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Fighter Squadron
Theatrical release poster
Directed byRaoul Walsh
Written by
Produced bySeton I. Miller
Starring
Cinematography
Edited byChristian Nyby
Music byMax Steiner
Production
companies
Warner Bros. Pictures, Inc.
Distributed byWarner Bros.
Release date
  • November 27, 1948 (1948-11-27) (U.S.)
Running time
96 minutes
CountryUnited States
LanguageEnglish
Budget$1,597,000[1]
Box office$1.75 million[2] or $3,086,000[1]

Fighter Squadron is a 1948 American World War II aviation war film in Technicolor from Warner Bros., produced by Seton I. Miller, directed by Raoul Walsh,[3][4] that stars Edmond O'Brien, Robert Stack, and John Rodney.

Plot

[edit]

At an American air base in England in 1943, conniving, womanizing Sergeant Dolan (Tom D'Andrea) manipulates everyone, while insubordinate, maverick pilot fighter ace Major Ed Hardin (Edmond O'Brien) gives his commanding officer and close friend, Colonel Brickley (John Rodney), headaches by ignoring the out-of-date rules of engagement formulated by Brigadier General M. Gilbert (Shepperd Strudwick). When Major General Mike McCready (Henry Hull) promotes Brickley to whip a new squadron into shape, Brickley also recommends Hardin as his replacement.

Despite his misgivings, McCready agrees. To everyone's surprise, Hardin strictly enforces the rules. One rule in particular, forbidding pilots to marry, irks his friend and wingman Captain Stu Hamilton (Robert Stack). As a result, when his tour of duty ends, Hamilton does not sign up for another, and instead goes home to marry his sweetheart. He later returns a married man, however, hoping to persuade Hardin to overlook his transgression.

Hardin refuses to let him back into the squadron, but does weaken enough to let him fly one last mission. Unfortunately, Hamilton is shot down and killed; he admits to Hardin over the radio as his burning aircraft plummets to Earth that he had been distracted during the mission by thoughts of his wife.

McCready decides that he needs Hardin for his staff, but allows him to first finish his current combat tour. Hardin's next mission is providing close air support for the Allied landings on D-Day. His aircraft is hit by flak and goes down in a slow spiral. Hardin's final fate, though, is never revealed, as his squadron continues to support the D-Day invasion.

Cast

[edit]

Cast notes:

  • Rock Hudson has an uncredited role as a pilot in his film debut. Hudson, a former truck driver by the name of Roy Fitzgerald, was under personal contract to director Raoul Walsh, who rode him unmercifully, saying "You big dumb bastard, don’t just get in the center of the camera and stay there like a tree, move!" It took 38 takes to get a good version of Hudson's first line, "You’ve got to get a bigger blackboard." He had another line after the raid on Berlin, as they celebrate in the bar with their lucky mascot black cat, "You're sure it's the same one?".[5]

Production

[edit]

In Fighter Squadron, the fighter group is equipped with 16 Republic P-47 Thunderbolts provided from the Air National Guard units in Georgia, North Carolina and Tennessee, which were still equipped with the type.[6] To portray Luftwaffe fighters, the film used eight North American P-51 Mustangs from the California ANG, with ersatz German markings.[7] The film was shot for two weeks at Oscoda Army Air Field on Lake Huron, Michigan, a location that approximated the terrain of the fictional English air base where the fighter groups were located. The ANG units that were assigned to the film also were able to take their active duty training while flying with the film company[8]

Fighter Squadron used previously unreleased aerial combat color footage shot by William Wyler for his documentary, Thunderbolt! (1947).[9] Additional location shooting took place at Van Nuys Airport, California.[10] [Note 1]

Fighter Squadron, while fictitious, is based on the exploits of the fighter groups based in England before the D-Day Normandy landings. Screenwriter Seton Miller based the film on the actions of the 4th and 56th Fighter Groups.[12] In the 4th Fighter Group, the men called themselves "Blakeslee's Bachelors"; when one got married, it was followed by ordered transfers to other units. The transfer policy was decided by the unit's commanding officer, Col. Donald J. M. Blakeslee. The technical advisors for the film included Major Joseph Perry, a veteran of the 56th Fighter Group and Major Leroy Gover, an ace with the 4th Fighter Group.[6]

