Key Largo (1948) John Huston

Key Largo

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Here’s the story of the hurricane….

   On September 2nd 1935, a category five, the highest level, storm slammed into the Florida Keys. The storm hit on Labor Day. Original predictions had it heading between the Lower Keys and Cuba. At first, it was thought to be a lessor storm. Then it blew up heading toward Upper Matcumbe Key, Plantation Key and Tavernier Key with wind speeds between 200 and 250 mph. It turned out to be the strongest hurricane to ever make landfall in the United States. Storm surges ranged from 18 to 25 feet. Towns like Tavernier and Marathon were left with no buildings standing. Over 400 hundred deaths were reported, many were World War I veterans who were working on the completion of the Overseas Highway the road that would connect the mainland to the keys. The veterans were part of the government’s Civilian Conservation Corps (CCC). Continue reading

Kid Galahad (1937) Michael Curtiz

Harry-Carey-Wayne-Morris-and-Edward-G_-Robinson-in-Kid-Galahad-1937Kid Galahad is a solid entertaining Warner Brothers film starring Edward G. Robinson, Bette Davis and Humphrey Bogart, so you can hardly go wrong. The film was directed by Micheal Curtiz who just a few years later would direct Bogie in one of cinema’s greatest classics, Casablanca. Here Bogie is still a second string player in one of his typical, for the time, gangster punk roles he was being typecast to play. He had the unlikely name of Turkey Morgan. Like what tough guy has a nickname of Turkey? Continue reading

The Cincinnati Kid (1965) Norman Jewison

By 1965, Steve McQueen was a star with hit films like “The Magnificent Seven” and “The Great Escape” already behind him. Yet, McQueen still had not proven he could carry a film, films where he alone was the big name. “The Honeymoon Machine,” “The War Lover” and “Hell is For Heroes” did little at the box office no matter what their quality. McQueen was still chasing the one actor who he saw as his rival, Paul Newman. With the release of “The Cincinnati Kid,” Steve would be on a cinematic roll pushing him through the stratosphere for the next few years equal to that of his screen rival.

I first saw “The Cincinnati Kid” in 1965 at a little theater in Downtown Brooklyn called the Duffield. Back in those days, this area of Brooklyn was a sort of mini Times Square with the boroughs largest and fanciest movie palaces all within walking distance. The Loew’s Metropolitan, RKO Albee, Brooklyn Fox and Brooklyn Paramount were all large grand scale theaters, each seating more than 3,000 people. The Duffield, on the other hand, was a small theater, approximately 900 seats, located on a side street (Duffield Street) just off Fulton Street, the main thoroughfare. McQueen was cool, as Eric Stoner, aka The Cincinnati Kid, his screen persona in full bloom. He had the walk and the look. He doesn’t talk too much but McQueen was always at his best when playing the silent type, it was all in his face and his body language. In truth, I was always more of a Paul Newman fan, but in this film McQueen was it, total sixties cool. Continue reading

The Amazing Dr. Clitterhouse (1938) Anatole Litvak

“The Amazing Dr. Clitterhouse”  is an odd little Warner’s film with Edward G. Robinson as a Park Avenue doctor who decides to do some research on criminal behavior by becoming a criminal himself. After stealing some expensive jewelry at a dinner party he seeks out a fence by the name of Joe Keller who turns out to be Jo Keller (Claire Trevor), a woman. Jo’s gang includes “Rocks” Valentine (Humphrey Bogart), a young Ward Bond, Slapsie Maxie Rosenbloom and Warner Brothers’ regular Allan Jenkins.

To continue his research the good doctor goes on “vacation” in Europe freeing him up from his practice to secretly join the gang in a series of daring robberies. This is a out of the ordinary film that manages at times to be suspenseful, funny, and sinister with a whiff of mad scientist thrown in for good measure. At times the actors seem to be in different films; Bogart in a straight gangster film with “Rocks” in the ranks of his greatest slime ball characters while Robinson acts as a scientifically aloof madman obsessed with his findings going to any length to save his breakthrough research.

