(This was the first entry in my “Overlooked [or Obscure] Goodies” column back in 2003, which eventually became “Movies Worth Rediscovering.” The first paragraph establishes the format and criteria for my selections.)
One of my goals when I began this newsletter was to sift through the memories of the thousands of films that I have seen in order to recommend little-known titles which I feel are deserving of attention. Looking back, I do not believe that I have achieved that goal. Therefore, every issue from now on will feature this ongoing article, highlighting four films with which people may be unfamiliar. I will attempt to illuminate a wide spectrum of films, encompassing as many eras, genres, styles and cultural aspects as I can. The only tangible connection between them will be my admiration for them.
The first movie to be featured in this new format is a crazy British adventure-comedy titled Non-Stop New York (1937). The story involves an unemployed chorus girl (Anna Lee) who, while stranded in New York, is an unwitting material witness to murder. She returns to England only to be jailed, and only learns of her own involvement [in the murder case] after she is released from prison. She knows that the man accused of murder is innocent, and she determines to save him. Her dilemma is that nobody believes her story.
The first half of Robert Stevenson’s Non-Stop New York is admittedly rather dull and even poorly plotted. But all that changes when the chorine boards the craziest airplane ever seen to return to New York, joined by a handsome Scotland Yard detective (John Loder), a cunning blackmailer (Frank Cellier), a lovesick fourteen-year old violin virtuoso (Desmond Tester) and his bossy aunt (Athene Seyler), not to mention the murderer himself (Francis L. Sullivan), who is traveling in disguise.
From the moment the chorine stows away on this airplane, which must be seen to be believed (and even then, you simply won’t believe your eyes!) the movie crackles with wit, energy and humor. Suddenly the dull drama transforms into comic mayhem as people eavesdrop on each other, steal each other’s secrets and attempt to survive the flight across the Atlantic. The movie’s second half, almost all of which takes place aboard the plane, is almost Hitchcockian in its clever mixture of danger, thrills, romance and laughter. People pop in and out of rooms at will (a technique that began in theatrical bedroom farces and is still popular in sitcoms like “Seinfeld” and “Friends”) and their dialogue is sharp, pointed and often hilarious. The young man with the violin (and saxophone) is a marvelous character.
Best of all is the six-engined luxury plane. It seems to be at least three floors high, is divided into individual staterooms for its guests, sports art deco design, boasts two outside viewing balconies and makes a grand locale for the spirited intrigues of its guests. A model of the aircraft is used in long shots that are almost laughable, although the fateful dive sequence toward the sea is actually rather effective.
As I watch the movie’s frenetic second half unfold, I keep saying to myself “This movie is nuts!” It is, and I wouldn’t have it any other way. It is available from Sinister Cinema, and may appear on Turner Classic Movies. My rating: ✰ ✰ ✰. (4:3).