Wings of Danger

Maybe it could be a contradiction, but none Noir picture walks under 7 out 10, because this genre is quite unique, enough to be on high level taking account their greatness, in this American-British co-production they took the notable Zachary Scott to leading role, in my opinion Zachary is to Noir as Lee Van Cleef is to Western pictures, such similarity between them, the plot circles around a counterfeit money made somewhere at United Kingdom and smuggling through a small Air Cargo Line, which Van Ness ( Zachary Scott ) was in charge on the ground, after his closest friend a Company's pilot insist to fly under bad weather condition end up disappearing on storm, the police attachs him, track down his footsteps to finds a hint to links him with the his mastermind Boss, low bugde?? Quite sure!! Second class casting?? Perhaps!!! The plot has some flaws?? Very possible!!! Uninteresting ??? Absolutely not!!! even having a poor copy without restoration yet a great pleasure to watch!!

Resume:

First watch: 2019 / How many: 1 / Source: DVD / Rating: 7

Zachary Scott comes over from across the pond to star in this British noir film about a pilot investigating the crash of another pilot whom he supervised that he let go up in a storm over the English Channel. As it turned out Scott was between a rock and a hard place, he has to let Robert Beatty fly because Beatty knows that Scott suffers from occasional blackouts and the Board of Trade wouldn't like that if they heard about it.

Why does Beatty go up. The more Scott digs on his own he uncovers, blackmail, counterfeiting, and smuggling. And a few more surprises before this film ends.

Although Hammer Films before it started doing horror films and became known for same, they turned out some decent low budget noir films that the British call quota quickies. This isn't one of them it drags in many spots and such talented folk as those already mentioned are wasted. Even Kay Kendall who plays the gangster's moll in this and well doesn't spark this film at all.

I think most will be bored with this one.

Zachary Scott stars with Robert Beatty and Kay Kendall in a 1952 British quota film, "Dead on Course."

During the '50s, many American actors went to Britain and made these films: Cesar Romero, Dane Clark, Dennis O'Keefe, and others. Some are better than others, but mostly, like this one, are fairly routine.

Scott plays Richard Van Ness, part of an airline service. His girlfriend's brother, Nick (Beatty) insists on flying in bad weather in order to deliver unimportant cargo.

Van Ness tries to ground him, but Nick threatens to tell their boss that Van Ness has intermittent blackouts, which will ground him.

Nick's plane crashes near the Channel Islands under odd circumstances. The police ask Van Ness for help, telling him of a smuggling operation that they've connected with the airline. Van Ness pays a visit to his boss' girlfriend (Kay Kendall) and acts interested in order to find out what he can.

One of the plot points seemed obvious from the beginning; it was just a feeling I had but somehow, it was telegraphed in the script.

The acting is so-so, with Robert Beatty quite charming and Kay Kendall a good femme fatale. Kendall was a rising star who married Rex Harrison after they did a play together in 1955; when he realized she was dying of leukemia, Harrison divorced his current wife, Lili Palmer, and married Kendall.

Kendall did not realize she was terminally ill. Their story was the basic plot for a Terence Rattigan play, "In Praise of Love," which Harrison did on Broadway with Julie Harris.

Zachary Scott said all of his lines in a very aggressive manner, absolutely no shading. I always liked him -- he was good as a sleaze, a weak man, a Henry Fonda-ish role in The Southerner - here he just seems hostile all the way through.

Just okay.

"Dead on Course" is sort of like an American film noir movie but made in the UK. And, like many European films from the 1950s, they lured an American actor (Zachary Scott) to star in the film-- presumably to give the film greater international marketability. Unfortunately, it's still a relatively bland film.

Richard (Zachary Scott) is a pilot working for his small air transport company. His friend, Nick, knows Richard's secret--that he occasionally blacks out due to some old injury! So using this as leverage, Nick takes off in a plane during crappy weather---and the plane crashes. What follows is a dark story involving smugglers and Richard trying to sort out who his real friends are.

The best thing about this film is Zachary Scott and his dialog. It's pure noir--and works very well. But the rest of the cast all seem very dreary--with limp dialog and an almost complete lack of menace. Not terrible...just not all that interesting.

Taking advantage of arrangements favoured by the UK's Eady levy (a state film subsidy established after the war) in 1950, American producer Robert Lippert formed a business alliance with Hammer studios. Under the agreement, Lippert would provide American acting talent - frequently shop-worn stars or just supporting actors who fancied a profitable trip out of the country - while Hammer would supply the rest of the cast and the production facilities. Together they would split the profits. Famous for his concern with the bottom line, Lippert produced over 140 films between 1946 and 1955, characteristically genre pieces such as I Shot Jesse James or Rocketship XM. For the British deal, most of the films were noir-ish thrillers - and include WINGS OF DANGER.

Zachary Scott does a professional enough job as a pilot who faces disaster through suffering unpredictable blackouts. To add to his woes, when his girlfriend's brother appears lost in a cargo plane accident, he falls into a police investigation over blackmail, counterfeiting and smuggling. Robert Beatty and Kay Kendall support in a solid tale never less than watchable, even if not ultimately memorable. Light tramlines from the source print are evident at some points - unusual for a set with generally good picture quality. Kendall seems out of place as a minor femme fatale, too nice to communicate the double-crossing her character demands. Scott's most important noir roles previously were probably Ulmer's Ruthless and Mildred Pierce; here the actor is not helped by fairly anonymous art direction and by a story never really bringing out his internal conflicts.