In the final courtroom scene Clitterhouse is on trial for poisoning “Rocks” after he discovered the Doctor’s real identity and blackmails him forcing in to stay in the gang. Clitterhouse objects to testimony in court that he must be insane fearing all his research would be disregarded. Still the jury finds him innocent by reason of insanity leaving Clitterhouse not only confused but innocent of murder charges, an ending that was daring for its time when the production code was strictly enforced and criminals must pay for their sins.

The script was written by John Wexley and John Huston based on a play by Barre Lyndon, and was directed by the reliable Anatole Litvak. It was during the filming of this movie that Bogart and Huston met and became friends, a partnership that would lead to some of Hollywood’s greatest films. Huston, Robinson, Bogart and Trevor would reunite some ten years later in “Key Largo.”    


The Little Giant (1933) Roy Del Ruth

This is a reprint of a short review from my Weekly Wrap column that I have been doing over at  the “Watching Shadows on the Wall” blog,  I am reposting some of the short reviews I have written over there that fit into the scope of 24frames.


From Little Caesar to Little Giant. Just two years after Edward G. Robinson made celluloid history as Rico in Mervyn LeRoy’s “Little Caesar” he and Warner Brothers were spoofing his tough guy image in this little gem.  With a story line similar to the better known “A Slight Case of Murder”, which was made some five years later in 1938, this film has Robinson as gangster Bugs Ahearn who decides to get out of the bootlegging business and go straight after Roosevelt’s victory over Hoover and the government’s announcement to repeal prohibition.

Rich from his 12 years of bootlegging, he decides to relocate to California and mingle in high society. The film becomes a fish of water story as Bugs, hiding his true identity, become a target for every scam artist on the west coast especially the evil Cass family. From pretty Polly Cass (Helen Vinson) who seduces him hoping to marry so she can get a quickie divorce and a large settlement, to her brother who sells Bugs polo ponies and finally, the father who sells Bugs an investment firm on the verge of bankruptcy and has the law coming down on them for fraud. Also on board and about the only honest person in the film is Ruth Wayburn (Mary Astor) who of course falls secretly in love with our gangster hero.

The mix of slapstick and verbal humor, many that play on Robinson’s gangster screen image, keeps this film moving at a snappy pace. The film is directed by Roy Del Ruth whose career seems to have flourished during the pre-code era while he was at Warners. His works from this period include “The Maltese Falcon” (1931), “Blonde Crazy”, “Lady Killer”, “Blessed Event”, “Employee Entrance” and “Taxi.”

“The Little Giant” is the least known of four comedy gangster films Robinson did in his career, at least with him in the lead, and deserves to be known better than it is. TCM always has the other three in their rotation (The Whole Town’s Talkin’. A Slight Cast of Murder and Larceny Inc.) however, this one seems to have fallen off the map. It deserves better.


Vice Squad (1953) Arnold Laven

This is a reprint of a short review from my Weekly Wrap column that I have been doing over at  the “Watching Shadows on the Wall” blog, which frankly does not get much traffic. Susequently, I thought I would repost some of the short reviews I have written over there that fit into the scope of 24frames.


Vice Squad – Arnold Laven (***) standard cops and criminal “B” film. Made in 1953, it is the kind of routine movie that the advent of television killed off. Edward G. Robinson past his heydays but still big enough to command the lead in this kind of film stars as a police captain who does not mind bending the law if it means capturing two cop killers. Co-starring is the beautiful Paulette Goddard as  madam  who helps police Captain Robinson out. Though she received second billing her role is essentially a cameo. The cast is filled with some good character actors including Porter Hall as the funeral director and Lee Van Cleef as one of the cop killers ( I don’t think I am giving anything away here. A decent script by Lawrence Roman, with some exceptional dialogue between Robinson and Goddard, and some excellent shadowy photography by Joseph Biroc who worked with Sam Fuller a few times in the 1950’s. Definitely worth a look for those who like crime films from this period.

Confessions of a Nazi Spy (1939) Anatole Litvak

The effects of what was happening in Europe during the 1930’s changed attitudes of many in Hollywood. Anti-fascist groups organized, some led by movie stars like Paul Muni, James Cagney Melvyn Douglas and Sylvia Sydney. Most of the American public was still recovering from the depression and were not concerned about the potential war that was about to erupt in Europe and felt that American interest were best served by staying out of the furor building up over there. As late as 1939, Joe Kennedy, America’s Ambassador to England was at odds with President Roosevelt over Roosevelt’s providing ships to aid Churchill and England who feared an invasion by Hitler.

