FLIGHT TO NOWHERE (1946)

When the Golden Gate Pictures trademark logo appeared on the screen, my knuckles started to sweat in anticipation. Directed by William Rowland and distributed by Screen Guild Productions, this seventy-nine-minute film starts at a fast pace but soon settles into a talky, mundane script, stifling interest. An overabundance of abrupt edits from Gregg Tallas may give you whiplash, as few scenes never seem to finish a thought before cutting to another character’s scene and then back to where the whirlwind began. Carl Hoefle's music score accompanies one scene and then abruptly cuts to another without music. One scene may be at a bar, then a restaurant. They are outside with martinis. Inside with martinis. Flights of confusion from Los Angeles to Death Valley and Las Vegas. Marcel LePicard's camera filters make it difficult to distinguish night from day. 

There are very few actors who might be recognized by die-hard B-movie fans. Jack Holt, the famous early Western star, plays an FBI agent out to retrieve a map containing the location of uranium deposits, which was stolen from a Korean national and subsequently murdered after leaving a dinner party. This is the first studio film to deal with an atomic bomb angle. Certain guests at the party are suspects, and Holt arranges to have his trusted pilot and former FBI agent, Alan Curtis, tail them. Curtis was a frequent player during this era and does his best Clark Gable impression at times. Their washroom scene provides some well-delivered witty lines by Curtis. The scene simply supplies the background of their espionage days during World War II. Holt pops up throughout the film to keep the viewer and Curtis abreast as the story drags on. Curtis’ witty comments are the only spark to an otherwise droll script to nowhere. He gets hit over the head more than the average charter pilot, each time accounting for his loss of a secret map. If the map gets stolen, there is a music cue by a harp to confirm it. 

Women seem attracted to Curtis, and one gets the feeling he is not surprised. First up is dinner guest and supposed countess, Micheline Cheirel, who hires him to fly her to Death Valley along with her party of four. Fans of the low-budget films of the Forties and Fifties will be familiar with Evelyn Ankers. She and Cheirel are in an atomic hat war upon their screen entrances. Cheirel’s headwear gives her an “MST3000” Crow T. Robot look while Ankers went with a breakfast-themed, fifteen-inch, ten-dollar pancake. Adding to the overall confusion is a secret letter about one of the passengers, which gets stolen five times in a matter of minutes. Numerous characters bounce from scene to scene in a disjointed fashion, so why not add another? Inez Cooper, playing Curtis’ ex-wife, arrives to complete the character maze, which includes Ankers’ brother, two other male suspects, plus a few other males that muddy the story. Cooper’s purpose in the film appears to highlight her trade secret, that of a professional pickpocket. This might explain Curtis's divorce. She is so good that a large, valuable ring disappears from Ankers’s finger, who is none the wiser. Cooper steals Curtis's (sabotaged) plane, and the subsequent crash removes her from the script. The ending in Las Vegas is precisely nineteen minutes later than it should have been, as all the atomic secrets are secured after a few suspects either die or get arrested. While in Vegas, Curtis takes the plunge at a nearby chapel. That amazing pancake hat on Anker's head was simply irresistible.

Note: This project may be most notable for bringing Hoot Gibson out of his retirement...er...element. All the filming was done on location in Chatsworth, California, and Iverson Ranch, reflecting a budget reminiscent of the films that made Gibson famous. His minuscule appearance as the sheriff is notable for his cowboy hat and a cue-perfect entrance.