Flying Luck

Plot

Monty Banks plays a naive young man who dreams of becoming an aviator and enlists in the Army Air Service, believing it will be his ticket to the skies. His complete lack of coordination and understanding of military protocol leads to a series of comedic mishaps during basic training. Despite his incompetence, he somehow manages to get assigned to flight school where his clumsiness continues to cause chaos for his instructors and fellow cadets. The film culminates in an aerial sequence where our bumbling hero accidentally becomes an unlikely hero during a training exercise gone wrong. Jean Arthur appears as the love interest who sees past his ineptitude to his good intentions.

Historical Background

Flying Luck was produced during a fascinating transitional period in cinema history - 1927 was the year that The Jazz Singer revolutionized the industry with synchronized sound, spelling the beginning of the end for silent films. The film also emerged during America's aviation craze of the 1920s, when barnstorming pilots and air races captured the public imagination following World War I. The Army Air Service was still in its infancy, and military aviation was seen as both glamorous and dangerous. This film tapped into the public's fascination with flight while using it as a backdrop for comedy. The late 1920s also saw the rise of the feature-length comedy, as audiences began to prefer longer films over the short comedies that had dominated the previous decade.

Making Of

The production faced significant challenges filming the aviation sequences, as 1920s aircraft were notoriously unreliable and dangerous. The cast and crew had to work around weather conditions and mechanical failures. Monty Banks, known for his athletic comedy style, insisted on performing many of his own stunts, which included falling from aircraft mock-ups and engaging in physical comedy with real military equipment. Jean Arthur, still early in her career, was reportedly nervous around the aircraft but maintained her professionalism throughout the shoot. The film was shot quickly on a modest budget, typical of FBO's production methods, which favored quantity over quality. The aerial sequences were filmed using early camera mounts on actual training aircraft, requiring skilled pilots and camera operators to capture the footage.

Visual Style

The cinematography by Ira H. Morgan (no relation to Kewpie Morgan) was competent for a low-budget comedy of its era, with the aerial sequences being the most technically impressive aspects. The film used a combination of studio sets and location photography, with the aviation footage requiring specialized camera mounts on actual aircraft. Morgan employed the standard techniques of silent film cinematography, including careful lighting to compensate for the slow film stock of the period. The aerial sequences demonstrated considerable technical skill for the time, using multiple camera angles to capture both the action in the air and reactions on the ground. The film's visual style was straightforward and functional, prioritizing clarity of the comedy over artistic flourishes.

Innovations

While not groundbreaking, Flying Luck demonstrated competent use of then-current film technology. The aerial sequences were technically challenging for 1927, requiring coordination between pilots, camera operators, and actors. The film used the Vitaphone system for synchronized sound, which was still relatively new technology in 1927. The production employed early camera stabilization techniques for the aerial photography, which was difficult given the vibration and movement of 1920s aircraft. The film also used multiple exposure techniques for some of the comedy sequences, though these were standard practices by the late 1920s. The technical aspects of the film were solid but not innovative, representing the state of the art for low-budget comedy production of the era.

Music

The film was originally released with a synchronized musical score and sound effects using the Vitaphone sound-on-disc system, making it one of the early sound-enhanced films. The score was typical of late silent film music, with light, comedic themes for the slapstick sequences and more dramatic music for the aerial scenes. Sound effects included engine noises, crashes, and other aviation-related sounds that enhanced the viewing experience. The musical accompaniment was composed by studio musicians at FBO, following the standard practice of providing mood-appropriate music for different scenes. Unfortunately, the original Vitaphone discs for this film are believed to be lost, so modern screenings must rely on newly created musical scores.

Memorable Scenes

• The chaotic basic training sequence where Monty Banks' character attempts to march, salute, and follow military commands, resulting in a domino effect of fallen soldiers and confused drill sergeants. The scene culminates with him accidentally marching into the officers' mess hall during inspection time, creating pandemonium among the dining officers.

What Critics Said

Contemporary reviews were generally positive but not enthusiastic, typical of the reception given to B-comedies of the era. The Film Daily noted that 'Monty Banks delivers his usual quota of laughs' and praised the aerial sequences as 'well photographed and exciting.' Variety mentioned that the film 'should satisfy comedy fans looking for light entertainment' but criticized its predictable plot. Modern critics have had little opportunity to review the film due to its rarity, but silent film scholars consider it a competent example of its genre, noting its historical value more than its artistic merit. The film is generally regarded as a minor work in the careers of its participants, particularly Jean Arthur, who would soon achieve much greater success.

What Audiences Thought

Audiences in 1927 reportedly enjoyed the film's combination of aerial thrills and comedy, though it was not a major box office success. The aviation sequences were particularly popular with viewers fascinated by flying, while Monty Banks' physical comedy appealed to fans of silent era slapstick. The film performed adequately in urban areas where aviation was more familiar to audiences, but struggled in rural markets where the novelty of flight had less impact. Like many comedies of its type, it was primarily seen as second-feature material rather than a main attraction. Modern audiences have had limited exposure to the film due to its scarcity, but those who have seen it at silent film festivals generally appreciate it as a charming example of late-silent era comedy.

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