This week’s short takes are not a particularly great bunch. Like most bloggers I tend to write about the films I love, or at least like. I decided that’s not fair; makes every film that is considered “classic” sound great. They are not. This group is not necessarily horrible, except for one; another is mediocre and another is just decent. Now mediocrity can be enjoyable on some levels, recently I have been watching some low budget Boston Blackie films from Columbia Pictures which have been on TCM every weekend. They are light hearted, a bit corny, but enjoyable pieces of detective fluff. Blackie, as played by Chester Morris, is the only one with any brains, and in every film has to prove his innocence to the two dumb and dumber detectives who see him as a one man crime wave. You see, Blackie was a former jewel thief, now gone straight. At best, these films are fair, lightweight entertainment. Classic? Well, I guess it all goes down to your definition of classic, which by the way, has been discussed recently by some members of CMBA and there is a particularly good posting on the subject by Gilby of Random Ramblings of a Broadway, Film and TV Fan. Anyway below are this week’s short takes. classics or not. Continue reading
Only Warner Brothers, who ripped the stories from the day’s headlines, would have the guts to have put out a gutsy uncompromising perceptive film like “Black Legion.” Released in 1937, the film traces the story of Frank Taylor (Humphrey Bogart), a machinist who gets passed over for a promotion in favor for a more qualified “foreigner,” Polish-American co-worker, Joe Dombrowski (Henry Brandon). Frank, prior to being passed over, was a swell guy, a good family man, liked by everyone at work for his eagerness to do a good job. That all changes after the studious Dombrowski is anointed with the Supervisor position Frank thought he had in the bag. After all, he had many years of service and he was a real American.
Director Archie Mayo paints a brutally ugly picture of bigotry, cowardice and senseless brutality hiding behind a mob mentality of flag waving patriotism. The film’s screenplay, written by Abem Finkel and William Wister Haines, was based on a story by Robert Lord, who wrote a fictionalized version of the secret society known as the Black Legion, a group based in the nation’s heartland who modeled themselves on the Klu Klux Klan. Like the fictional organization in the film, the real Black Legion had a common purpose, keeping America pure for “real” Americans. During their reign there were daily news reports of kidnappings, floggings, hangings, and were responsible for at least two murders, including the death of Workers Progress Administration organizer, Charles Poole. The Black Legion swore to fight against the Catholic Church, Judaism, Communism, “and all the ism’s our forefathers came to this country to avoid.” That is except for racism which they embraced. Continue reading
“Play it Again, Sam” is the Woody Allen film that is not really a Woody Allen film but then again…it really is. Huh? This is just my convoluted way of saying that Woody did not direct the film, but and that is a big but, the script and the play the film is based is pure Mr. Allen. So why didn’t Woody direct this film? Made in 1972, it was still early in his directing career and “Sam” is more of a character driven script than his previous directorial efforts up to that time (Bananas, Take the Money and Run and What’s Up Tiger Lily). Still unsure of himself, he agreed to have Herbert Ross direct.
I have been a big Woody Allen fan since I first saw him do his stand up act on the Ed Sullivan show back in 1965 and that same year caught him on the big screen in “What’s New Pussycat?” at the old Astor Theater on Broadway. Around the same period I discovered in a record store one of Woody’s comedy LP’s (Woody Allen Vol. 2) and scooped that up. Over the course of his stand up career Woody made three comedy LP’s (two on the Colpix label, “Woody Allen”, Woody Allen Vol. 2″ and his last, “The Third Woody Allen Album”, on Capital) that are now long out of print though they have resurfaced over the years in compilation copies under various names (Woody Allen: The Nightclub Years 1964-1968 and Woody Allen: Standup Comic) and cover art. The oddest cut on one of the original albums was a pantomime routine that lasted about two minutes. Yes, you’re reading this right, pantomime on vinyl! Two minutes of nothing but audience laughter. It was like watching a sit-com minus the show. Continue reading
May Contain Spoilers!
What I have always liked about this film is its sense of unrelenting fear and randomness that it could happen to anyone. That is what still makes this film work well. Wyler is an archetypal style Hollywood filmmaker in the best sense of the word. He never lets the camera intrude on the story.
Three convicts escape from prison and take cover in the home of the Hilliard’s, a “typical” American family of four living in a middle class neighborhood. Holding the family hostage the escaped cons are waiting for the girlfriend of Glenn Griffin (Bogart) to deliver a money package to help with their escape.
This was Bogart’s final role as a gangster and his next to last film before succumbing to cancer two years after the film was made. Bogart once said, his role here was Duke Mantee, referring to his star making part in “The Petrified Forest”, all grown up. It is a good point, in both films the Bogart character and his cronies are holding a group of innocent hostages. Griffin is a sneering, arrogant menace easily willing to lie, cheat and kill to get what he wants just like Mantee. Bogart growls with a viciousness in a perfect career ending role for the man who created some of the most memorable sleaze ball gangsters in cinema history.
