DANGER LIGHTS (1930)

One could easily assume this RKO film’s cinematographers were supervised by people who love trains. No doubt the Chicago, Milwaukee, St. Paul, and Pacific Railroad’s cooperation was a significant force to show their first-class railroad at work. It is the most authentic steam railroad movie Hollywood ever made. No restored museum locomotives were used. No CGI necessary. Typical of dramas in this era, there is no distraction or needed help from a music score. The filming of actual freight train operations is singularly unique with an opening landslide expertly authentic. It is a true time capsule of an era that might otherwise remain unknown. The acting is more than satisfactory, though it is typical 1930 melodramatic storytelling. Some scenes are treated like stage plays with cued entrances. But first and foremost this is a railroad film which happens to have actors in it. Just the opposite of Titanic (1997), a concocted love story in which the lovers happen to be on a "boat" that sinks. In this regard, Danger Lights stands alone. Today's viewer needs to accept this, otherwise, it will only play as an outdated, corny film with yucky, polluting trains.

Louis Wolheim, who would die suddenly one year later in real life, plays the burly rail yard boss in Miles City, Montana. A singular career man who gets things done. Nobody loafs or gets a free ride on his watch. A few boxcar hobos are quickly put to work to help clear the tracks after the aforementioned landslide. Robert Armstrong, a former railroad engineer, is one of them. Wolheim recognizes Armstrong simply needs to get his self-esteem back and hires him. Jean Arthur, Wolheim's fiancé knows their love story is far-fetched. Her father has long desired she would marry the hard-working, honest and polite railroader. But he exudes all the romantic charm of a jackhammer. A steam locomotive has a more attractive face. This is where handsome, energetic Armstrong comes bounding in to fill her void. Once he and Arthur meet it is full steam ahead and Wolheim is uncoupled and placed on a siding. 

Few films paint a more accurate picture of a steam locomotive's “romantic” era than one scene from inside Arthur’s living room. I am not sure if miniatures were used at all or exactly how the scene was shot, but it is realistic enough. Perhaps a studio set with real train footage superimposed in the background. As curtains flutter in the summer breeze through the open windows, we see a freight train in the distance and hear the engineer’s unique, personal whistle signifying it is Armstrong to Arthur's heartfelt delight. This is authentically true as many engineers had their own recognizable, rhythmic “song.” 

The young couple decides to elope on the next train to Chicago. During the rainy night, Wolheim spots them walking down the tracks and goes into a jealous rage, pounding toward them with steel fists. Armstrong steps between two tracks as it switches, getting his shoe caught in between. Suddenly, Wolheim's anger is thwarted by what he sees. Armstrong is in the path of an approaching high-speed train. Danger lights! The big-hearted boss yanks him free but a stuffed, limp dummy takes a nasty hit in the head by the locomotive’s cylinder. Had it been a real person he would have died instantly. Not in Hollywood. Wolheim’s only hope of surviving his "migraine" is to get him to specialists in Chicago in record time. Armstrong volunteers. It is an eye full for locomotive fans and exciting for everyone else, including beautiful pan shots of the train crossing an iron bridge, around curves, with top-mounted cameras through cities. After returning home, the recovering Wolheim resolutely acknowledges to Arthur his first love will always be the railroad. Though she feels guilty for not honoring his long courtship, inside she is secretly jumping off the ceiling with joy.

Notes: There are doses of humor from Wolheim. Armstrong and Arthur have a humorous romantic encounter as he is washing up, singing a jaunty tune. But it is Hugh Herbert who must carry the torch. Herbert does double duty as the film's dialogue director and a lovable hobo who expects a great deal of respect for his position in life. He sheepishly threatens to report the railroad if he is not treated properly. Wolheim acts tough but the old softy takes it in stride. Herbert hanging on for dear life between two rail cars during the climatic, dusty, record run to Chicago certainly cures him of wanderlust.