In what would be his first screenplay, based on his own short story "Turn About," William Faulkner delivers a bizarre story of loyalty, sacrifice, and really strange relationships. The story originally was about only the Tone, Young, and Cooper characters, but MGM needed to put Joan Crawford in another picture to fulfill her contract, and Faulkner obliged by creating a female role. Crawford insisted that her lines be written in the same clipped style as her co-stars' Young and Tone, leading to much unintentional hilarity as these three communicate in a telegraph-like shorthand that sounds like a Monty Python sketch ("Wuthering Heights" performed in semaphore). Seriously, the almost entirely pronoun-less sentences make Ernest Hemingway read like Henry James.<br /><br />The film also reflects some familiar Faulkner themes, with an almost unnaturally close relationship between brother and sister (as may be found in his "Sanctuary," and elsewhere). When Young proposes to Crawford, in Tone's presence, in lieu of an engagement ring ALL THREE exchange their childhood engraved rings with one another. The closeness of Tone and Young is also noticeable, especially as they go off to their Thelma & Louise fate. Frankly, it's creepy.<br /><br />Not as creepy to this New Yorker, however, as the recurring theme of the massive cockroach, Wellington, which Crawford cheerfully catches (and which is shown gamboling over her hands--I had to turn away!) and Young turns into a gladiator. Blech.<br /><br />That being said, there are some nice performances. Young is particularly engaging in a scene where he's taken up in Cooper's fighter plane, and Roscoe Karns is delightful as Cooper's flying buddy. Tone, despite his inability to express himself through realistic dialogue, has a nice moment, dashing away his own furtive tears over his buddy Young's fate. Crawford, stripped of meaningful dialogue as well, mostly comes across as either wooden or melodramatic, which is quite a balancing act for one role.<br /><br />The battle scenes--not surprisingly, for a Howard Hawks film--are the most exciting part of the entire picture. But not enough. As far as I'm concerned, this is 75 minutes of my life I'm never going to get back.