Warner Brothers, the most socially committed of all the major studios, led by Jack Warner, always persisted in making films that provided more than just entertainment value. In the early 1930’s Warner’s produced films that were ripped from “today’s headlines”, films with a message, “I Was a Fugitive from a Chain Gang”, “Heroes for Sale”, “The Public Enemy” and “They Won’t Forget” to name a few. In the late 1930’s Warner’s, unlike MGM, closed their business operations in Germany after their offices were attacked by hate mongers that resulted in the death of one employee. This was done despite the fact that Germany was Hollywood’s largest European customer at the time.

Based on a series of articles by former FBI agent Leon G. Torrou, who had been active as an agent investigating the infiltration of Nazi spies in the United States, “Confessions of a Nazi Spy” is considered the first anti-Nazi film to come out of Hollywood.

The story involves Dr. Karl Kassel (Paul Lukas) a propagandist who has come to America to rally support for the Nazi cause focusing on German-Americans. He brings forth the Fuehrer words that Germans are Germans first and Americans second and that they need to help bring down the evils of democracy.  An unemployed disaffected man name Kurt Schneider (Frances Lederer) joins the cause, agreeing spy for the Nazis. Schneider manages to obtain sensitive troop information deceiving a German-American soldier (Joe Sawyer) into providing the data.  A German passenger ship, the Bismarck, is continuously transporting new agents into America, including Hilda Kleinhauser who will eventually be apprehended by FBI agent Ed Renard (Edward G. Robinson) who has been assigned to investigate the case. When Miss Kleinhauser confesses and Schneider is arrested, the domino effect of the entire spy ring begins to crumble.

Directed by Anatole Litvak, “Confessions of a Nazi Spy” was a powerful document for the time, awakening Americans to the threat that war at their front door. Believing that Hitler and the war was Europe’s problem only, many American’s wanted to continue an isolationist policy. For making the film, producer Jack Warner would face accusations of being a warmonger. The film is done in a semi-documentary style incorporating actual news clips throughout the story.  Overall, the film is fast paced and thoroughly engrossing. Edward G. Robinson delivers a typical strong performance as the lead FBI agent Renard expounding  on the evils of the Nazi threat and America’s do nothing policy. The real acting highlight belongs to Paul Lukas as Dr. Kassel whose pro-Nazi rants are frighteningly as real as those you see of Hitler himself. George Sanders is also on board playing Nazi officer Franz Schlager. 

It should be mentioned that many actors and behind the scenes artists who worked on this film feared a backlash back in Germany. Actors and crew with family members still living in the fatherland feared for their safety. Some actors resorted to changing their names to help in hiding their identity.  Composer Max Steiner and cinematographer Ernest Haller received no credit on this film, which may have been purposeful on their part fearing a backlash to relatives back in Germany. The film was banned in both Germany and Japan as well as other European countries that had fallen to the Nazi machine. It is rumored Hitler promised to kill everyone involved in the making of this film after Germany has won the war.

Considered the first film to be released on the topic of anti-Nazism the film was released six months prior to the start of the war in 1939, awakening Americans to the danger of Hitler’s Germany. Still, there were isolationists who refused to take heed. There were groups in America who considered anti-Nazism to mean you were pro-communism. Supporters of Germany branded actors like Edward G. Robinson, Frances Leader, studio head Jack Warner and others communists or at least communist supporters.   In the film if you look closely you will see a propaganda flyer headline that accuses then President Franklin Roosevelt of being a communist.  

By 1940 and after, other filmmakers and studios jumped on the anti-Nazi bandwagon as Hitler’s terror spread across Europe with films like “All Through the Night”, “Foreign Correspondent”, :Man Hunt and “The Mortal Storm.”  After MGM released “The Mortal Storm in 1940, Hitler banned MGM films.  “Confessions of a Nazi Spy” remains the most blatant and one of the most interesting. 

One last note, director Don Siegel worked on the montage sequences of this film.