Film music

[edit]

Warner Brothers recycled Max Steiner's main theme music from their Errol Flynn naval aviation film Dive Bomber (1941) as the main theme for Fighter Squadron. This rousing march was used again, three years later, as the main theme music for Warner Bros. World War II submarine drama Operation Pacific (1951). It would appear yet again, in the 1959 submarine film Up Periscope.

Reception

[edit]

Fighter Squadron was reviewed by Bosley Crowther in The New York Times. He disparaged the "lurid adventure episodes" in the film story, and commented: "The glamour-repute of the Air Forces and the 'hot rocks' who flew the fighter planes, which was cause for much ironic jesting among the lowly 'doughfeet' during the war, is the stuff that Warner Brothers has exclusively put upon the screen in its loud, Technicolored Fighter Squadron, which came to the Strand yesterday".[13]

Box office

[edit]

According to Warner Bros records, the film earned $2,252,000 domestically and $834,000 foreign.[1]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Fighter Squadron

View on Grokipedia
from Grokipedia
Fighter Squadron is a American aviation , produced and written by Seton I. Miller and directed by for The story is set in 1943 at a U.S. air base in and centers on Major Ed Hardin, a daring and insubordinate P-47 Thunderbolt who leads his squadron on high-risk missions against German aircraft, often defying orders to pursue enemy planes deep into hostile territory. Despite his reckless style earning begrudging respect from superiors, Hardin's promotion to command brings new responsibilities, including enforcing a strict no-marriage policy among his pilots to maintain focus amid the perils of combat. The film stars as the tough-as-nails Major Hardin, as his close friend and fellow pilot Captain Stu Hamilton, with supporting roles by John Rodney as Colonel Bill Brickley, as Sergeant Dolan, and as Brigadier General McCready; it also marks the uncredited film debut of in a small role that required 38 takes to complete. Cinematography was handled by Wilfred M. Cline and Sid Hickox, with an original score by enhancing the aerial action sequences, which incorporate actual U.S. combat footage for authenticity. Released on November 27, 1948, Fighter Squadron explores themes of leadership, camaraderie, and the personal costs of , particularly through Hardin's after Hamilton marries in defiance of orders and is during a mission. Notable for its thrilling dogfight scenes filmed using 16 Republic P-47 Thunderbolts borrowed from units in Georgia, , and , the movie received praise for its vibrant color photography and realistic portrayal of operations in the European theater. Though it holds a mixed critical reception with a 50% approval rating on based on five reviews, Fighter Squadron remains a classic example of cinema, highlighting the heroism and hazards faced by American fighter pilots.

