The Lost Zeppelin

Conway Tearle is the stiff-upper lipped commander of a dirigible expedition that sets off on an arduous trip knowing that the wife he leaves behind "Miriam" (Virginia Valli) is in love with one of his colleagues "Tom" (Ricardo Cortez) and wants a divorce! Hardly an happy basis to start such a perilous mission, and when the winds and currents drive them to the frozen Antarctic their goose looks well and truly cooked (or frozen!). Can they survive these hostile climes long enough for rescue planes to arrive? Though there is some aerial photography, the vast majority of this story is relayed to us via his wife listening to updates on the radio, and after a while I found that quite dull. The audio tries far too hard to compensate for the visual wintry conditions - that are clearly studio set-bound, and the stilted acting - especially from a shockingly poor Valli really does spoil the adventure elements that I thought this might include. It's worth remembering that this was made when talkies were in their infancy, so I ought not to be too critical, but there is just too much melodrama and nowhere near enough adventure here and it's just not very good.

Stiff upper lips abound in Edward Sloman's frigid tale of love and adventure, not only because zeppelin pilots Conway Tearle and Ricardo Cortez are thoroughly decent chaps at heart, but because the talkies were in their infancy and - with the exception of Tearle - everyone seems to have temporarily forgotten how to act in front of a camera. Cortez's character might be making the moves on Tearle's willing wife (Virginia Valli) but at least he feels awfully guilty about it. Dreary stuff that's only set apart from the countless other drawing room dramas flooding cinemas during the early years of sound by its set-bound Arctic scenes.

THE STORY & GENRE -- This is an adventure tale, not genre, but we're reviewing because it's in the ASHSFF book under "Tangential", probably for the quality of special effects, which is quite high, rather than for any fantastical machinery. Good drama subplots.

THE VERDICT -- Even with primitive sound quality, and a bit of stiff acting, this is quite the accomplishment. As well as technically sound, the story-line is interesting and I did not find it unbelievable, as some others have.

FREE ONLINE -- Yes. Full 72 minutes.

That this exsists at all is probably a minor miracle. Legend has it that David Selznick purchased all of the Tiffany-Stahl studio's negatives to utilize for the burning of Atlanta sequence in Gone With The Wind. Extant prints of films from this studio are rare, indeed. That aside, The Lost Zeppelin shows that the little studio was indeed trying to be up-to-date in marketing all-talking pictures. The dialouge delivery in the first section of the picture, before we get to the meat of the story, hearkens back to The Lights of New York (1928). Pregnant pauses and actors unsure about how to properly deliver dialouge are apparent. When the story gets to the dirigible party and their problems, the pace picks up and there are some pretty neat (for their time) effects. The studio must be praised for putting forth a story that is at once novel and original. This was released at Christmastime 1929 and it seems to have been successful in some quarters. In it's premiere in St.Louis, for example, the ads reported a take of $30,900 for the Christmas weekend. Pocket change today, but we must remember the time in which it was released. Conway Tearle and Virginia Valli are the top-billed players. The opening credits proclaim that this was "Synchronized by RCA Photophone". The print on the Alpha DVD was acceptably clear. In all, a film which will probably appeal to those who enjoy the early talkies. There are plenty of 20s fashions, hairdos and a huge radio in the living room of the heroine. Radio, in fact, is utilized throughout the film as a way to chart the progress of the Zeppelin. The Zeppelin itself is neatly represented by stock footage and the use of some neat miniatures. This is not an expensive film to buy and will be entertaining to those who enjoy film history.

Conway Tearle (Commander Hall), Virginia Valli (Mrs Hall), Ricardo Cortez (Tom Armstrong), Duke Martin (Lieutenant Wallace), Kathryn McGuire (Nancy), Winter Hall (Wilson).

Director: EDWARD SLOMAN. Screenplay: Frances Hyland. Dialogue: Charles Kenyon. Story: Jack Natteford. Film editors: Martin G. Cohn, Donn Hayes. Photography: Jackson Rose. Art director: Hervey Libbert. Set decorator: George Sawley. Special effects: Jack Robson, Kenneth Peach. RCA Sound System. A Tiffany-Stahl Production. Recording engineer: Jerry Eisenberg. Sound technician: John Buddy Myers.

Copyright 10 December 1929 by Tiffany Productions, Inc. New York opening at the Gaiety: 1 February 1930. U.S. release: 20 December 1929. 8 reels. 6,882 feet. 76½ minutes.

SYNOPSIS: A dirigible crash-lands near the South Pole.

COMMENT: The Tiffany-Stahl company bills itself as "The Better Entertainment". Better than what, one might ask? The New York Times reviewer had his finger on the pulse when he described all three of the principal performances as "not especially praiseworthy", the story as both unintelligent and uninteresting, the plotting as "clumsy", and the special effects as "far from impressive".

Well, maybe he was a little over-hard on the effects. Aside from one or two remarkable achievements like the fall down the snow- cliff, realistic they are not. But some of the glass shots of the dirigible on the ice have a certain pictorial splendor, and some of the model- work is not bad.

All the same, the story is trash, the principals are a dull, lifeless trio. Mr. Cortez tries hard to instill a bit of vigor into a thankless role, but wooden Tearle and that impossibly painted doll with her silly little voice, Virginia Valli, are a dead loss.

Ed Sloman's tepid, static, colorless direction is no help either.