This film is relentlessly male and relentlessly American. It functions brilliantly within the Hawksian "system" where male bonding is key, and where Woman is an outsider. Where romance is a minor part of life and where love is expressed through symbols and not through language. The group of professionals and their easy, jocular interaction is the beating heart of this film and all the group scenes are brilliantly directed. I also like the element of screwball comedy (a genre in which Hawks is one of the few masters) which presents itself in Grant and Arthur's "coffee" scene. It shows how much Hawks trusts his actors and his material in that he knows that such changes of tone can strengthen, rather than weaken, the key drama. I love this film even though its presentation of the world is not the one I'm the most sympathetic to. The film is not incredibly strong in psychological nuances - not when compared to directors like Sirk, Fuller, Welles, N. Ray, etc...and the basic tone is that of a stoicism which occasionally cracks (slightly) under pressure, but which almost immediately reestablishes itself. It's an attractive world view, but not one I'm incredibly comfortable with. There is no place here for ambiguity - not on any deep, non - localized level. I've been reading some Hawks interviews, and I now understand why Hawks was uncomfortable with being labeled an "artist". His attitude towards films and film-making is clearly the same as the attitude of the men in this film towards their work and their lives (and deaths). It's simple: you're either good enough or you're not, and you're only as good as your last flight. This identification between the man (Hawks) and his production (Only Angels Have Wings) helps to illuminate the greatness of the film, but it also explains its emotional and aesthetic limitations.

• Near the end of the film, Bonnie (Jean Arthur) says to Geoff (Cary Grant), "I'm hard to get, Geoff, all you have to do is ask me." This line would, of course, be more famously re-utilized by director Howard Hawks and screenwriter Jules Furthman in their later film, To Have and Have Not (1944), spoken this time by Slim (Lauren Bacall) to Steve (Humphrey Bogart).
• Howard Hawks remembers: "[When the movie was released] a certain critic said 'It's the only picture Hawks ever made that didn't have any truth in it.' I wrote him a letter and said, 'Every blooming thing in that movie was true.' I knew the men that were in it and everything about it. But it was just where truth was stranger than fiction."
• Richard Barthelmess had deep scars that resulted from an infection due to plastic surgery. The only way to cover them up was with heavy make-up, but Howard Hawks convinced him to leave them the way they were because "those scars tell the story and are important to your character." Hawks also removed planks to make Barthelmess appear taller, to reflect his character's inferiority among his fellow pilots.