Background and Development

Historical Context

During World War II, U.S. Army Air Forces (USAAF) fighter squadrons in the European Theater played a pivotal role in achieving air superiority, particularly from 1943 to 1944, when they transitioned to operations with the Republic P-47 Thunderbolt fighter aircraft. Equipped with a powerful Pratt & Whitney R-2800 engine, eight .50-caliber machine guns, and exceptional durability that allowed it to absorb significant battle damage, the P-47 became the primary mount for groups like the 56th and 4th Fighter Groups under the Eighth Air Force. These squadrons conducted bomber escorts, fighter sweeps, and ground-attack missions, with the 56th Fighter Group—nicknamed the "Wolfpack"—flying its first P-47 combat sortie on April 13, 1943, from bases in England and ultimately claiming 674.5 aerial victories, the highest among Eighth Air Force fighter groups in the theater. The 4th Fighter Group flew its first P-47 combat mission on March 10, 1943, contributing to the Eighth Air Force's buildup of over 1,000 fighters by mid-1944 to counter the Luftwaffe. Key historical events, such as the Normandy invasion on June 6, 1944 (), underscored the P-47's operational impact amid fierce air superiority battles. In the preceding months, USAAF P-47s from the executed interdiction strikes that crippled German supply lines and reduced strength by over 8,000 aircraft between February and June 1944, ensuring minimal opposition—fewer than 100 sorties—during D-Day landings. The Eighth Air Force's fighters, including P-47-equipped squadrons, flew 30,863 sorties in June alone, dropping 7,366 tons of bombs and destroying numerous enemy aircraft to support the invasion's success. These battles mirrored the high-stakes environment of escorting heavy bombers deep into , as seen in the Air Battle for in , where the 56th Fighter Group downed 94 enemy planes over four days while supporting massive raids. Life in these squadrons was defined by rigorous pilot training, perilous missions, and strong camaraderie forged under constant threat. New pilots underwent intensive stateside instruction in advanced tactics and aircraft handling before deploying to , where leaders like Col. Hubert Zemke of the 56th emphasized aggressive maneuvers, , and "leading from the front" to build —often described as "gang loyalty" that boosted amid grueling 300-400 mile round-trip flights. Missions carried immense risks, with pilots facing flak, superior enemy numbers, and mechanical failures; the P-47's robustness helped, but losses were routine, as in the 56th's March 8, 1944, mission where 28 kills came at the cost of five aircraft. The overall endured the highest casualty rate of any U.S. unit in the war, with 47,483 total casualties including over 26,000 deaths, while specific groups like the 56th suffered 150 personnel losses across 447 missions. Outstanding pilots, or "aces," exemplified the squadrons' effectiveness, with the 56th Fighter Group producing 39 such individuals who downed five or more enemy aircraft. Notable aces included Col. Francis "Gabby" Gabreski, who achieved 28 victories in P-47s, and Lt. Col. Robert S. Johnson, the top Eighth Air Force ace with 27 kills by war's end; their exploits, often in dogfights over occupied Europe, highlighted the P-47's role in turning the tide of aerial warfare. This intense historical context of innovation, sacrifice, and triumph directly shaped production decisions for films depicting such units, emphasizing authentic aerial combat realism.

Script and Pre-Production

The screenplay for Fighter Squadron is an original work by Seton I. Miller and Martin Rackin, inspired by the exploits of U.S. fighter groups such as the 4th and 56th in , who crafted revisions that highlighted the heroism of fighter pilots alongside the profound personal losses they endured during . commenced in 1947 with the project's announcement, progressing to calls in early 1948 amid a budgeted allocation of approximately $1.6 million to support filming and aerial sequences. Key decisions included selecting as director for his established expertise in action-oriented films, such as The Roaring Twenties (1939) and They Died with Their Boots On (1941), ensuring dynamic pacing for the war narrative. To enhance realism, the production emphasized authentic dialogue, drawing on consultants from WWII veteran pilots to capture the vernacular and camaraderie of squadron life. The script briefly referenced historical inspirations from U.S. fighter squadrons in , grounding the fictional tale in real operational challenges.

Production

Principal Filming

Principal photography for Fighter Squadron took place primarily from May through July 1948, with key occurring over two weeks at Oscoda Army Air Field (now ) in during mid-June. Additional ground-based sequences were filmed at studios in , alongside exterior shots in to capture base operations and interpersonal drama among the pilots. Director focused on dynamic, high-energy ground scenes to convey the camaraderie and strain of squadron life, employing to heighten the visual intensity of everyday military routines without relying on extensive effects. The production incorporated surplus aircraft from units, including 16 Republic P-47D Thunderbolts sourced from bases in Georgia, , and , which were repainted in varied markings for authenticity in static and taxiing shots. These planes, drawn from post-war military stockpiles, allowed for realistic depictions of interactions and pre-flight preparations on set. Actors, including leads Edmond O'Brien and Robert Stack, prepared through on-location immersion at the air bases, where they observed and participated in basic military protocols to inform their portrayals of fighter pilots under pressure. The shooting schedule demanded rigorous daily commitments, often extending 12 to 14 hours to accommodate the coordination of personnel, equipment, and weather-dependent exterior work. Minor script adjustments were made on set to refine dialogue reflecting pilot banter, ensuring alignment with the observed authenticity.

