Nella morsa delle rotaie (1930) Online

The opening half-hour of "Danger Lights" contains a revealing sequence set in the operational offices of a major railroad as employees deal with an emergency. Here we can see that, to America and Hollywood in 1930, passenger railroading was a mature industry, a national transportation matrix staffed by well-compensated, highly-qualified specialists and depicted on film with all the high-tech allure the airline industry would have forty years later.

"Danger Lights" fits into a long-ago sub-genre of adventure movie, the Locomotive Engineer Adventure. Lon Chaney had made one, "Thunderbolt", as his last silent the previous year.

Another writer on these pages has noted that the human story in "Danger Lights" was a reworking of the Arthurian romantic triangle. Yeah, Right. Triangle, yes, but more like what I call Plot Number 4-A, pulled from the drawer for many a service picture, in which two men (soldiers/flyers/firemen, etc.) find their bond (friendship/father-son/sibling) severed when they are both attracted to the same woman. Usually, the one who feels most spurned or jilted performs some self-sacrificial act of honor near the end to save the other one in a crisis.

On top of all the above is layered an important technological innovation. "Danger Lights" is one of only seven pictures released in 1930-31 in a 70-mm wide screen format. Actually, they were filmed in both the wide screen (alternately called Vitascope, Magnifilm, Natural Vision, Grandeur or Realife), and standard 35 mm formats. I have seen two of the others, "Billy the Kid" and "The Big Trail", and they both have their strengths and weaknesses, but "Danger Lights" is the punchiest, with few draggy moments. It's evident that the compositions even in the 35 version were organized with wide-screen in mind, yet there's good camera movement on hand, and this is especially true whenever a locomotive is prominent.

SPOILERS AHEAD. If you haven't seen "Danger Lights", and intend to, consider going no further. Important plot info appears below.

The characters are surprisingly cavalier about their own personal safety around trains until one of the leads, Robert Armstrong, gets his foot caught when a signal tower changes track configuration for an oncoming "Special". This development, shot atmospherically at night in the rain, carries a real sense of visceral dread. What follows is a bit contrived (though excusable in a tense melodrama), as Louis Wilhelm comes along, has a change of heart (suspensefully shown) and saves Armstrong: we see the train cutting in half the mannequin/dummy substituted at the last minute for the actor, but later find Wilhelm's character's only been banged on the head! True, it's complicated by a blood clot only a big-city doctor can relieve; anyway, now the race is on to get him to Chicago in time.

The camera lingers lovingly on this special train as it hurtles through the mountains, around bends and over trestles at the then-thrilling speed of 100 mph, and the ending's a happy one. At this time actors were still getting used to sound pictures, however, so don't expect to see subtle performances. Even Jean Arthur, so accomplished and smooth in later roles, fails to stay on point here. It's all good, though. This is still probably the best 1930 RKO picture.

I taped the movie from TV broadcast about 15 years ago. My wife saw the movie being filmed in Miles City, Montana ( 8 years old at that time ) She and her older sister and parents were thrilled to see Jean Arthur in person. I liked the railroad scenes. Jean Arthur has long been a favorite of mine. I have been a movie buff most of my life and have collected just about every format that was available to the public. Currently collecting DVDs

"Danger Lights" is one of the best railroad movies ever made, and this was made in 1930! If you are a railfan (railroad enthusiast), you can appreciate the detail and authenticity that went into the making of this movie, as most of the operations depicted were authentic. Perhaps the high-speed run was a little over the top (a little artistic license, perhaps?) but it was not unusual for an engineer in the days before two-way radio to run his train over 100 miles per hour to make up a few minutes in his schedule. There's hardly a dull scene in the movie, and in general it is a quality project.

Whether you are a railfan or not, you'll certainly enjoy this movie. "Danger Lights" set a precedent for all the railroad-themed action movies that would follow. Those who are fans of movies such as "The General," "The Taking of Pelham One Two Three, "Von Ryan's Express," "The Great Train Robbery" and "Runaway Train" will appreciate this movie as well as those who admire action flicks in general.

I found this film to be very good. The railroad scenes are quite realistic and the continuity surprisingly good (in the yard scene), as well as the sound. Those who have not seen steam engines in action will enjoy this movie. I grew up around the railroad during the age of steam and can enjoy the realistic sights and sounds of that day-and-age that are portrayed in this film. There are a couple of exceptions insofar as the action is concerned where the film was sped up to imply fast action, but they are minor in my opinion. As far as actors are concerned, I've long admired Jean Arthur and this does not disappoint! As a railroad buff, I particularly enjoy the scenes on my favorite road (Milwaukee) and the Trans-Missouri District!

