Central Airport

Central Airport (1933)

** 1/2 (out of 4)

Some great action and stunts are ruined by some boring melodrama that doesn't add up to much. James Blaine (Richard Barthelmess) moves back home after he crashes a passenger plane and is blamed for it. He gets a job working in a carnival air show where he falls in love with a woman (Sally Eilers) but can't see himself marrying anyone. Enter the man's brother (Tom Brown) who also falls in love with the woman, which causes James to lose it. CENTRAL AIRPORT has some truly great stuff but sadly they're wasted in some boring love triangle that really never makes any sense and at the end of the movie it's really not cleared up either. Director William Wellman gets the sole credit on the film but he was replaced by Alfred Green for a number of weeks when he came down with the flu. I really do wonder which scenes Green actually directed but I've seen enough Wellman movies to where I can comfortably say that Green was in charge of the love stuff. I say that because the majority of these scenes contain no life, no energy and no atmosphere, which certainly wasn't what you'd expect from Wellman. The scenes that you can tell the wild man director contain some rather risky pre-code material including a strong bit of sexuality early on when James meets the woman as well as towards the end when they're reunited. This is 1933 we're talking about and even though the woman is married to the younger brother we get scenes where she and James are kissing mouth to mouth. That there would certainly not have happened a year later when the code was forced. Most of the stuff dealing with the younger brother simply never adds up, isn't very believable and is just downright lifeless. The performances are a mixed bag with Eilers easily stealing the show as the woman caught in the middle. She's probably best remembered for appearing in a few of the Buster Keaton/MGM titles but she really delivers a strong performance here and her undressing, pre-code moments are certainly memorable as well. Barthelmess isn't too bad in the lead but he really doesn't bring much energy. I found Brown to be incredibly boring in his role as the brother and quite annoying as well. People will want to keep their eyes open for John Wayne who appears in the final wreck sequence but doesn't have any lines. CENTRAL AIRPORT contains some amazing stunts, wonderful aerial work and some nice pre-code moments but sadly all of this gets caught up in a silly love story that just never works.

The only real evidence of the directorial touch (often a fist) of Wild Bill Wellman here are the well-done aviation scenes and the sexual tension. As a pre-code entry, Central Airport has a handful of scenes that would undoubtedly be axed a year later--- Dick and Sally canoodle in adjoining hotel rooms without the dubious benefit of marriage and the plot would've probably been reworked. As it goes, it's pure soap involving lost love and a few assorted body parts. Richard Barthemless's career was on the wane by 1933 and it's not hard to tell why. He's stiff and his acting style is far more suitable for silents. With the novelty of talkies worn off, Central Airport had to be one of Warner's biggest budgeted gambles of the year. It boasts some decent special effects and the crash scenes (and there's more than one) must've been spectacular for depression-era audiences who treated pilots back then like we saw astronauts in the 1960's. Whines: John Wayne's part defines the term 'bit'--- he's barely in the movie and you practically have to keep your eyes peeled to spot him (his other notable 1933 walk-on was in Warner's Babyface, but at least he's given some lines)--- back to the Warner's Lone Star low-budget oaters for him until John Ford decides he deserves another A-picture shot after a decade as a sometimes singin' cowboy. I also spotted WB chorus girl Pat Wing (Gill) (not credited by IMDb) in a crowd sequence standing horrified behind an announcer--- her ravishing sister, Toby is credited as originally being cast but apparently became an editing room casualty. Look for the still-breathing Charles Lane as a radio operator early on (happy 100th Mr. Lane!). I love pre-code talkies... Central Airport is by no means the best of the lot but it has just enough ingredients thrown in to hold your interest. If you want to see a far better example of 1933 Bill Wellman, see Wild Boys of the Road.

Very good "Precoder" starring Dick Barthelmess, which in a way, kind of reminded me of Hawks' "Only Angels Have Wings" (1939), in which Barthelmess also acted. This film was directed by masterful William Wellman, who was responsible for the landmark aviation Silent picture "Wings".

Barthelmess plays a devil-may-care airplane pilot, who is a blamed for an aviation accident. Afterwards he meets and falls for pretty Sally Eilers, who participates as part of an Act in an itinerant Air Circus; but when Barthelmess' brother appears in scene, a triangular relationship ensues.

"Central Airport" has many thrilling moments and some moving and touching scenes too, thanks to the great chemistry that develops between Barthelmess and Eilers (who, in my opinion, in this film resembles very much actress Dorothy Mackaill). Tom Brown is good as Barthelmess brother, fresh from his success in Wyler's "Tom Brown of Culver".

Great special effects, good flying stunts, swiftly paced film; in all, highly entertaining. Don't miss it when TCM airs it again.

Central Airport is the story of a pilot named Jim (Richard Barthelmess) who has one bad flight in over 4000 hours and is forced to give up commercial flying. He meets a beautiful girl named Jill (Sally Eilers) and the two start up an act involving flying and stunts. The two start a relationship, but when Jim is hurt, his brother (Tom Brown) takes over the act for a while and falls for his brother's girlfriend. From there, things get exciting and terribly terribly sad.

This film is a pre-code because of several reasons. First, Jim and Jill have consummated their relationship without being married and with no intention of having a wedding. Second, Eilers is shown in her underwear, and absolutely restricted scene when the Production Code came into effect.

This film does not skimp on the dramatic love triangle and in consequence ends bittersweetly.

William Wellmann, who directed one of the most exciting silent films ever made, 'Wings' (1927), here returns to the skies with another rip-roaring story of dare-devil fliers. Wellmann had been an air ace in World War One, and no one knew biplanes like he did. Here they are, stunt-flying, crashing, exploding in the air, and everything you can think of, plus a fascinating glimpse of commercial air operations in 1932 as well. And there is a good strong story, excellently played by the sombre Richard Barthelmess (the silent star who made several films with D. W. Griffith), Sally Eilers and Tom Brown. Eilers is a real sizzler. Such a relief to see a real woman with real fire and character instead of one of those photofit botoxed dummies who play in movies in today's Hollywood and all look identical. The story is a sad one, played with genuine pathos, and well directed. Towards the end of the film there are some extraordinarily thrilling scenes of danger and rescue, and what must be the most ingenious blind landing in thick fog ever thought of. I dare not give away the ingenious aspects of that particular episode. The character played by Barthelmess is very like Wellmann himself, a truly wild hell-raiser in the air. Anyone who likes early aviation would love this film, and it's very rewarding for anyone who likes good solid entertainment, love, tears, and non-stop action all combined in a kind of delectable Wellmann omelette.