Central Airport (1933)

70, 72 or 75 mins | Drama | 15 April 1933

Director:

William A. Wellman

Cinematographer:

Sid Hickox

Editor:

James Morley

Production Designer:

Jack Okey

Production Company:

First National Pictures, Inc.
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HISTORY

Jack Moffit's story was entitled "Hawk's Mate." The film's working title was Grand Central Airport . Al Green substituted for director William Wellman while he was out with the flu. A contemporary but unidentified note in the file on the film in the AMPAS Library states that actor John Vosper replaced Charles Sellon, J. Carroll Naish replaced Harold Huber and Russ Powell replaced Robert Craig. A news item in FD notes that this was Milt Kibbee's film debut. A plane crash scene in the film was omitted after the aviation board of the Los Angeles Chamber of Commerce deemed it harmful to the travel industry. The film was shot over thirty days for a total cost of $365,000 according to a work sheet in the film's production file at the AMPAS ... More Less

Jack Moffit's story was entitled "Hawk's Mate." The film's working title was Grand Central Airport . Al Green substituted for director William Wellman while he was out with the flu. A contemporary but unidentified note in the file on the film in the AMPAS Library states that actor John Vosper replaced Charles Sellon, J. Carroll Naish replaced Harold Huber and Russ Powell replaced Robert Craig. A news item in FD notes that this was Milt Kibbee's film debut. A plane crash scene in the film was omitted after the aviation board of the Los Angeles Chamber of Commerce deemed it harmful to the travel industry. The film was shot over thirty days for a total cost of $365,000 according to a work sheet in the film's production file at the AMPAS Library. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Film Daily
5 Dec 32
p. 6.
Film Daily
29 Mar 33
p. 8.
HH
13 Jul 33
p. 13.
Hollywood Reporter
29 Nov 32
p. 1.
Hollywood Reporter
30 Nov 32
p. 1.
Hollywood Reporter
21 Mar 33
p. 3.
Motion Picture Daily
29 Mar 33
p. 5.
Motion Picture Herald
1 Apr 33
p. 22, 24
New York Times
4 May 33
p. 20.
Variety
9 May 33
p. 14.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Fill-In dir
WRITERS
PHOTOGRAPHY
Photog
Tech eff
Aerial photog specialist
ART DIRECTOR
Art dir
FILM EDITOR
COSTUMES
Gowns
MUSIC
Vitaphone Orch cond
DETAILS
Alternate Title:
Grand Central Airport
Release Date:
15 April 1933
Copyright Claimant:
First National Pictures, Inc.
Copyright Date:
10 April 1933
Copyright Number:
LP3795
Physical Properties:
Sound
Black and White
Duration(in mins):
70, 72 or 75
Length(in reels):
8
Country:
United States
Passed by NBR:
No
SYNOPSIS

When Jim Blaine's plane goes down in a storm, Jim is held responsible for ignoring storm warnings. Because he can never fly passenger planes again, he returns home and takes a job in a bank. Jim's brother Neil, who idolizes him, has learned to fly and is leaving for Los Angeles to take a job as a test pilot. One day, Jim meets Jill Collins after she parachutes from a plane and lands nearby. When her brother, a pilot, dies in a crash, Jim takes his place flying in an air show. Jim and Jill fall in love, but Jim does not want to marry her because he believes that flyers should never get married. Intending to surprise his brother, Neil waits in the hotel lobby where he spots Jill and immediately falls in love with her himself. After Jim is injured in a freak accident, Neil takes over his job flying with Jill. When Jim recovers, he flies back to the air show, intending to ask Jill to marry him. He walks in on Neil and Jill in bed together and punches Neil before Jill can explain that they were married earlier that morning. Soon Neil gets a job as a commercial pilot and Jim suppresses his wounded feelings by flying in dangerous situations. After several years, Jim arrives in Havana, where Neil and Jill have recently been transferred. Jim and Jill meet while Neil is on a flight and discover that they are still in love. Then they hear that Neil's plane is down in the Gulf of Mexico. Because no one will look ... +


When Jim Blaine's plane goes down in a storm, Jim is held responsible for ignoring storm warnings. Because he can never fly passenger planes again, he returns home and takes a job in a bank. Jim's brother Neil, who idolizes him, has learned to fly and is leaving for Los Angeles to take a job as a test pilot. One day, Jim meets Jill Collins after she parachutes from a plane and lands nearby. When her brother, a pilot, dies in a crash, Jim takes his place flying in an air show. Jim and Jill fall in love, but Jim does not want to marry her because he believes that flyers should never get married. Intending to surprise his brother, Neil waits in the hotel lobby where he spots Jill and immediately falls in love with her himself. After Jim is injured in a freak accident, Neil takes over his job flying with Jill. When Jim recovers, he flies back to the air show, intending to ask Jill to marry him. He walks in on Neil and Jill in bed together and punches Neil before Jill can explain that they were married earlier that morning. Soon Neil gets a job as a commercial pilot and Jim suppresses his wounded feelings by flying in dangerous situations. After several years, Jim arrives in Havana, where Neil and Jill have recently been transferred. Jim and Jill meet while Neil is on a flight and discover that they are still in love. Then they hear that Neil's plane is down in the Gulf of Mexico. Because no one will look for him in the storm, Jim takes off to search for him. He finds the downed plane and manages to save all the passengers, but a heavy fog comes in and he cannot see well enough to land. All the cars in the city then line up in an old airfield, and with the help of their headlights and horns, Jim lands safely. Realizing how much Neil loves Jill, Jim leaves town again, but this time on better terms with his brother. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.