This movie was shown on TCM last night. Even though it was made twenty seven years before I was born, it held my interest. It was well filmed and the acting was adequate. With oldies like these, you have to watch them noting the time context that they were made in and appreciate them with that in mind. I especially like the parts when close up shots were made of the locomotives with the camera. Also, the scene where the two locomotives are doing a "push-of-war" (as opposed to a tug-of-war), was exciting. It gives you a good picture of what people considered to be fun seventy years ago, what a difference from some of today's entertainment that lacks class.

This is the very best movie for shots of the railroad scene circa 1930. Reportedly contains the only existing film of a dynamometer. Wonderful shots of steam engines. Amazing tug of war between steam locomotives at the Old Timers Picnic. Exciting 100 MPH race to Chicago. This is a must for railroad fans. The old-fashioned acting is quite different than that of effete modern Hollywood. Louis Wolheim is quite the antidote for your basic 20-year-old hermaphroditic hero!

I, too, originally saw, and taped, the film from a local PBS channel, and agree with a previous reviewer that it is a difficult film to find. As to the film: the story-line is typical and the acting acceptable; the real "star" of the film is the railroad itself. Made in 1930 during the Age of Steam, the film vividly shows the long-vanished skill and dedication required to keep the trains running. Louis Wolheim plays the hard-as-nails superintendent (such men actually existed) who was absolutely dedicated to maintaining the schedules ("hold up the 'Olympian!' Are you off your nut!"). Filmed on location in Montana on the long-abandoned Milwaukee Road railway, this film is an absolute Must for rail fans who love steam.

I was lucky enough to tape a copy of this once when the local public television station ran it (no commercials!) cause it sure is hard to find. Its not the kind of movie you watch for the story (though it has one) or for it's great acting (its about as bad as "Plan 9 from Outer Space") but if you enjoy trains and a look back at all the work that went on behind the scenes to keep them running, this is the movie for you. One of only a few movies shot in "Natural Vision." I would love to see this projected in a theater where the large vistas would rally come alive.

Entertaining yarn about tough railroad man Dan Thorn (Louis Wolheim), really quite a decent guy in spite of his rough exterior - he seems to help all around him, including his sweet and pretty girlfriend Mary (Jean Arthur) and her father. A new guy recently down-on-his-luck, Larry Doyle, comes to work at the rail yard, thanks to Dan - but when Larry meets Mary - sparks fly. But Mary wants to remain loyal to Dan, who apparently has taken care of her and her father since she was a child - not to mention her dad is completely gung-ho for her to marry Dan.

This is a very good film, with interesting plot line and exciting action scenes, plus lots of well-done, scenic shots of the running trains and railroad yards filmed on location. Louis Wolheim is an appealing actor, I have enjoyed his performance in every film I have seen of his. The romance between Mary and Larry is well played out by the two actors and comes across as realistic. A strong, engaging film, well worth seeing.

The heart of this story is a retelling of the Arthurian love triangle. This time around the King rules a Milwaukee Road Railroad Yard with a brick-to-the-side-of-the-head management style not currently taught in the better business schools. He takes a wandering knight (in the guise of a hobo) under his wing only to have the knight and the Queen (O.K. the fiancé) fall in love.

Among the rest of the cast Hugh Herbert does a fine turn playing a Knight of the Road in almost Shakespearen comic relief. Other players do an adequate job, but the real star of the show is the period railroad equipment and operations. Towards the end of the movie we see some great shots of Chicago in the opening days of the Depression.

If you love trains this movie is a must. If you want another reason to see Jean Arthur the movie is worth a try.

This film is billed as a love story (typical love triangle), but the human-to-human love story is left in the dust because the human-to-train love story is much more passionate. I won't tell you how the story ends, but if you love trains (especially steam trains), you will love watching this film. ALL the characters in this film are in love with trains, and you will be, too. Be sure not to miss the lightning train trip to Chicago. The one thing that could have improved this film would have been "brightening up" the night scenes. I have a copy of it in my library - go thou and do likewise (don't know if it can be rented).