Aerial Sequences and Technical Challenges

The aerial sequences in Fighter Squadron were led by acclaimed stunt pilot and aviation expert , who served as aerial coordinator and supplied key aircraft for the production. Mantz's team captured dynamic footage using real aircraft, including Republic P-47 Thunderbolts sourced from units and North American P-51D Mustangs repurposed to simulate German fighters, as flyable examples of the latter were unavailable post-war. This approach emphasized authentic over precise historical replication, with Mantz prioritizing business practicality in his selections. Technical execution involved a mix of practical filming and optical effects to achieve immersive combat visuals. Air-to-air shots of a B-17 Flying Fortress were likely obtained by Mantz piloting his modified as a camera platform, exposing color film during flights over in early June 1948. For ground-integrated sequences, rear-projection was utilized, incorporating backdrop footage of the B-17 filmed by a Tallmantz-owned at locations including , and . These methods allowed for the integration of live action with pre-shot aerial elements, simulating bombing runs and formations without relying solely on full-scale recreations. Model work supplemented select bombing depictions to represent explosive impacts and mission simulations, enhancing the scale of attacks on historical targets. Production faced significant hurdles, including persistent weather delays in the variable California skies that disrupted scheduled flights and extended the aerial unit's timeline. Safety concerns arose during takeoff tests at Oscoda, culminating in a P-47 crash due to structural failure; pilot Lt. Louis Mikell bailed out but drowned in Lake Huron, resulting in a fatality. This incident halted operations briefly, underscoring the risks of mounting cameras and crew on modified warbirds. Innovations like multi-camera rigs affixed to actual aircraft—pioneered in part by Mantz's prior developments in aerial cinematography—enabled comprehensive coverage of maneuvers, with over 500 feet of film exposed per sortie to capture fluid, immersive dogfight action from multiple angles. These techniques marked an early major application of such setups in feature films, balancing spectacle with the era's technical limitations.

Cast and Characters

Lead Roles

Edmond O'Brien stars as Major Ed Hardin, the central figure of the squadron—a bold, undisciplined ace pilot promoted to command, whose arc centers on reconciling his love for daring aerial combat with the burdens of and unit discipline. O'Brien delivers a standout characterized by swashbuckling energy and an intensity that captures Hardin's internal struggles, earning praise for its red-blooded authenticity in driving the 's exploration of military hierarchy. Robert Stack portrays Capt. Stu Hamilton, Hardin's protégé and a hotshot flyer whose rivalry with his mentor stems from clashing views on duty versus personal life, particularly around amid wartime risks. Stack's rising status following his post-war return to acting infuses the role with genuine poise, informed by his service as a U.S. gunnery instructor during , which enhanced the realism of the aerial sequences. The leads' arcs emphasize themes of through Hardin's into a strict taskmaster who prioritizes squadron survival over individual heroics, and Hamilton's defiant pushback that tests their bond, underscoring the sacrifices required in preparation for D-Day. Their exchanges highlight tensions between personal ambitions and , reinforcing the 's focus on amid . The supporting ensemble adds depth to these dynamics by portraying the broader squadron's camaraderie and challenges.

Supporting Roles

In Fighter Squadron, John Rodney portrays Colonel Bill Brickley, the who oversees the squadron's operations and demonstrates respect for the protagonist's abilities by recommending his promotion. Brickley's role establishes a layer of authoritative structure within the group, offering a steady contrast to the more impulsive pilots through his measured leadership. Tom D'Andrea plays James F. Dolan, a resourceful member whose scheming antics, including a ruse involving black cats to secure off-base privileges, inject into the high-stakes environment of aerial combat. Dolan's humor serves to lighten the tension among the pilots, highlighting the camaraderie and everyday resilience of the support staff amid wartime pressures. Henry Hull appears as Brigadier General Mike McCready, a senior officer who intervenes decisively in squadron matters, such as defending key personnel during disciplinary proceedings. McCready's presence underscores the broader chain of command, providing strategic oversight that influences the group's missions without dominating the interpersonal dynamics of the pilots. Rock Hudson makes his uncredited film debut as a Second Lieutenant, a small role that required 38 takes to complete. The supporting ensemble, including these characters, was largely composed of Warner Bros. contract players, blending veteran performers with up-and-coming talent to mirror the diverse age ranges and backgrounds found in actual squadrons. This casting approach enhanced the film's portrayal of , where peripheral figures like Dolan and higher-ups like McCready offer emotional balance and realistic texture to the central pilots' experiences.

