The Law of Contact

Non-Stop New York (November 28, 1937)

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Non-Stop New York
 

Released on November 28, 1937: A British chorus girl sees a gangster before he kills a henchman and is targeted for death by the gangster on a non-stop airplane trip from London to New York City.

Directed by Robert Stevenson

The Actors: John Loder (Inspector Jim Grant), Anna Lee (Jennie Carr), Francis L. Sullivan (Hugo Brant), Frank Cellier (Sam Pryor), Desmond Tester (Arnold James), Athene Seyler (Aunt Veronica), William Dewhurst (Mortimer), Drusilla Wills (Mrs. Carr), Jerry Verno (Steward), James Pirrie (attorney Billy Cooper), Ellen Pollock (Miss Harvey), Arthur Goullet (hobo Henry Abel), Peter Bull (Spurgeon), Tony Quinn (Harrigan), H.G. Stoker (Ship Captain), Albert Chevalier (unknown), Atholl Fleming (unknown), Alf Goddard (Warder at Holloway Gaol), Danny Green (gangster), Bryan Herbert (gangster), Jack Lester (unknown), Andreas Malandrinos (waiter), Percy Parsons (American Judge), Frederick Piper (barman), Aubrey Pollock (Mrs. Kelly), Edmon Ryan (American prosecutor), Edward Ryan (unknown), Alexander Sarner (unknown), Tom Scott (unknown), Roy Smith (unknown), Hal Walters (porter), Billy Watts (unknown), Sam Wilkinson (sailor)

 

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Chorus Girl Murder in the Air

Okay . . . the Brits have my total admiration for their amazing script writing in this gangster murder thriller, but that isn't what makes my mouth drop open in amazement . . . Sure, the characters are well-thought out and deliciously complex and exciting . . . . When you have a Scotland Yard Inspector and a side-street blackmailer you might think that the Inspector would be the salvation of the chorus girl getting murdered, not the blackmailer, but in this story the con-man helps the gal more than the Inspector . . . who'da thunk it? Of course the killer is a New York City gangster, which is just fine, and the gal targeted for murder is a young blonde wanna-be actress beauty from England who happened to see the gangster just before he killed one of his henchmen that was trying to run away to England. Sure the story line is one of the most unique that I've ever seen, with practically nothing happening the way one would predict . . . Sure the variety of characters is enchanting, including the young violin progeny who would rather play saxophone swing and his old-maid aunt . . . And the point of the plot is exposed from the very beginning - the New York City gangster must kill the young blonde girl because she is the only person who saw him just before he killed his errant henchman . . . But even though we all know what must happen, the journey from the girl seeing the gangster to the thrilling attempted killing is such a wondrous story that by itself it stands head and shoulders above most other movies of the day . . . But there is more . . . an amazing, mouth-dropping element to this story that you must . . . YOU MUST . . . watch this movie just to experience it. Flying on airplanes has changed dramatically since 9-11, and even before that it had evolved greatly from the beginnings of flight, and I was not born yet when this movie was filmed, but I just cannot believe that an airplane like this really existed . . . Is there anyone out there with a background in air travel who could educate me on this? It seems that this airplane flying non-stop from London to New York has a dining area and private suites for each passenger much like steam ships . . . Was there really an airplane like this or is this a sci-fi invention of the movie makers? I mean to tell you . . . this airplane even had doors that you could open and go outside to a small patio with a railing and let your hair blow in the wind . . . Is this for real? You've just gotta see this ariplane . . . the thrilling, heart-stopping ending will have you white-knuckled even if you don't believe this airplane ever existed in real life. Pop a big bowl of white kernel popcorn with plenty of warm melted butter drizzled over it and take a flight of fancy into the airplane of the future . . . er . . . I mean the airplane of the past.

Anna Lee and Aubrey Pollock
Anna Lee and Aubrey Pollock
Anna Lee and Drusilla Wills
Anna Lee and Drusilla Wills
Anna Lee
Anna Lee
Anna Lee sees the Killer
Anna Lee sees the Killer
Arthur Goullet
Arthur Goullet
Aubrey Pollock
Aubrey Pollock
Desmond Tester playing his violin
Desmond Tester playing his violin
Desmond Tester
Desmond Tester
Edmon Ryan and Arthur Goullet
Edmon Ryan and Arthur Goullet
Francis L> Sullivan and William Dewhurst
Francis L> Sullivan and William Dewhurst
Francis L. Sullivan
Francis L. Sullivan
Frank Cellier and John Loder
Frank Cellier and John Loder
James Pirrie
James Pirrie
Jerry Verno
Jerry Verno
John Loder and Francis L. Sullivan
John Loder and Francis L. Sullivan
Peter Bull
Peter Bull
Screen credit for Anna Lee
Screen credit for Anna Lee
Screen credit for Arthur Goullet and Peter Bull
Screen credit for Arthur Goullet and Peter Bull
Screen credit  for Athene Seyler and William Dewhurst
Screen credit for Athene Seyler and William Dewhurst
Screen credit for Desmond Tester
Screen credit for Desmond Tester
Screen credit for Drusilla Wills and Jerry Verno
Screen credit for Drusilla Wills and Jerry Verno
Screen credit for Francis L. Sullivan
Screen credit for Francis L. Sullivan
Screen credit for Frank Cellier
Screen credit for Frank Cellier
Screen credit for James Pirrie and Ellen Pollock
Screen credit for James Pirrie and Ellen Pollock
Screen credit for John Loder
Screen credit for John Loder
Screen credit for Tony Quinn and H.G. Stoker
Screen credit for Tony Quinn and H.G. Stoker
William Dewhurst and Drusilla Wills
William Dewhurst and Drusilla Wills