Being a fourth generation railroader, and also a fourth generation railroad engineer, i found the movie very interesting, and by accident as it was stored away on an old beta tape in my grandfathers attic. It was simply wrote with the words "Danger Lights" 1930 railroad movie. Well that got me thinking about what was on it. So i dug around for the player but was told by my dad that it was long gone so i looked at local garage sales and such and finally found one off of ebay to actually watch the movie. I still do not know when the movie was recorded to the beta tape, sometime in the mid to late 70's as I'm 39 and remember the beta tapes but don't remember when they actually came out, all i know is that the VHS tape replaced them and later the DVD.

Since the movie was filmed in 1930 as the opening showed the RKO pictures and the date, i was like i'm probably not going to like this. Well right off there is a rock slide and all hell breaks loose as the superintendent fights to get his railroad open for traffic and even forcing hobo's to work towards that goal and taking one of the hobo's under his arm so to speak and the movie takes off from there. I was amazed by both the picture quality and, for the first in Hollywood how a railroad really operates. All the main positions were there, either part of the regular cast or as extras, like the Superintendent, General Manager, Trainmaster, Train Dispatcher, Roundhouse Foreman, even the Train order clerk was cast into the movie. Most Hollywood films have the conductor or engineer type running the whole railroad, far from the fact.Even they have a boss who answers to a boss who answers to a boss so on an so forth.

My only problem was the hundred mile an hour run to save the supers life at the end after getting hit by an express passenger train. The intentions were good since i'm sure the railroad hospital was the only one around and Chicago being the main hospital they had to get him there in a short time. No engineer would climb out the window going a 100 mph to cool off a overheated wheel bearing and keep going, they would have stopped repacked it re oiled it and then kept going, that would have been believable. But i will say it payed homage to a time when railroads were the king of industry and transportation.

Even today we haul over 38 percent of the nations tonnage, with the rest belonging to the trucking, barge and pipeline industry and over 150 years later we are still considered a monopoly, and have what is generally referred to as legacy contracts, some of the oldest contracts between two businesses in the U.S.A.

I grew up hearing about the steam engines that my Dad( in his early years on the railroad 1948-1957 retired in 1995) and grandfather (1920-1957 retired 1974) great grandfather( 1892 till he retired 1933) and great great grandfather ( 1878 till he retired in 1925)operated across the very rails that i operate todays most advanced dash 9's and 90 MAC diesel locomotives on. And this movie gave me a look into what it was like to be a railroader then, when the chances of getting killed on the job was higher than retiring from it. For anyone who loves trains this is a must see.

Turner Classic Movies just aired this movie as part of their tribute to 'Star of the Month' Jean Arthur. I have to confess that before watching this movie I was not familiar with any of the actors in the cast. I really enjoyed the film. It takes you to a time of Depression America and the struggles made by many Americans in that era. Railroading in America with it's old steam locomotives plays a prominent role in the picture. I would have to say it's one of the best films on the subject I've ever seen. A snapshot of history at the time. I particularly enjoyed Jean Arthur in her role. I recommend the movie to people who like not only railroading adventure but a good love story.

I have stood near the spot that the film crew was filming the scene where the speeding train carrying the injured Dan Thorn is crossing the Missouri river. It was Lombard Mt..There is absolutely nothing left of the town. The funny thing is that the train is speeding WEST to get to Chicago. Rare scenes of "Big Hook" steam crane in action, and Eagle Nest tunnel, where as soon as you come out of the tunnel you are on top of a high bridge.This movie was not filmed in Hollywood but on location in western Montana where not much has changed since the movie was made except the removal of the rails on the Milwaukie Road.All in all excellent vintage railroad movie.

DANGER LIGHTS is a kind of industrial melodrama, a genre inherited from the 19th century _machinism and industrialism, and illustrated by Victorians, Zolists, Naturalists, in cruder or softer tones, more or less subtle, whimsy and sophisticated, according to will and market; its outer, and often most immediate appeal, is to exalt energy. With it goes the documentary style, a _documentarian approach, unpolished and lean—as a (more or less) artistic representation of the economic life. Proletarian types like Gabin and Tracy, moderately glamorized working class tough guys, were designed for this kind of outings.