Music and Sound Design

Score Composition

The original musical score for Fighter Squadron was composed by , an Austrian-born composer renowned for his contributions to adventure and war genres in Hollywood cinema, including landmark scores for films like (1933) and Gone with the Wind (1939). Steiner crafted the score in 1948 specifically for the film's narrative of aerial combat during , drawing on his established technique of leitmotifs to underscore character arcs and dramatic tension. The composition process began with Steiner's detailed pencil sketches aligned to key script cues, which were then orchestrated by Murray Cutter and prepared for recording. Central to the score are heroic leitmotifs representing the pilots' camaraderie and valor, often rendered through bold fanfares to evoke the thrill and danger of dogfights, while somber string-dominated cues accompany scenes of loss and sacrifice, heightening the emotional weight of the war drama. A notable element is Steiner's use of self-borrowing, repurposing the aggressive march theme from his earlier film (1941) for the opening credits and action sequences, infusing the score with a sense of continuity in motifs. This approach reflects influences from Steiner's prior work on WWII such as (1943), where similar symphonic structures emphasized patriotic heroism and aerial intensity. The score, totaling approximately 45 minutes, was recorded at the scoring stage with the studio orchestra under Steiner's personal direction, utilizing a 40-piece ensemble to achieve its dynamic range from jaunty comedic interludes to rousing orchestral swells. This tailored symphonic style not only propelled the film's pacing but also reinforced its genre conventions, blending adventure orchestration with the gravitas of wartime reflection. The complete score was released on CD in 2016 by Music Box Records in collaboration with Films.

Sound Effects Integration

The sound effects integration for Fighter Squadron was handled by the sound department, with Leslie G. Hewitt credited as sound mixer, drawing extensively from actual aircraft recordings sourced from military archives to capture the visceral roar of World War II-era planes. These authentic audio elements, including the distinctive engine hums of P-47 Thunderbolts, were essential for immersing audiences in the film's aerial combat sequences, providing a level of realism that distinguished the production from earlier dramas. Key techniques employed involved layering multiple sound sources, such as engine roars with rapid gunfire bursts and controlled explosions, to simulate the chaos of dogfights and bombing runs. This approach not only heightened tension during flight scenes but also complemented brief cues from Max Steiner's score without overpowering them. Significant challenges arose in syncing these complex sound layers to the fast-paced aerial footage captured during principal filming, requiring precise timing to align audio peaks with visual cues like plane dives or explosions. The production included Foley work to create supplemental effects such as rattles and wind rushes, performed in specialized studios to replicate environmental noises absent from archive recordings. A notable example of this integration occurs in the briefing scenes, where the low rumble of approaching flybys is mixed seamlessly with overlapping dialogue, building as pilots discuss mission risks and the intensity of upcoming sorties. This careful blending underscored the film's commitment to auditory realism, contributing to its reputation as a technically ambitious war picture.

Release and Distribution

Premiere and Initial Release

Fighter Squadron premiered on November 19, 1948, at the Strand Theatre in , marking the debut of the production directed by . The film, starring , , and John Rodney, was presented as a aviation adventure depicting the exploits of a U.S. Army Air Forces fighter squadron during . handled distribution, rolling out the film widely across U.S. theaters starting November 27, 1948. This nationwide release followed the New York opening by one week, allowing for initial buzz from the premiere to build audience interest in the film's authentic aerial combat sequences. Marketing efforts highlighted the movie's thrilling dogfight scenes and realistic portrayal of wartime aviation, with promotional trailers showcasing the extensive use of aircraft. The campaign also featured tie-ins aimed at supporting U.S. recruitment, capitalizing on the film's patriotic theme and post-war interest in . The film received approval from the Production Code Administration under the , ensuring compliance with 1940s Hollywood standards for content. Its final runtime stood at 96 minutes, edited to balance action sequences with character-driven drama.

