie and Familiarity but come off in the Hawksian World as Hardly having a Clue how "Real People" Bond and Interact.This is a Fun Watch. Seeing the Opening Strain Mightily to Bring the Viewer in to this Real World of WWI with Fashions so Art-Deco and Out of Place that it does Nothing but Scream Fake. Most of Hawk's Movies Scream Fake, even the Best of Them. After a Disastrous Start the Film becomes Watchable, if Unintentionally Humorous, as the Director Struggles for some "Reality" with a Love Triangle (some say a Quadrangle) with Pre-Code Situations and Macho Member Measuring. There is a Bizarre Subplot Starring a Cockroach Named Wellington and although He is Sacrificed for the Cause, One Cannot Deny, He was a "Stout Fellow".

calvinnme This film could have been great with some adequate dialogue and character development. For some reason the makers of this film seemed to believe that because three of the main characters were supposed to be British that it was necessary that they speak in incomplete sentences, usually missing nouns, and that they speak as though tranquilized. They all still sound American, they're just having half of every conversation.Bogard (Gary Cooper) is an American who takes over a British estate during World War I before the Americans enter the fray because the current residents can no longer afford it since the father is in the military at the time. The daughter, Diana (Joan Crawford) moves into one of the servant's quarters and her brother Ronnie (Franchot Tone) and their lifetime friend Claude (Robert Young) join up with the British forces and ship out to France. The development of the romance between Bogard and Diana consists (onscreen) of exactly one bike ride in which Bogard declares his love and Diana's one word sentences make her seem disinterested. However, at the end of the ride she says rather emotionlessly that she loves Bogard. The two might as well be using semaphores to communicate, the conversation is that wooden.Diana goes to France to help the war effort, with her brother and childhood sweetheart seeing action nearby. In France she gets news that Bogard is dead, although that news is incorrect. Based on that information she then makes a rash decision that she later regrets when Bogard shows up at her door.On the other hand, the action sequences, both in the air and on the sea, are extremely well done and photographed. It's just a shame when such a fine cast as this film had all have their performances put in a straight jacket. The one thing that even the director couldn't do was put a complete damper on the chemistry between Franchot Tone and Joan Crawford. This is the film where they fell in love, and their scenes together show it, even though they are playing brother and sister here.

gentoo It's impossible to watch "Today We Live" without mentally recasting it. Franchot Tone and Robert Young as upper-crust Brits? In what alternate universe? No matter how many "I say's" Faulkner gives them, they just can't sublimate their American aura to their British characters. And Joan Crawford's teatime attire by Adrian, breathtaking as it is, is also uncomfortably out of place. (Crawford does manage to sound a little more authentic than Tone and Young.)However, if you can get past the accents and the costumes, there's good stuff here. Young plays the puppy-dog-like Claude to perfection; his turn in the airplane is hilarious. Tone pulls off the tough-big-brother act as well as the no-fuss stoicism of Ronnie. Gary Cooper and Crawford survive not only the world's most abbreviated courtship but also convey the hurt and betrayal that each one's character feels subsequently.In some ways, the film is even daring, portraying heroism without histrionics or flag-waving. And (SPOILER ALERT), despite what the IMDB plot summary says, my impression is that Ann and Claude shack up without benefit of vows, which would make this a very progressive tale indeed.Bottom line: Worth watching, especially if you're a fan of any of the four leads.

Larry D. Buchanan The producers saved a lot of money on the action scenes. Most of the RAF combat footage was borrowed from Howard Hughes' epic, "Hell's Angels." The bomber that Gary Cooper and Roscoe Karns fly is a replica used with rear projection. The real one, a Sikorsky S-29, belonged to Roscoe Turner and was used as a stand-in for a German "Gotha" bomber in "...Angels." It was destroyed during a scene in which the aircraft was spun from 7,500 ft. by Hollywood pilot Al Wilson, while mechanic Phil Jones worked the smoke pots in the rear of the cabin. Wilson was unable to recover from the spin and, after shouting to Jones to bail out, left the aircraft. Jones apparently didn't hear the warning and rode the plane to his death in an orange grove in Pacoima, near present-day Whiteman Air Park. The camera crew was not prepared to catch the crash, so a JN-4 ("Jenny") was rigged with dummy wing-mounted engines and pushed over a Santa Paul bluff to recreate the Sikorsky's unplanned crash for the cameras.The German fighters that Robert Young shoots down in "...We Live" were from the climactic air battle in "...Angels" and were flown by such legendary stunt pilots as Frank Clarke, Frank Tomick and Leo Nomis."...We Live" wasn't the only film to use "...Angels" aerial sequences. Others included "Cock of the Air" ('32), "Sky Devils" ('32), "The White Sister" ('33), "Crimson Romance" ('34), "Hell in the Heavens" ('34), "Suzy" ('36), "Ace Drummond" ('36), "Stunt Pilot" ('39) and "Army Surgeon" ('42).