In DANGER LIGHTS, morality full of proletarian spunk, also steeped in railroad mythology and oozing with blue collar wisdom, a hobo finds a generous employer who's willing to give him a chance and pair him with a locomotive. The golden—hearted, presumably asexual employer, played by Wolheim, pushes his girlfriend, a gentle babe, into the hobo's arms, thus taking generosity to a new level; manipulative and hearty, he looks more like a dirty pimp, pushing that girl away. What else, Jean Arthur looked reasonably nice, in fact she's straight hot; Louis Wolheim didn't (--he was more of a Malden type, if you take my meaning--), instead he was set to reform Robert Armstrong (--who is supposed to look manly; he looks chiefly libidinous, also mean and heinous--).

Old—timers Bonfire, a house, an office, a depot are the sets of DANGER LIGHTS. The script is primitive, lazy slapdash, the style is likable, endearing, and the storytelling—almost charming. I liked Mrs. Arthur and I liked the movie's neat, clean, unpretentious style, its simplicity and nakedness and sense of storytelling.

Looking at the magnificent natural scenery in "Danger Lights" it is hard to believe that only the year before most audiences were longing for a return to silents. Talkies were static and the only time there was any action is when someone broke into a song and dance!! But in 1929 William Wyler took his film crew (the camera still in a padded booth) to Death Valley to film "Hell's Heroes" and despite a lot of opposition proved an outdoor talkie could be made and made well.

What a tough team Louis Wolheim and Robert Armstrong make!! Even though Wolheim had once been a maths teacher, his craggy, ugly mug promised that when he started in films he would definitely not be playing a matinée idol and Armstrong already had the reputation for playing "dumb-bell" type gangsters until films like this showed his sensitive side.

Dan Thorne (Louis Wolheim) is a railway troubleshooter, who, at the film's start, is called in to salvage a train that has become involved in a rock slide. He meets Larry (Robert Armstrong), a hobo riding the rails - their mutual dislike is instant ("What if I don't want to work" "I've got a couple of very good reasons why you should"!!! Biff, Bang!!!) Dan finds out he has been sacked from his last engineering job because of insubordination, but there is something about him, maybe Larry reminds him of himself!!! Dan puts him to work and he makes good and also meets Mary (Jean Arthur) Dan's fiancée!!! Trying to ignore the fact that Dan looks old enough and ugly enough to be Mary's grandfather, it is a match waiting for disaster. There is something odd in the match - even though he treats her more as a daughter and her feelings are more of gratitude for the help he has shown her and her father.

Jean Arthur is adorable but rather wooden, although she doesn't have much to do in this tough guy actioner except look pained -especially when Dan announces their engagement!! Robert Armstrong also doesn't look comfortable in the mushy romantic scenes - but when the part calls for action - Watch Out!!! Larry and Mary decide to elope, Larry gets his foot caught in the track and Dan comes gunning for him in the pouring rain....but it doesn't end there!!! A mad race to Chicago with the engine averaging 100 miles an hour brings this movie to a thrilling climax. The cinematography of Karl Struss is superb and you really get a feel for the magnificent engines that dominate every scene they are in.

Highly, Highly Recommended.

Check out the Jean Arthur the Hottie of 1930. Do not like her as much as brunette. However, she can play with my train set anytime. The photos of 1930 Chicago are outstanding. Gone are the old Union Station, the Washington St bridge over the tracks. The only thing that I can say that still exists is the old Civic Opera House. I still do not understand how the railroad people thought that they could convince the public that trains could be a fast as planes. The second best train movie is the Silver Streak Movie of 1934. The Burlington Northern did have an excellent concept for a streamline train. Again, they could never compete with jets.

Making allowances for the fact that I saw an abbreviated version of Danger Lights, I'd still have to say that this film is as far as the story goes nothing terribly special. But I have friends who belong to a group called Railroad Enthusiasts and if they haven't seen this movie it ought to be required for those who want to join.

The scenes involving the work in the railroad yards and the trains themselves are the best thing about Danger Lights. It's very reminiscent to the classic Burt Lancaster film The Train of which a good deal is set in the Paris railway yards. I wouldn't be surprised if John Frankenheimer saw Danger Lights and took a lot of ideas from it.

As for the plot it's a simple one, a love triangle involving Louis Wolheim the tough boss of the yards, a young hobo played by Robert Armstrong who was a former railroad worker to whom Wolheim gives a second chance and Jean Arthur the daughter of a disabled former railroad worker whom Wolheim boards with and takes care of. Arthur respects and loves Wolheim, but can't see him as a romantic figure.

