Londres-Nova York Sem Escalas

"Non-Stop New York" is a delightful film from 1937 starring Anna Lee, John Loder, and Francis L. Sullivan.

Anna Lee (Lila Quartermaine on General Hospital) is pretty Jenny Carr, a young British actress in New York City with a flop play. So soon, she'll be on her way back to London. She meets a man who sees she's hungry and offers to buy her a meal.

That man is later murdered, and a bum is arrested. He is due to be executed in a matter of days. He says that an English girl knows he didn't do it, but no one can find her. She's already home. Once she sees a headline that she's being searched for, she realizes she has to get back to the US immediately. She and her mother find a plane that goes London to NY in 18 hours, and her mother pretends to be drowning while Jenny boards the plane.

Little does Jenny know but the real killers are out to stop her.

This plane is something to behold. It's a clipper, and apparently this type of plane did exist. Wish it still did. The inside is more like a train, with sleeping compartments, dining room, and one can step out onto a terrace like thing outside the plane. It also flies rather low. Totally amazing.

Francis L. Sullivan is excellent as the slimy gang head who wears different disguises in his quest to get rid of Jenny. Apparently - could this be true - he was 35 years old when he did this. If you'd told me he was 65 I would have believed you.

John Loder, who was married at one time to Hedy Lamarr, is the handsome investigator who really doesn't believe Jenny.

This film is available on youtube. Try and see it - it's very enjoyable.

English and American characters and accents mingle in this lively thriller about a murder witness on the run.…from and then back to New York.

Anna Lee is our heroine, a young English chorus girl; hungry and out of luck in New York and about to board ship for home, she is befriended by a young lawyer who invites her over for a meal. Once inside his apartment, however, the man is promptly murdered by a gang of thugs headed by big smoothy Francis L. Sullivan. Noting that Lee is "the only person alive who knows that we were in that apartment last night"—at least that's what he thinks at the time—Sullivan subtly trails her.

The action moves to London, where the gang attempts to prevent Lee from returning to New York, where the imminent execution of an innocent fall guy will close the case. Will Lee's character realize the situation? And will she be able to reach America in time to save the innocent man's life? –This is where the story takes off: when all of the major characters board a trans-Atlantic airplane that is easily the most memorable element of this movie.

The plane is like no other: ordinary airliner on the outside, on the inside it's more like an ocean liner—complete with staterooms instead of rows of seats. It's even got a sort of porch—an observation deck—for characters who care to step outside, mid-Atlantic Ocean, and get a breath of wind in the face.

Among the cast, Anna Lee is quite dashing as the girl with a brain and some courage. John Loder is fine as a handsome young police inspector who is drawn into the case and onto the plane; Loder and Lee don't have a whole lot of scenes together but share a cute scene on the observation deck.

Francis L. Sullivan is excellent as the boss gangster. With the looks of Sidney Greenstreet and a voice like George Sanders, he is indeed a memorable villain. Young Desmond Tester is also a lot of fun to watch—a violin prodigy traveling with a grumpy aunt, the kid is prone to snooping and illicit saxophone playing.

A nice variety of characters, a decent plot, and that fantastic airliner make this one a winner.

Well this was surprising little treat - a light-hearted '30s crime thriller with an appealing lead, a fun cast of supporting characters, a snappy pace, and a delightfully absurd second half that takes place on a rather fanciful mode of transport.

The film opens in New York on New Year's Eve, with penniless, out-of-work English showgirl Jennie Carr (winsome blonde Anna Lee) meeting lawyer Billy Cooper (James Pirrie) in a café, and accepting an invitation for dinner at his apartment. The evening doesn't go as planned, however, when criminal Hugo Brant (Francis L. Sullivan) turns up, forcefully ejects Jennie (chicken leg in hand), and then shoots Cooper for refusing to work for him any longer. Blissfully unaware of the murder, Jennie returns to England, where she is arrested on a trumped up charge of robbery.

