Word: cagney
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Dates: during 1930-1939
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Although neither noise nor vibration interfered with passengers' enjoyment of the antics of James Cagney several thousand feet over the Alleghenies, Central Airlines does not plan to install cinema-chinery in its planes regularly until some manufacturer produces specially-designed equipment. First sound motion picture in the air was not Devil Dogs of the Air but Baboona, the Martin Johnson film which Eastern Air Lines showed bigwigs month ago in a Douglas a mile over Manhattan. Baboona, a regular 35-mm. film, will be shown again over Chicago this week in a TWAirliner...
...Warner) is an investigation of perhaps the only branch of the U. S. flying service that has hitherto escaped the attention of the cinema- aviators of the U. S. Marine Corps. A hard-boiled lieutenant (Pat O'Brien) gruffly supervises the training of a cocky stunt pilot (James Cagney). By the time the stunt pilot's initiation is over, he has acquired a thorough knowledge of formation flying, traces of esprit de corps, the undivided attention of his superior officer's intended fiancee (Margaret Lindsay...
...Warner, these advantages, combined with some of the most exciting stunt flying seen in the cinema since Hell's Angels, were correctly deemed sufficient to compensate for the lack of anything which might be construed as an original narrative. Best shot: an aviator purporting to be James Cagney, but actually one of the anonymous stunt flyers who helped make Devil Dogs, impudently bouncing his plane over the ambulance that has been sent out to save...
...presentation of the feature, "Devil Dogs of the Air," the Hon. Jimmy Cagney and Mr. Pat O'Brien, supported by Margaret Lindsay and Frank McHugh, go together as smoothly as a hand and its glove, and as entertainingly as a fat man on a banana peel; while Polly Moran, in person, scintillatingly fresh from Hollywood, shouts and jests her merry way from behind the spotlights right into the very hair of her listeners...
Without laying embarrassing stress on its merits as a drama, it is easy to say that the "St. Louis Kid" is good Cagney; and good Cagney, as an unfortunately large number of people know, may be depended upon to include turmoil among the gendarmerie, wisecracks in a welter, fisticuffs in the boudoir, and a pace so rapid as hopelessly to outstrip the plot. Shamefacedly, we admit to a general liking for all these inevitable ingredients, as well as for the toothsome Patricia Ellis and the dogged Alan Jenkins, Mr. Cagney's perennial henchman. The Kid himself, may best be described...