|Thunder in the City|
|Directed by||Marion Gering|
|Written by||Robert E. Sherwood (screenplay) &|
Aben Kandel (screenplay) &
Ákos Tolnay (screenplay)
Jack E. Jewell (scenario)
Dudley Storrick (additional dialogue)
|Produced by||Alexander Esway (producer)|
Richard Vernon (assistant producer)
|Edited by||Arthur Hilton|
|Music by||Miklós Rózsa|
Atlantic Film Company
|Distributed by||United Artists (UK)|
Columbia Pictures (US)
|87 minutes (US)|
88 minutes (UK)
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An American salesman with radically successful methods visits England ostensibly to learn a more dignified manner of salesmanship. He is mistaken for a millionaire by a cash-poor family of noble ancestry with a stately home to sell which he can't afford to buy. But by working with them instead he finds romance and equal success in business with his old marketing techniques.
- Edward G. Robinson as Daniel "Dan" Armstrong
- Luli Deste as Lady Patricia "Pat" Graham
- Nigel Bruce as Duke of Glenavon
- Constance Collier as Duchess of Glenavon
- Ralph Richardson as Henry V. Manningdale
- Arthur Wontner as Sir Peter "Pete" Challoner
- Nancy Burne as Edna, the Singer
- Annie Esmond as Lady Challoner
- Cyril Raymond as James
- Elizabeth Inglis as Dolly
- James Carew as Mr. Snyderling
- Everley Gregg as Millie, Dan's Secretary in New York
- Donald Calthrop as Dr. Plumet, the Chemist
- Billy Bray as Bill, the Pianist
Main dramatic Score by Miklos Rozsa.
- "Pomp and Circumstance March No.1 in D" (Music by Edward Elgar, words ("Land of Hope and Glory") by Arthur C. Benson)
- Billy Bray and Nancy Burne - "She Was Poor But She Was Honest"
- "For He's a Jolly Good Fellow" (Traditional)
- Billy Bray and Nancy Burne - "Magnelite"
- Stockholders - "Magnelite"
- Stockholders - "Auld Lang Syne" (Scottish traditional music, lyrics by Robert Burns)
Writing for The Spectator in 1937, Graham Greene gave the film a poor review, labeling it "worst English film of the quarter". Greene criticized the special effects and its "complete ignorance - in spite of its national studio - of English life and behaviour". Conceding that the film is, after all, a fantasy, Greene complains regardless that "even a fantasy needs some relation to life".