Flyboys

MGM

Directed by Tony Bill

5 stars

Judging by its pre-theater publicity, I wasn’t expecting much from “Flyboys.” A grim James Franco seductively looks over his shoulder through his aviator goggles. Previews show some lovin’ with Jennifer Decker (known primarily for roles on French television). Is this yet another “Pearl Harbor,” where war is eclipsed by the tearful tale of a pretty boy military man and his gal?

The bittersweet romance is definitely there, but rather than commandeering the plot, it is one of several distinct elements that subtly blend into the background of an intense and commendable portrayal of World War I combat.

The film is based on the true stories of Americans who joined the Lafayette Escadrille in the French military to train as pilots, before America officially entered the World War I. It focuses on an endearing motley crew including a black professional boxer, a small town klutz, an aspiring hero, and a pudgy New England snob whose father thrusts him into the escadrille after he is expelled, coincidentally, from Harvard.

Franco stars as Blaine Rawlings, a Texas farm boy who learns to overcome his idealism as he rockets to the top of the squadron, while fanning some embers with a local French refugee (Decker).

Franco has come a long way since his role as the arrogant and wealthy Harry Osborn in “Spiderman,” or his days on the short-lived “Freaks and Geeks.” In “Flyboys” he is the perfect cinema soldier—regimented, purposeful, and brooding—but is also able to relax to adorably woo his lady in broken French.

The promise that “Flyboys” is “inspired by a true story” does not mean that all the characters have been set up as pure heroes who, nauseatingly, can do no wrong. Characters such as Eddie Beagle (David Ellison, “When All Else Fails”) or William Jensen (Phillip Winchester, “Thunderbirds”) display their flaws, insecurities, and fear of flying.

“Flyboys” surprises again with its cinematic originality and well-shot scenes. Its lengthy shots of dogfights—amazing, even dizzying photography— make “Top Gun” look like child’s play. These are juxtaposed with restful, poetic shots of the French countryside that allow the audience a few moments’ respite from the hand-wringing scenes of battle. There are rowdy ruts in the military pub, and there are quiet, heart-bearing tete-a-tetes between the soldiers.

BOTTOM LINE: “Flyboys” portrays the international honor codes of war, the respect that soldiers of opposing sides hold for one another, and addresses the futility of war. This is a war film that has steered clear of side-picking propaganda and romanticized fiction. For that, it deserves a 21-gun salute.

—Reviewer April B. Wang can be reached at abwang@fas.harvard.edu.