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A surprisingly little-known gem from the '30s. Sure, there's a lot of hokum in the story. But Myrna Loy as a daring aviatrix and Cary Grant as an inventive young pilot make it believable and compelling. Grant is working on new technology to enable pilots to fly and land "blind"-- using only the controls in the cockpit and communication with the ground -- when his eyes are seared by an exploding stove. Loy's growing affection for him runs into a cold, bitter barrier. But when she accepts a dangerous challenge, he literally rises to the occasion and becomes her eyes in the sky. Even some seemingly minor scenes -- like one in which Grant reacts badly to the gift of a guide dog -- have real emotional impact. And the stuntwork, involving open single-engine planes of the past, ranges from exciting to spectacular.

It's always a treat to find an early Cary Grant movie. In this case it was a double treat since Myrna Loy played his love interest. Wings in the Dark (1935) showcases the talents of its two stars, despite the rather unbelievable plot of a recently blinded pilot (Cary Grant) who flies a plane configured with special navigating equipment he has created. While the movie ends on a typical melodramatic, if not predicable note, the movie is still one to catch. Cary Grant pulls together an admirable performance of an independent man who is suddenly blinded and goes through a myriad of emotions that come with the convalescence. This movie shows that Grant had depth as a serious actor. Catch him with two other movies with Myrna Loy, The Bachelor and the Bobby Soxer, and Mr. Blandings Builds His Dream House.

Producer Arthur Hornblow, Jr. borrowed Myrna Loy from MGM for a loan out film at Paramount and teamed her for the first time with Cary Grant who was under contract there. This must have been a courtship film of sorts because the following year Hornblow married Myrna Loy. I'm betting that top billing went to Loy because of Louis B. Mayer as a condition of the loan out and because Hornblow was courting her hot and heavy.

In the Forties Cary and Myrna did The Bachelor And The Bobby Soxer and Mr. Blandings Builds His Dream House, both films more of the usual sort of material for both of them. Wings In The Dark is a drama about an Amelia Earhart type aviatrix and an aeronautical inventor who find love and happiness. But it's a bumpy road to all that.

Grant is a cynical fellow who despises Loy as a circus stunt flier with no feel for the progress of aviation. Myrna properly puts him in his place when she points out that due to the status of women at the time, her kind of flying is all that's open to her and in doing what she does she is showing her sex as capable as the male. A very far reaching treatise on feminism for its time.

During an accident Cary goes blind and he's not one to take charity. But as it were he happened to be working on developing instrument flying through thick clouds and fog and in the end he gives his machine the ultimate test.

Wings In The Dark is dated because aviation has made light years more progress than when this film was made. And it does pale beside the two classic screen comedies that Grant and Loy later did. Still it does offer an interesting glimpse of both stars in their earlier year and for Grant an unusual bit of casting.

Wings in the Dark (1935)

You have to remember what a total thrill it was to fly a single engine plane back in the early 1930s, and even to see airplanes buzzing about in the sky. Of course we still love small airplanes and bushpilots, what we see of them. And we have a fuzzy feeling for that specialty pilot who paints messages in the sky with smoke. The message that starts the movie in the deep blue? "Smoke Flips" including the dot on the I.

Some things have changed, indeed.

This movie has several amazing things going for it, and two of them have names: Myrna Loy and Cary Grant. Myrna is the pilot Sheila Mason who writes the opening cigarette ad overhead, and she's like a small town Amelia Earhart--charming, daring, and a woman in a man's world. Grant plays Ken Gordon, another pilot and an instrument pioneer. Gordon's current trick is to fly "blind" meaning by feel and by instruments, hence the title of the movie--at first. And he wants to fly to Paris. The movie was shot 7 years after Lindbergh's solo flight to Paris, and two years before Earhart's disappearance.

The director is little known James Flood, and he is helped a lot by both the beautiful actors (and their acting) and some really good photography under William Mellor, an unsung mainstay of Golden Age Hollywood. There are lots of strong close ups and good strong graphic designs, including some nice angled shots from high up, as well as some fast moving camera to follow the action. It's a an uncluttered affair, and this draws attention to the acting, which is good. Loy by this point was an established star (she had been in some 80 films by this point). Grant was newish (less than 20, all in three years), and as charming and cute as can be, but playing a more regular guy than usual--not playing "Cary Grant" quite yet.