When Jennie is released from prison, she reads about Cooper's murder in the paper, and discovers that a vagrant called Henry Abel has been wrongly convicted of the killing and faces the death penalty. Jennie tries to tell the authorities about the men who confronted Cooper in his apartment, but Brant (now in England) ensures that no-one believes her story. Desperate to save Abel's life, Jennie stows on board the Airline, a flying boat destined for New York.

Up to this point, the film has been fun, but nothing particularly special; however, when the Airline takes off, so does the film, Jennie's journey being hugely entertaining from start to finish, with a wonderfully eclectic selection of co-passengers adding to the enjoyment: London police inspector Jim Grant, con-artist Sam Pryor (Frank Cellier), young violin prodigy Arnold James (Desmond Tester) and his aunt veronica (Athene Seyler), and, of course, the wicked Brant, who will do anything to stop Jennie from testifying. The plane itself is also a major character: a massive double decker craft complete with dining room, bar, luxurious cabins, and - best of all - a balcony from which passengers can observe ships passing below!

Duplicitous Sam's plan to blackmail Brant involves plucky young Arnold getting in over his head, lucky Jim becomes romantically involved with Jennie, and Brant leaves the plane mid-flight courtesy of Aunt Veronica's parachute, the fiend having killed the pilot. In the film's incredible climax, heroic Jim Grant has to climb over the top of the plane's exterior as it plunges towards the ocean, a wonderfully bonkers moment that really has to be seen to be believed.

I bought the video of Non-Stop New York on a whim when I saw it was about a double-decker airplane with an outside deck(!). However, the plane only comes into play during the last half of the film, and when it does, the design of it is so downplayed that we assume double-decker planes were mainstream travel in 1938. The plot involves a chorus girl trying to free an innocent man from death row while being pursued by the gangsters that did it. Yeah, we've all seen it before, but the plane, and the way the movie uses it, truly make this trip worth it.

In my opinion, if you stumbled across a film as esoteric as this in the IMDb and actually are taking the time to read about it, you'll enjoy it. This is what all those Airport movies wish they were.

Robert Stevenson (1905-1986) was a superb British director, but his name is not widely enough recognised. He is probably most famous for JANE EYRE (1944) with Orson Welles and TOM BROWN'S SCHOOLDAYS (1940). Less well known are his excellent DISHONORED LADY (1947, see my review), and his truly magnificent OWD BOB (1938, see my review), which he made the year after this. In this year, he also made KING SOLOMON'S MINES with Anna Lee, who stars once again in this film of his. This really is a most fascinating film, because of the spectacular second half which takes place on a trans-Atlantic Clipper seaplane, the interior of which resembles that of a zeppelin, on multiple levels with individual sleeping compartments, bar and restaurant. It even has a little balcony where people stand outside to take the air and look down upon the ships which are not far below them. Francis L. Sullivan here gives one of his finest performances as the oiliest and least scrupulous of villains, truly hair-raising in his wickedness. Anna Lee is a typical 1930s English 'sweetie', but with more fibre and character than is usual for that time, and she handles the part of the courageous accidental heroine very well. She is determined to save the wrong man from being executed in America for a crime he did not commit. Anna stows away on the Clipper to get back to America to give her evidence, which Scotland Yard had refused to take seriously. This is very much a Hitchcock-style suspense thriller, and makes excellent viewing. It deserves to be more widely known, as it is certainly a British pre-War classic. If Britain had as many film buffs as there are in America, where almost any trivial B or C movie can achieve fame nowadays, films like this would be familiar and praised, rather than obscure and forgotten. But the British are lazy about their cinematic heritage, and films like this are never shown on British television, so no one even knows they exist. In this film, the child actor Desmond Tester is most amusing as an eccentric child musical prodigy who becomes entangled in the murderous intrigues going on aboard the Clipper plane. If only British films still produced wonderfully strange character actors like that! It was also amusing to see a young Peter Bull scowling with his heavy jowls as a blackmailer in this film. In real life, he was actually rather jolly, although extraordinarily bombastic and often too loud, and he was always available for a chat when he ran his astrological shop in Notting Hill Gate in the 1960s and 1970s.