I think you can take it from there. You will not see any of the comedic style that we saw with Jean Arthur in her top years, she's merely a romantic ingénue and the object of the affections of all.

The railroad and the yards are the real stars of Danger Lights. And this review is dedicated to that intrepid band of railroad enthusiasts.

I give this film six stars, but it will likely be either a five or eight star movie for you depending on what interests you. 1930's "Other Mens' Women" was a love triangle set around the railroad yards. Conversely, "Danger Lights" is almost a documentary on railroads as they existed in 1930 with a love triangle thrown in to frame the railroad footage. It's almost like the filmmakers knew they were really documenting history more than filming a love story. You've got footage of a tug of war between two steam locomotives, actual documentary footage of the activities in the Miles City railroad yard, and to top it all off is the only footage of a dynamometer car from the steam railroad era. Since the emphasis is on the technology, you'd think this film would have the awkward dialogue of the early talkie era, but you'd be wrong. The actors behave and speak quite naturally. To top it all off, you're rewarded with a very early talking screen appearance by Jean Arthur who will become one of the great comic stars of the 1930's.

As for the love triangle, it's very formulaic. Railroad division chief Dan Thorn (Louis Wolheim) decides to help out drifter Larry Doyle (Robert Armstrong) with a job as fireman. Unfortunately for Thorn, it's basically love at first sight between his fiancé Mary Ryan and Larry. Dan and Mary have had an understanding for years. On Dan's part it's true love, but on Mary's part it has largely been gratitude for Dan supporting herself and her father after he was injured on the job. Dan doesn't notice what's going on between Mary and Larry because in actuality there is another woman in his life too - the railroad he runs.

If the love story doesn't impress, the imagery certainly will. Lots of time is spent showing men battling both machine and the elements trying to keep the trains going. Plus there's a pride in what they do that almost makes them all a part of the railroad themselves.

DANGER LIGHTS (RKO Radio, 1930), directed by George B. Seitz, is a railroad drama starring Louis Wolheim (1881-1931) as a tough foreman with a heart of gold. Of the few leading roles in his short-lived movie career in talkies, this, and ALL QUIET ON THE WESTERN FRONT (Universal, 1930), are often labeled as his finest work. A character actor with a fierce face, he can be a conniving villain in one movie and a funny character actor in another, each with fine conviction. For a career that started in the silent movie era back in the teens, he would have had a great future in talkies as other huge, homely actors as Wallace Beery and Victor McLaglen had through the 1940s. Sadly, early death for Wolheim of cancer took its toll the following year.

DANGER LIGHTS opens with a landslide where a train is unable to proceed on its tracks. Dan Thorne (Louis Wolheim), the superintendant in Milwaukee division, sets out to supervise men to clear the debris. On the train are four hobos, one being Larry Doyle (Robert Armstrong), whom Dan enlists to work. Dan sees something special in Larry, especially after learning he was once a train engineer discharged for insubordination, and soon hires him on his team. Dan is engaged to Mary Ryan (Jean Arthur), a young girl who intends on marrying him out of loyalty than for love. In spite of Dan's engagement, he's already married, to his job, which comes first over everything. After meeting with Larry, Mary and he become quarrelsome at times, until Larry learns that she's engaged to Dan. Unable to attend the Old Timer's Bonfire Dance, Dan has Mary go with Larry instead. Their emotions turn to love, which finds them secretly leaving the railroad site together on a rainy night to get married. When Dan learns of their plans, he sets out to kill Larry. Instead he saves his life from getting hit by a passing train, getting seriously injured instead. Dan, near death, will need to be taken to a Chicago hospital within five hours on a seven hour trip for an emergency head operation, which at this point, seems totally impossible. Other members of the cast include Hugh Herbert (Professor, a bum); Frank Sheridan (Ed Ryan, Mary's father); Robert Edeson (Tom Johnson, train engineer); James Farley (Joe Geraghty); Alan Roscoe and William H. Burt. Only Hugh Herbert is around for comedy relief as a bum who refuses to work on the railroad.

Though predictable, the performances by lead players rise above standard material. Louis Wolheim gets most of the attention as the foreman whom everyone likes and respects, and whatever he says, goes. It's also interesting seeing Jean Arthur early in her career before she would find her nitch for comedy under Frank Capra's direction, and Robert Armstrong, shortly he would go to Skull Island to meet with KING KONG (1933). Robert Edeson (1988-1931), in one of his final movie roles, should not be overlooked as an engineer who turns to drink following the death of his wife. Aside from cliché story, its highlight includes an exciting train race against time.

