Above the Clouds is a weirdly aggressive look at newsreel life

Is this worth a watch?

Honestly, only if you have a soft spot for old black-and-white studio filler. If you like the grit of something like The Public Enemy, you might be disappointed by how much softer this feels. But if you’re into the mid-30s 'hustle' vibe, you'll probably get a kick out of it.

Scoop Adams is the kind of guy who probably keeps a bottle of cheap scotch in his equipment bag. Robert Armstrong plays him with this twitchy, loud energy that makes you wonder how he ever got a shot in focus. He’s the type of guy who shouts at his assistant for breathing too loudly while he’s trying to capture a fire or a riot.

The whole movie is essentially about people running around with giant, clunky cameras. It makes you realize how much of a workout being a cameraman used to be back then. You aren't just holding a phone; you're carrying a heavy metal box that probably weighs as much as a small dog.

Cinematic perspective: Exploring the visual vocabulary of Above the Clouds (1933) through its definitive frames.

The 'Professional' Rivalry

Dick Robinson is the classic 'good kid' who eventually grows a spine. When he starts beating Scoop to the best stories, the movie shifts into this weird, petty competition. There’s a scene where they’re both trying to film the same event, and it just feels like two kids fighting over a toy. It’s not exactly high-stakes tension, but it kept me watching.

Then there’s Connie. Every movie like this needs a Connie, right? She’s just sort of there to be the prize at the end of the race. Dorothy Wilson does what she can with it, but she mostly just looks concerned while the guys yell about exposure settings and deadlines.

• The dialogue is snappy, if a little bit dated.
• The pacing is frantic, which is fine, because it’s only about an hour long.
• I still don't understand how Scoop didn't get fired ten years earlier.

There’s a strange lack of actual journalism here. It’s less about the truth and more about who can shove their camera in someone’s face fastest. It reminded me a bit of the frantic energy in The Circus, but without the actual talent or the tightrope walking. Just guys with cameras and bad attitudes.

Is it perfect? Hardly. The scenes switch locations so fast you’ll get whiplash. Some of the background extras look like they’re just waiting for the lunch break whistle to blow. But there’s something charming about the chaos of it all. It’s a movie that knows it’s a quick B-feature and refuses to apologize for it. 📸