Phyllis Calvert
Lydia Heathley
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The Net (a.k.a. Project M7 (U.S. distribution)) is a 1953 British aviation thriller film made by Two Cities Films, directed by Anthony Asquith and starring James Donald, Phyllis Calvert, Robert Beatty and Herbert Lom.
The Net is a fun mystery story, surrounding the battle amongst a group of scientists for control of M7, a supersonic plane which aims to help man into space. As the battle for control of the project rages, the film creates some love interest, as Phyllis Calvert struggles to maintain her loyalty to her obsessed scientist husband.
- (190)
- Drama, Sci-Fi
- Anthony Asquith
- 1953-11-05
A secret jet aircraft (called Project M.7 in the Americal release)capable of traveling three times the sound of speed is being developed by a group of scientists secretly at work. On the day of the test flight, one of the scientists dies in a mysterious accident, and there are many arguments...
- Anthony Asquith
- Maurice Denham, Herbert Lom
Visit the movie page for 'The Net' on Moviefone. Discover the movie's synopsis, cast details and release date. Watch trailers, exclusive interviews, and movie review.
- (2)
- James Donald, Phyllis Calvert, Noel Willman
- Anthony Asquith
- Two Cities Films
Jul 8, 2018 · The Net. 1953. Directed by Anthony Asquith. FASTER THAN SOUND come the sensational thrills in this modern epic of the air! A secret jet aircraft capable of traveling three times the speed of sound is being developed by a group of scientists.
- Anthony Asquith
- Two Cities Films
The Net is a film directed by Anthony Asquith with Phyllis Calvert, Robert Beatty, James Donald, Herbert Lom .... Year: 1953. Original title: The Net. Synopsis: A secret jet aircraft capable of traveling three times the speed of sound is being developed by a group of scientists secretly.
Directed by Emilio Fernández and shot by the Mexican Golden Age's most important Canadian, Alex Phillips, The Net is deceptively straightforward. Presented as just another love triangle, it is in fact a fascinatingly strange film, one which eschews dialogue in favor of faces, bodies, and impulses.