Home Media and Restorations

Following its theatrical run, Fighter Squadron became available on through Warner Home Video in the 1980s via format, offering viewers access to the film's aerial sequences in an analog presentation. The film received its first digital home media release on DVD in , featuring a basic transfer that preserved the original aspect ratio and mono audio but lacked additional enhancements or bonus materials. Since 2020, Fighter Squadron has been accessible via streaming on platforms including TCM and , broadening its reach to modern audiences through on-demand .

Reception and Legacy

Critical Response

Upon its release in late , Fighter Squadron received mixed reviews from contemporary critics, who generally praised its technical achievements in aerial sequences while critiquing the as formulaic and reliant on war clichés. Variety highlighted the film's thrilling air action, noting that the U.S. footage provided a "tingling reminder" of and effectively captured the deadly intensity of fighter squadron operations, though the story centered narrowly on one English-based unit with predictable character archetypes. Bosley Crowther, writing for , described the picture as a routine assembly of "lurid adventure episodes" featuring stock elements like a rebellious challenging , a comic-relief , and artificial interpersonal conflicts among pilots, culminating in a conventional D-Day climax. He acknowledged the excitement of the flying scenes, particularly the use of authentic footage, but dismissed the overall production as a "hot rock" appealing mainly to younger audiences and comic-book enthusiasts rather than seasoned viewers. Critics frequently lauded director Raoul Walsh's handling of the action-oriented material, crediting his vigorous pacing and ability to integrate real wartime footage for creating an "exciting, red-blooded" tribute to the Eighth Air Force's heroism, despite the script's limitations. Performances also drew acclaim, with standing out as the and earning strong notices for his portrayal of a hotshot pilot buddy, contributing to the ensemble's convincing depiction of camaraderie under fire. In contrast, the film's formulaic romance subplot—limited to brief, offhand references to women back home and a sergeant's fleeting escapades—was often cited as underdeveloped and clichéd, failing to add depth to the all-male focus on duty and sacrifice. Overall, period press coverage was mixed, with approximately two-thirds of major reviews positive toward the technical and patriotic elements but tempered by narrative familiarity. In modern retrospectives, such as airings in the 2020s, the film is valued for its historical depiction of P-47 operations and aerial photography, underscoring its enduring appeal as a rowdy wartime adventure despite dated storytelling. It holds a 50% approval rating on based on five reviews.

Box Office Performance

Fighter Squadron was produced on a budget of $1,597,000. Financial records indicate U.S. rentals of $1.75 million and worldwide earnings of $3,086,000 (figures represent distributor rentals, not total box office gross). It performed particularly strongly in the Midwest, where interest in aviation themes resonated with local audiences. Several factors influenced its returns, including post-war audience fatigue with war-themed films, which tempered overall enthusiasm for such productions in the late 1940s. For comparison, the 1949 release Twelve O'Clock High, another aviation-focused war drama, achieved similar financial success with U.S. rentals of $3.2 million, highlighting the genre's enduring but moderated appeal.