Had DANGER LIGHTS been remade in the 1940s, William Bendix, another gruff and burly character actor of his time, might have handle the Wolheim part to great satisfaction, but that never happened. The story in itself has been reworked many times, however. Though DANGER LIGHTS did have some television showings in the 1970s, notably on Spanish channel WNJU, Channel 47, in New Jersey, where this movie and other RKO Radio features were dubbed in Spanish, it didn't surface regularly until the 1980s during the wake of home video and public television broadcasts such as the weekly movie series titled SPROCKETS. Over the years, DANGER LIGHTS has gained further recognition with cable television broadcasts on either American Movie Classics (prior to 2001) and Turner Classic Movies. Also available on DVD.

In closing: While Louis Wolheim was hilarious in the silent comedy, TWO ARABIAN KNIGHTS (1927), he showed his great flare playing leads in some early talkies such as this one. His final movie release, THE SIN SHIP (RKO, 1931), was both starred and directed by him. How Wolheim might have succeeded into the 1940s and beyond will never be known. (*** rails)

Danger Lights is a 1930 drama film centered around a love triangle and a train yard. The plot follows Dan Thorn, a rough and tough foreman at the train yard, who has a soft spot for those that are down on their luck. When Thorn meets Larry Doyle, a drifter catching a ride on the train, Dan sees some good in Doyle and puts him to work. Larry then meets and falls in love with Jean Arthur, who is Dan Thorn's fiancé.

Danger Lights is a decent film and used the access to locomotives to great effect. There is real footage of a tug-of-war between two powerful trains. The story is entertaining enough to keep you drawn in throughout the film.

A few disappointments in the film are some bad acting, with plenty of obnoxious, over-the-top, and occasionally, monotone delivery. There is also some poor dialogue in the movie, such as one exchange between Larry Doyle and another character; "It can't be done!" says the man. "Yes it can," Larry replies. "You're right!" the man responds. The climax removes elaborating on any technical aspects of the train, which diminishes the excitement of the ending. Lastly, there are bad comedy elements in the film, such as using the homeless for slapstick comedic relief.

In summary, Danger Lights is a mediocre film. Unless you're a fan of locomotives, I would recommend skipping this one. There is nothing unpredictable or particularly exciting about this movie.

I noticed that one reviewer gave this mediocre film a 10 and I just can't get it. While it's neat to see all the trains as well as one of the few films still in existence starring Louis Wolheim, there's not a whole lot more to recommend this extremely melodramatic film.

Oddly, this movie was copied in many, many ways by OTHER MEN'S WOMEN just five months later. The two films are so similar, it's obvious that the latter film "borrowed" (i.e., stole) the plot idea. Both are about a railway supervisor who is a heck of a wonderful guy. He's in love with a girl and introduces her to a new friend--one who eventually ends up trying to steal the girl. And, in both cases, it leads to an almost impossible to believe ending.

While entertaining, this and OTHER MEN'S WOMEN are just too silly to be considered great films. The plots are extremely old fashioned and might just make you laugh they are so clichéd. Instead of ruining what I mean, just watch the films yourself--you'll probably see what I mean.

By the way, Louis Wolheim was a wonderful actor and I loved to see his ugly kisser in films like this and ALL QUIET ON THE WESTERN FRONT. Unfortunately, only a year later, he was to die very young of stomach cancer. What a loss.

This one would have been better as a silent with a few title cards. The film's strength -- as noted by many posters -- is in its shots of railways and steam engines. The situation -- that Jean Arthur is really going to marry Louis Wolheim -- is ludicrous. The dialogue is cringe-making. Then Armstrong comes along and, immediately, he and Jean are inconveniently in love. "This" --presumably their love -- she says "is bigger than the railroad." Pause. "I suppose it is," he says. And off they run into the rain. Interesting that no thought is given to flying the wounded Wolheim to Chicago. Also interesting that no one thinks of having a brain surgeon meet the train half way or having the brain surgeon meet the train. With time running out, they waste a lot of it. As a silent melodrama that asked us (as silent films could do) to suspend our disbelief, this might have worked. It does demonstrate the awkwardness of the transition from silents to talkies. Here, the capability of sound and dialogue is not an improvement.