Neale and Pedro fly cargo between Chungking and Calcutta. When their buddy Bill is murdered they investigate. Neale meets Bill's fiancée Virginia and becomes suspicious of a deeper plot while also falling for her charms.
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Neale Gordon and Pedro Lake, commercial pilots who fly the hump between Chungking and Calcutta learn, when they reach Calcutta, that their pal, Bill Cunningham, has been murdered. Neales investigation leads him to the Chalgani Club, run by Eric Lasser. Marina Tanov, the club's Russian singer, in love with Neale, tells him that Bill was engaged to an American girl, Virginia Moore. Neale seeks out Virginia, who admits that Bill gave her the $10,000 necklace she is wearing. Knowing that Bill never had that kind of money, Neale checks up. He learns that Bill had actually bought and paid for it. Neale and Virginia are having a drink at the bar when Pedro shows Neale a valuable star-sapphire which he found in the hangar. The pilots then realize they have stumbled onto a smuggling racket. Neale is convinced that Virginia is not involved. Written by
Les Adams <email@example.com>
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »
Alan Ladd at least appealing in cliched Asian hodgepodge
Calcutta is far from Alan Ladd's finest hour on the silver screen (nor director John Farrow's, for that matter). His trademark contempt for women and his android-like affect prove unappealing and tedious when not undercut by plausible psychology or fleshed-out co-stars. Here he has nothing but a murky Asian hodgepodge of noir cliches to wade through, the inevitable William Bendix at his side (and, this time, on his side). Trying to solve the murder of a fellow trunk-line pilot working the route from India to China, he drifts from hotel to casino to airfield encountering a rogues' gallery of grotesques. Edith King, as a stogie-puffing Baby Jane Hudson, promises more than she delivers; Gail Russell, the black widow of the piece, is kind of like Mary Astor to three parts water. This is one film from the noir cycle whose obscurity gives little cause for regret.
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