Cultural Impact and Modern Views

Fighter Squadron has left a lasting mark on aviation cinema, particularly through its vivid portrayal of P-47 Thunderbolt operations during , which helped shape the post-war air combat genre in the by emphasizing high-stakes aerial dogfights and squadron camaraderie. The film's dynamic sequences of fighter group actions over contributed to the romanticized depiction of American air power in subsequent war films, serving as a reference point for historical aviation narratives. In terms of legacy, Fighter Squadron is preserved and showcased in aviation institutions, such as the Cradle of Aviation Museum's Curator's Choice Video Collection, where it is highlighted as a key postwar representation of the 4th and 56th Fighter Groups' exploits. Additionally, the film has been referenced in discussions of P-47 Thunderbolt , including in aviation publications that connect its dramatizations to real squadron achievements, reinforcing its role in educating audiences about WWII . Modern reevaluations in the 2020s often praise the film's authentic aerial footage as a highlight for enthusiasts, while critiquing its reliance on era-typical tropes like insubordinate pilots and formulaic heroism, which limit character depth. Regarding gender roles, contemporary viewers note the absence of female pilots or significant contexts, aligning with Hollywood norms that excluded diverse representations in military stories, though the squadron's all-male dynamic is seen as progressively inclusive for its time in focusing on team unity without overt ethnic stereotypes. On diversity, the film is commended relative to its era for portraying a cohesive squadron without the racial exclusions common in other WWII productions, subtly advancing broader acceptance in portrayals.

References

  1. https://www.tcm.com/tcmdb/title/1663/fighter-squadron
  2. https://www.imdb.com/title/tt0040353/
  3. https://www.rottentomatoes.com/m/fighter_squadron
  4. https://apps.dtic.mil/sti/tr/pdf/ADA168864.pdf
  5. https://www.luke.af.mil/News/Article-Display/Article/358521/56th-fighter-wing-has-boast-worthy-history/
  6. https://warfarehistorynetwork.com/article/the-famed-jug/
  7. https://www.af.mil/News/Article-Display/Article/485137/allied-air-forces-paved-way-for-d-day/
  8. https://apps.dtic.mil/sti/tr/pdf/ADA130302.pdf
  9. https://apps.dtic.mil/sti/tr/pdf/ADA192792.pdf
  10. https://www.jbsa.mil/News/News/Article/3926925/air-force-officer-honors-family-legacy-through-medical-service-leadership/
  11. https://www.luke.af.mil/News/Features/Display/Article/360235/wwii-ace-shoots-to-high-rank/
  12. https://warnerbros.fandom.com/wiki/Fighter_Squadron
  13. https://harvardfilmarchive.org/programs/action-action-action-a-raoul-walsh-retrospective/2
  14. https://www.imdb.com/title/tt0040353/trivia/
  15. https://aerovintage.com/fighter.htm
  16. https://www.aerovintage.com/tallmantz-aviation/paul-mantz-filmography/
  17. https://revistas.unav.edu/index.php/communication-and-society/article/download/43478/37156/
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  21. https://variety.com/1947/film/reviews/fighter-squadron-1200415863/
  22. https://www.nytimes.com/1948/11/20/archives/the-screen-in-review-fighter-squadron-warner-film-dealing-with.html
  23. https://www.latimes.com/archives/la-xpm-2003-may-16-me-stack16-story.html
  24. https://www.imdb.com/title/tt0040353/reviews/
  25. https://catalog.afi.com/Catalog/MovieDetails/25536
  26. https://www.imdb.com/title/tt0040353/fullcredits/
  27. https://archives.lib.byu.edu/repositories/14/archival_objects/162253
  28. https://www.musicbox-records.com/en/cd-soundtracks/3986-fighter-squadron.html
  29. https://www.moviemusic.com/soundtrack/M10662/fighter-squadron/
  30. https://www.moviemusicuk.us/2014/04/01/max-steiner-fathers-of-film-music-part-1/
  31. https://www.imdb.com/title/tt0040353/fullcredits
  32. https://www.nytimes.com/1948/11/19/archives/of-local-origin.html
  33. https://www.imdb.com/title/tt0040353/releaseinfo/
  34. https://www.blu-ray.com/dvd/Fighter-Squadron-DVD/77267/
  35. https://www.justwatch.com/us/movie/fighter-squadron
  36. https://www.collectionscanada.gc.ca/obj/thesescanada/vol2/002/MR84504.PDF
  37. https://www.cradleofaviation.org/plan_your_visit/virtual-museum/curators-choice-video-collection/fighter-squadron.html
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