The movie takes its dramatic turns when Mason (Loy) and Gordon (Grant) interact one on one. First there is a tragedy, then an opportunity. There are some seemingly necessary functional moments in the film, a process of getting through the crisis, but then the movie kicks in again. It's all pretty wild and exciting, actually, if not deep or original. It's got its formula underpinning, but it makes it all fast and emotionally moving, at least for a sucker like me. This is just after the Code kicked in and there is no suggestive or racy behavior, just the new clean romantic drama between two stars who are bound, we hope, to get together by the end.

WINGS IN THE DARK (Paramount, 1935), directed by James Flood, is an agreeable little 75-minute story that centers upon a pilot named Ken Gordon (Cary Grant), attempting to perfect instruments for safe flying through darkness and fog. While working with some chemicals, a gas explosion occurs, blinding him before he can ever prove his experiments successful.

Top billing goes to MGM star Myrna Loy, in her first film for Paramount since LOVE ME TONIGHT (1932) where she played the secondary role opposite Maurice Chevalier and Jeanette MacDonald in the now regarded classic musical. Seeing Loy in this Paramount programmer comes as a surprise, especially since the studio had a roaster of contract players ranging from major names as Sylvia Sidney or Carole Lombard, to less important but familiar actresses as Frances Drake or Mary Brian (all who have worked opposite Grant at one time or another), but for the standpoint of the story as to whom would possibly be more satisfactory and believable in assuming the role as an aviatrix, or whose name on the marque would be important enough to draw attention, Loy, reaching the height of her career, became the chosen one. She is well cast as Sheila Mason, a woman flier who, feeling responsible for his accidental blindness, acquires a seeing eye dog (played by Lightning) for Ken. Not wanting to be pitied, he rejects the animal. Taking up residence in the country with his faithful mechanic/ friend, Mac (Hobart Cavanaugh), Ken attempts on becoming a writer in his spare time while adjusting to his life in darkness. As for Sheila, she secretly attempts in earning back Ken's finances by flying her airplane from Moscow to New York, only to risk her life going through intense fog and darkness.

Others in the cast include Roscoe Karns (Nick Williams, Sheila's manager); Dean Jagger (Tops Harmon); Bert Hanlon (Yip Morgan); Russell Hopton (Jake) and radio broadcaster Graham McNamee appearing as himself. Hobart Cavanaugh, a familiar face of countless movies throughout most of the 1930s and '40s, usually appearing without credit from minor to bits parts, ranging from drunks to mousy husbands, is given a sizeable part to good advantage as he did in, I COVER THE WATERFRONT (United Artists, 1933) opposite Ben Lyon and Claudette Colbert.

Not an important film by any means in spite of a its two leading actors, WINGS IN THE DARK could have been an important project with such a fine premise that might have worked into a powerful and dramatic theme. A fine mix of its central character coping with blindness and a well-scripted aviation story explores Grant's skill as a fine dramatic actor, especially how he handles himself as a blind man. Also recommended in similar themes are Grant's aviation adventure story of ONLY ANGELS HAVE WINGS (Columbia, 1939) and PRIDE OF THE MARINES (Warners, 1945), starring John Garfield in a fact-based story of a soldier adjusting to life after losing his sight in battle during World War II.

With WINGS IN THE DARK being the initial pairing of Grant and Loy, they are best remembered today for THE BACHELOR AND THE BOBBY SOXER (1947) and MR. BLANDINGS BUILDS HIS DREAM HOUSE (1948) for RKO Radio Pictures. While these films have become notable comedy classics, thanks to frequent television revivals and availability on video cassette and later DVD, WINGS IN THE DARK, having played sporadically on commercial television in the 1960s and 70s, remains in the dark as being the least known of their three collaborations.

Close to being largely forgotten today, this little item has become available for viewing on DVD format. It is made watchable due to the fine combination of Myrna Loy and Cary Grant before they became superstars. (***)