Aubrey Hackett While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

Marva-nova Amazing worth wacthing. So good. Biased but well made with many good points.

Roxie The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Kayden This is a dark and sometimes deeply uncomfortable drama

richard-1787 The cinematography in this movie, by Tony Gaudio, is stunning. The scenes shot in the desert, with the play of shadows on the sands and the wind blowing those sands, are magnificent. I'd love to see them on a really large screen.The play of light and shadow through the levered blinds in some of the indoor shots is good as well.The last scene, when we see Flynn and Frances in profile against a strangely lit sky, is also very good - though they are posed in a way so noble as to stretch credulity.Some really remarkable and very beautiful cinematography, in other words.The plot is another matter. It is a standard love triangle - two men love the same woman, who loves only one of them - but there isn't much erotic tension. The two men are so noble that you know they will do the right thing. Which, frankly, deprives the movie of suspense - contrast it with *Casablanca*, say - and makes it rather boring.Flynn is good in this picture, very natural, very relaxed.Kay Francis, on the other hand, over-dramatizes everything, which does not work against Flynn's detached and humorous manner. Olivia de Havilland would have been better in this role. Francis gets top billing - she was a BIG star then - but I honestly do not understand her appeal.This is an uneven movie, in sum. The cinematography is great, Flynn is OK, but Francis is way over the top, and the plot, such as it is, not particularly involving.

utgard14 Fine movie for what it is but 'what it is' won't be to everyone's tastes. Leonard Maltin's Film Guide calls it an adventure story but that's not really accurate. There's very little action in this film. This is a melodrama, a soaper even, as evidenced by the fact it stars Kay Francis. She was one of the queens of the melodrama in the '30s, often torn between two men as she is here. The plot is trite. Francis plays a woman who lost her pilot fiancé in an accident. She meets honorable and all-around-swell-guy Ian Hunter, who quickly falls in love with her and proposes. She marries him despite not being in love with him. Later she meets hotshot pilot Errol Flynn and, well, you can figure the rest. For his part, Flynn is as charming as ever and has good chemistry with Francis. The highlight of the film is the Erich Korngold score, which makes things seem more exciting than they ever really are. A nice production, great actors, and a beautiful score are nothing to dismiss. Still, how much you enjoy this will depend on how much you enjoy romantic melodramas from the 1930s, where everyone stares off at some point and recites a soliloquy like they're in a stage play.

yarborough This is the kind of film that once you've seen it, you have no intention on ever seeing it again. Not even if it comes out on DVD with a picture that looks like it was made fifty years later, would still make you not want to see it. This is Hollywood of the 1930's at it's worst and Errol Flynn at one of his worst. An unpleaseant, worthless, total piece of garbage of a film. Errol Flynn must of been desperate to get work, or maybe wanted to do something that wouldn't require a lot of energy. In the previous two years he did two action packed films that probably took out all his strength and energy and probably wanted do something like this muck. I could sit here and put down this film for a very long time, but hell I'm not going to waste my time. I'll just say this and end this review. WARNING: Think twice before watching this!! This is as bad as it gets, well ... almost as bad as it gets. I rate this film * out of ****.

reelguy2 Offsetting the awkward and embarrassing elements of the triangular love story are Korngold's gloriously exotic (if at times obtrusive) score and some occasional poetry in the dialogue. And, for the last two minutes of the film - finally - inspired direction from William Dieterle who, as we know from his better films (Devil and Daniel Webster), was perfectly capable of such things.