Up in the Air

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Richard Cross's review published on Letterboxd:

"Is I where I think I is or am I where I hope I ain't?" asks Manton Moreland of the bulging eyes and comical double-takes. He plays wing man to an ok Frankie Darro in this dull murder thriller, and, like us, he's sadly where he hoped he ain't.

Here is yet another example of the Monogram product. Frankie Darro, Mantan Moreland and Marjorie Reynolds are top-starred in this modest yet enjoyable programmer centered around the murder of an obnoxious radio singer. The songs are pleasant enough and the mystery diverting. Modern viewers may cringe at a routine which puts Darro in blackface opposite Moreland in a sketch Moreland performed with another actor in the past. It is funny though, and the whole production runs 61 minutes and passes the time pleasantly enough. This came on one of those Mill Creek compilation sets and the quality is pretty good for a public-domain picture.

On location in Hollywood, "Amalgamated Broadcasting Company" (ABC Radio) page Frankie Darro (as Frankie Ryan) is attracted to the station's attractive new receptionist, aspiring songstress Marjorie Reynolds (as Anne Mason). Ms. Reynolds sings "By the Looks of Things" very sweetly. With help from cowardly janitor pal Mantan Moreland (as Jeff Jefferson), Mr. Darro decides to help Reynolds become a radio singing star. Then, the station's snotty songstress Lorna Gray (as Rita Wilson) is murdered...

First suspected is cowboy singer Gordon Jones (as Tex Barton), who was then notable as the star of "The Green Hornet" serial. Just when you think you've heard them all, "Tex" calls Mr. Moreland "banjo eyes" (an apt description). Also, watch for Darro to appear in "black-face" for a routine with Moreland (which must have looked swell on the radio). The bit is handled inoffensively, by the way. Howard Bretherton and the troupe manage the vehicle fairly, with Darro and Moreland contributing their usual.

**** Up in the Air (9/9/40) Howard Bretherton ~ Frankie Darro, Mantan Moreland, Marjorie Reynolds, Gordon Jones

Plot- a radio singer is murdered amid a room full of radio executives. The investigating cops thrash around leaving the real insight to the studio page-boy and his jokester buddy.

Bouncy programmer from low-budget Monogram. Pairing live-wire Darro with sparky negro Moreland was a bold touch. Together they turn a ho-hum whodunit into a fast paced romp with snappy lines and easy-going humor. Moreland does his patented big-eyed shtick and racialized humor that may offend some modern audiences. Still, he's treated more as Darro's pal than as comic relief in a movie that's more like a buddy flick than a mystery. In fact, Moreland's got more of a featured role than his usual down-the-list supporting role. I wouldn't be surprised that Monogram had a more permanent pairing in mind here.

The rest of the cast goes through its paces in professional style, though director Bretherton adds neither atmosphere nor nuance, which may, nevertheless, have been intended to spotlight the two leads. At the same time, the winsome Reynolds captivates with an adorable stage presence I could have stood more of. My only gripe is that I was expecting scenes in a broadcasting studio showing the radio technology of the day. Unfortunately, there are none, only stage performances. Nonetheless, that's along with some revealingly live street scenes from Hollywood Blvd., circa 1940.

All in all, it's quick hour of 40's amusement, with a cross-racial buddy pairing unusual for its time.

Frankie Darro and Mantan Moreland made several movie together in the 1930's and 40's where they were pretty much on equal footing with each other despite everything that was going on around them. They were the stereotypical buddies of the buddy film. Normally that wouldn't mean much except that Darro was white and Moreland was black and in every other film of their time no one could be as they were unless they both were white.

Race has absolutely nothing to do with the plot of Up in the Air, which concerns a series of murders at a radio station. I mention the fact notion of race simply because the script for this movie was used two or three more times with out nary a change for white co-stars.

The fact that the script was re-used is also an very good indication that the film is a very good one. No its not flawless, there are little bumps here and there and a couple of jumps in logic, but as excuse for murder and silliness in the typical Hollywood style one need not look much farther than this film.