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At a big party, Roger Fallon, now a woman-hater, right to the core - this all due to a failed marriage and disastrous love affairs - talks to Herbert Drake. Herbert who is happily married, ... See full summary »
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Commercial pilot Jim Blair is blackballed after his plane crashes in a thunderstorm. Depressed, he begins working as a bank teller until he meets beautiful Jill Collins, a barnstorming parachutist working with her daredevil pilot brother. Jim's immediately attracted, and when her brother's killed in a freak crash, he reveals his past to her and volunteers to replace her dead sibling in their air carnival act. As they tour throughout the Southwest, their affection turns physically intimate when they're on the road as they characteristically sleep in adjoining hotel rooms. Jill wants marriage but is resisted by Jim, who believes that his risky lifestyle precludes the luxury of a wife and family. When Jim's brother Bud joins them, he too is immediately attracted to Jill but respects his brother's relationship, However, after another freak accident puts Jim in the hospital for a prolonged convalescence, Jim returns to find them married and in bed together. Angry and bitter, he becomes a ... Written by
The title is Central Airport, yet the story does not revolve around any single airport, and there is no airport in the movie by that name. Only two airports are identified by name in the movie and both are called Grand Central Airport (one in English, one in Spanish). See more »
The only real evidence of the directorial touch (often a fist) of Wild Bill Wellman here are the well-done aviation scenes and the sexual tension. As a pre-code entry, Central Airport has a handful of scenes that would undoubtedly be axed a year later--- Dick and Sally canoodle in adjoining hotel rooms without the dubious benefit of marriage and the plot would've probably been reworked. As it goes, it's pure soap involving lost love and a few assorted body parts. Richard Barthemless's career was on the wane by 1933 and it's not hard to tell why. He's stiff and his acting style is far more suitable for silents. With the novelty of talkies worn off, Central Airport had to be one of Warner's biggest budgeted gambles of the year. It boasts some decent special effects and the crash scenes (and there's more than one) must've been spectacular for depression-era audiences who treated pilots back then like we saw astronauts in the 1960's. Whines: John Wayne's part defines the term 'bit'--- he's barely in the movie and you practically have to keep your eyes peeled to spot him (his other notable 1933 walk-on was in Warner's Babyface, but at least he's given some lines)--- back to the Warner's Lone Star low-budget oaters for him until John Ford decides he deserves another A-picture shot after a decade as a sometimes singin' cowboy. I also spotted WB chorus girl Pat Wing (Gill) (not credited by IMDb) in a crowd sequence standing horrified behind an announcer--- her ravishing sister, Toby is credited as originally being cast but apparently became an editing room casualty. Look for the still-breathing Charles Lane as a radio operator early on (happy 100th Mr. Lane!). I love pre-code talkies... Central Airport is by no means the best of the lot but it has just enough ingredients thrown in to hold your interest. If you want to see a far better example of 1933 Bill Wellman, see Wild Boys of the Road.
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