A man protective of his brother checks out the girl his brother is in love with, in order to see if she's the real thing or just trying to take advantage of him. Unfortunately, he winds up falling in love with her himself.



(original story), (scenario) | 1 more credit »


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Cast overview:
Pat Riley
Tom O'Brien ...
Tom Dugan
Jimmy Taylor
Kate Bruce ...
Mrs. Riley - Pat's Mother
Dan Wolheim ...
Airport Manager
Dorothy Ward ...
Mae Hopper


Bill Taylor, World War I flying ace is a hot-shot barnstormer, with his kid-brother, Jimmy, as one of his crew members. Jimmy falls in love with a nightclub singer, Pat Riley, and his older-brother thinks that Jimmy may be involved with a hard-bitten floozy and decides to check her out for himself. What he finds is a sweet and home-loving daughter working to provide for her sweet-and-loving mother. He falls for her, and this upsets the younger brother no end. Written by Les Adams <longhorn1939@suddenlink.net>

Plot Summary | Add Synopsis


A smashing, dashing, flashing, all-talking picture of love, adventure, and daredevil airmanship! See more »






Release Date:

July 1929 (USA)  »

Also Known As:

Loucuras de um Aviador  »

Company Credits

Production Co:

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Technical Specs


Sound Mix:

(RCA Photophone System)|

Aspect Ratio:

1.20 : 1
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Did You Know?


I'm That Way About Baby (And She's That Way About Me)
Music by George Green
Lyrics by George Waggner
Copyright 1929 Ager, Yellen and Bornstein
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User Reviews

Primitive early talkie, not recommended for "Hoppy" fans!
26 January 2008 | by See all my reviews

Tay Garnett's first sound feature (he'd previously made a couple of comedy shorts, a silent feature and a part-talkie) is more than a bit rough around the edges. The sound is often muffled and has an unnatural echo, although most of the players handle it well. The exception is possibly Marie Prevost. Her singing is cleverly dubbed and maybe her whole role. She allegedly had a "thick New England accent", but there's no sign of it here.

The problem is not so much the sound recording itself, but the limitations it has placed on the camera. James Gleason's dull dialogue doesn't help either. Many scenes are simply staged in front of the microphone in boring, extended takes, though Garnett does move the camera occasionally; and when the movie takes to the skies (and all these sound effects were professionally dubbed) the photography at times is quite breathtaking.

"Hoppy" fans are not likely to be entranced by the sight of their hero here. Even though he laughs and smiles often, he looks old.

3 of 6 people found this review helpful.  Was this review helpful to you?

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