Dive Bomber (film) - Production

Production

The film is characterized as "Warner's tribute to the pre-Pearl Harbor U.S. Navy." Based on a screenplay adapted from an original story by U.S. Navy Commander (retired) Frank "Spig" Wead, Dive Bomber features spectacular flying scenes (as in other films with a scenario written by Wead) interwoven into a storyline of medical research undertaken to combat the effects of high "G" combat maneuvers. Upon the first reading of the proposed script, the Department of the Navy realized the potential of the film to be a showcase of U.S. naval aviation and lent its full support to the production. The principal aircraft depicted are Vought SB2U Vindicator dive bombers and Douglas TBD Devastator torpedo bombers, although many other types are included, especially parked, as backdrops. The N3N Canary trainers were the primary type in use at Naval Air Station North Island and are featured prominently in the flight training sequence. All other aircraft were deployed temporarily for training to North Island and were subsequently available for use in the film. An entire squadron of Grumman F3F fighters from the USS Enterprise was flown to NAS North Island with a single example appearing prominently in the penultimate "pressure suit" scenes both on the ground and in the air. All the aerial closeup work with the cast was photographed later in the studio using a series of realistic mock-ups. Some of the aircraft types used in Dive Bomber were engaged a few months later in combat with the Japanese aerial and naval forces, up to and including the Battle of Midway, while other types were declared obsolescent and relegated to home use when the U.S. geared up for war in earnest.

This was the final film collaboration between Errol Flynn and Michael Curtiz. It was the 12th and most contentious pairing of the high-spirited matinee idol and the fiery director. Throughout the production, an ever-widening rift emerged between the two due to conflicts over the use of actors in demanding and sometimes risky scenes, leading to inevitable clashes and delays in filming. The off-screen moments were fraught with stress for the cast and crew observing the contentious exchanges. One bizarre incident came about when a formation of aircraft flew over the film set at a time when all the cameras were being reloaded. Curtiz reacted immediately by standing up and waving them off when he realized that the camera crews were not in position. The pilots, who were setting out on a daily exercise, simply ignored the gesticulating and screaming Curtiz below. The film crews were mightily amused by Curtiz's declarations of "No, no. Go back!" as if the flight crews could actually hear him. The incident was symptomatic of the many outbursts and exchanges on the set when the autocratic Curtiz helmed a film.

Pre-production planning began in January 1941, and once the generous $1.7 million budget was established, a tight schedule of two months was determined for principal photography on location. Although the Navy had agreed to cooperate, providing over 1,000 officers and enlisted men along with access to some of its most highly secured facilities, world events had dictated a full war-readiness, which placed additional pressures on the film cast and crew. With all naval air and sea forces committed to training and war exercises, Curtiz was notified in advance so that he could take advantage of the ongoing activities and set up his camera crews accordingly. Principal photography began on March 20, 1941 at NAS North Island in San Diego with the USS Enterprise, the famous aircraft carrier, also placed at the disposal of the production crew of 150 actors and technicians for an entire week.

When principal photography commenced, the initial aircraft scenes featured U.S. Navy aircraft in their pre-war colorful schemes, set off by the Technicolor process, making this a vibrant document, unique for its time. During filming, as war preparations ramped up, the Navy ordered a new grey color camouflage for all its sea-based aircraft, with the associate producer Robert Lord scrambling to have a concession made where a few aircraft in each squadron would retain their colorful schemes in order to match previously shot footage. The film ultimately uses footage that includes aircraft in this new uniform light-grey color scheme especially in the carrier sequence.

Even though famed aerial pilot and cinematographer Paul Mantz is listed in the credits as the Chief Pilot for Warner Bros., his injuries in a previous accident prevented him from doing the flying and Frank Clarke took over, with Mantz continuing to oversee the air operations. With the preponderance of actual aerial footage shot from a bevy of camera platforms, both on the ground and mounted to aircraft, the film was notable in the restrained use of special effects. During the two months of studio post-production, footage of scale models and closeup "blue screen" effects were matched up with the aerial sequences. Although Errol Flynn had a pilot's license, he was expressly forbidden to fly in the production, under threat of suspension from Warner Bros. due to his "buzzing" the cast and crew of The Adventures of Robin Hood (1938). Flynn did taxi a dive bomber to allow closeups of him in the cockpit during a critical scene when his character "is testing a G-resistant belt."