Colonel John Wister, on duty with the British army in the desert region of Dubik, returns to England on leave. There he falls in love with Julia Ashton, who cares deeply for him but believes herself incapable of love following the death of her fiancé; some time before. Wister convinces her that he loves her enough to live without her romantic love and that she should marry him. She does so and returns to Dubik with him. There she meets his adjutant, Captain Denny Roark. Roark is a dashing young man who reminds Julia thoroughly of her lost love. Soon she finds she is indeed capable of love, but it is Roark with whom she falls in love, not her husband. As warfare with the local tribes heats up and as Wister gains awareness of the unconsummated romance growing between his wife and best friend, tragedy lurks.
Similar titles
You May Also Like
Reviews
Touches You
Simply Perfect
Save your money for something good and enjoyable
Absolutely Fantastic
While on leave from his desert post somewhere in The Empire, Col. Wister (Ian Hunter) meets an American widow (Kay Francis), falls in love and marries her. He brings her back to his desert outpost, which has been overseen in his absence by Capt. Roark (Errol Flynn). She takes one look at Flynn, and you can probably write the rest. And Col. Wister is a noble, stiff-upper-lip representation of the British Lion (they're good sports).There is no new ground broken in "Another Dawn", it's all been done before. The 3 principals acquit themselves very well and add some polish to a familiar theme. The picture is held together by Hunter and Francis, with Flynn tagging along as eye candy. Good but not spectacularly so, it is a harmless way to pass 75 minutes.****** 6 of 10
. . . which are radically different than the American martial marital customs. In ANOTHER DAWN, the screenwriters explore what happens when a Captain gives up his pastime of playing solitaire in favor of regular coitus with his commanding officer's wife. Most every time such a thing comes up on an American military base, the junior officer is defrocked of his command, serves a lengthy sentence in a federal penitentiary, gets dishonorably discharged, and loses whatever government pension he's accrued. That's why it's Standard Operating Procedure for the American Brass to keep it zipped, except when they visit Officers-and-Gentlemen's Clubs. As ANOTHER DAWN illustrates, the British response to this exact same triangular equation is the polar opposite to the U.S. military's. The Brit cuckolded commanding officer feels duty-bound to immediately assign himself to a suicide mission, especially if it's one for which he's ill-suited. It's his corpse that counts, as the Primary Objective here is to clear a glide path for the top commander's wayward wife to be able to enjoy her future jollies with less guilt and apprehension. This is why her upper lip is always so stiff at her husband's funeral.
This is not the sort of movie you'd think it would be, as the film is set abroad and is about a British outpost. Considering this AND that the film stars Errol Flynn, you would expect that it would be an adventure film like LIVES OF A BENGAL LANCER or CHARGE OF THE LIGHT BRIGADE--and if so, you'd be wrong. The film is purely a romantic melodrama about a woman (Kay Francis) who marries a man he likes and respects (Ian Hunter) but eventually falls in love with suave and romantic Errol Flynn (and, in 1937, who WOULDN'T have fallen for Errol?!). The problem is exacerbated because Francis genuinely loves Hunter as a friend and Errol is loyal to Hunter because he's his commanding officer, but their glands won't be satisfied until they break the awful news to nice-guy Hunter. This is, overall, a very sappy and sticky movie. Some will no doubt like it, but the ardent and more "wussified" Flynn isn't as satisfying a character as he played in most of his other films. And, the plot itself seems very old fashioned and...well...silly. Not a bad film, but certainly a lesser film and one that is mostly of interest to those who want to see every film Flynn made--even the weaker ones.
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.