In both films, the focus is relentlessly on the characters. Just shooting the characters, watching their reactions, faces and bodies, is good enough to justify most shots. The Blue Eagle is as comic as The Lost Patrol is tragic, however. Nothing really bad is going to happen to these guys, and we know that everything will be great for a happy ending. The Blue Eagle has an unusual compositional style.
Most shots are fully frontal.
The plane of the shot is parallel to the wall behind the characters. We see a pure geometric grid, with doors, windows and other wall markings, shot dead on, forming the compositional geometry of the shot. The characters are also often shot straight on. They are often directly facing the camera. This unites the characters and the backgrounds into one unified series of design principles.