As Dan Hilliard the head of the invaded household Fredric March is steadfast, determined to protect his family, capable of battling Griffin in a psychological battle to save his home. He not only has to stand up to the three convicts on the run but later toward the climatic end has to fend off the various law enforcement agencies including a local sheriff who wants to rush in with guns blazing taking down anyone in their path mostly because it would not be good for his career if these criminals got away.
The remainder of the cast does a capable job with Arthur Kennedy as Deputy Sheriff, Martha Scott as Ellie Hilliard, the wife, Dewey Martin as Hal, the younger of the Griffin brothers and Robert Middleton as Kobish the bear like uncontrollable third convict. Mary Murphy as the older of the two Griffin kids is somewhat overshadowed by the rest of the cast. You may remember her as the nice local town girl in “The Wild One.” The one cast member I found wanting was Gig Young who plays Murphy’s much older lawyer boyfriend, older by about twenty years. Except for his performance in “They Shoot Horses, Don’t They?” I have always found Young a rather bland actor. He does nothing to alter those feelings here.
The source story began as a bestselling novel in 1954 written by Joseph Hayes. The following year Hayes adapted the novel into a play that made its way to Broadway in 1955 (winning a Tony Award) with Paul Newman as Glenn Griffin and Karl Malden as the head of the Hilliard family. The story was inspired by several real life incidents. The film was actually completed before the play even opened on Broadway, subsequently it was held back from release until the play unexpectedly closed after Karl Malden left the production after 212 performances.
The change in casting from a young and still relative newcomer like Paul Newman to the iconic Bogart caused an obvious age difference between the convict Glen Griffin and his young brother Hal portrayed by Dewey Martin. Hayes willingly changed the script to accommodate the age difference in the actors. That said it does in no way distract from the story.
Wyler originally wanted Gary Cooper or Henry Fonda for the role of the father with Marlon Brando or James Dean in the role of Glenn Griffin. Later he sought Spencer Tracy as the family head but no agreement could be reached between Bogart and Tracy on who would receive top billing, subsequently Tracy bowed out. Also look for two well known “B” actors in small roles, science fiction favorite Beverly Garland and Joe Flynn of “McHale’s Navy” fame, who plays a motorist whose car is hijacked by Kobish.
As previously mentioned the novel is based on an actual incident which took place in Pennsylvania in 1952 when James and Elizabeth Hill were held hostage in their home by escaped federal convicts. In 1955 to coincide with the opening of the play, Life Magazine ran an article and photographs with the original stage stars (Newman and Malden) recreating some scenes in the actual home where the Hill’s lived (they had since moved away). The Hill’s sued the author, Paramount Pictures and Random House the publisher for $300,000 claiming invasion of privacy. The case was eventually dismissed.
As a director Wyler was well known for being relentless in pursuing the performances he wanted from his actors, many times by intimidation. There was one time he made Bogart work overtime (he and Bogart had an agreement that the actor would quit every day at five). By the time it got to six o’clock Bogart was pissed and put all his frustration and anger into the scene which was just what Wyler wanted. Another time, there was a simple scene where March was to kiss Martha Scott and leave for work. After more than thirty takes Scott asked Wyler what it was she was doing wrong. Wyler said, “It’s not you, I want March to look tired.” He was “acting” too much, his character was supposed to be worn out and upset. The scene took over a day to shoot but Wyler got his shot.
The film received mostly good reviews, one exception was from the ever odd Bosley Crowther of The New York Times who called it “a mere exercise in melodramatic hocus pocus.” Surprisingly the film did not do well at the box office. Part of the reason may have to do with the hold up in releasing the film until after the play closed. “The Desperate Hours” opened in October however, in July a film with a similar theme called “The Night Holds Terror” opened. It is possible the public did not want to see another family held hostage drama and opted out .
A 1990 remake by Michael Cimino with Mickey Roarke is best just left on the video shelf.
The Movie Projector presents the William Wyler blogathon running through June 29th. Click here for more great reviews.
This posting is a contribution to the John Huston Blogathon over at Adam Zanzie’s Icebox Movies.
If anyone believes that the writer is the auteur of a film one only has to look at the 1931 and 1941 versions of “The Maltese Falcon.” The difference in not so much in the script as both films take dialogue directly from Dashiell Hammett’s novel but more in the set design, lighting, direction and in how the characters are portrayed. In Roy Del Ruth’s pre-code version Sam Spade is more of an upper class dandy, from the Nick and Nora Charles School of private eyes. Del Ruth’s Spade has a fancy apartment and office. Huston’s Spade is from the dark, dirty, hard-boiled school of detectives, cynical and willing to be as corrupt as the bad guys. He is an unsentimental man who indifferently informs his dead partner’s wife that he is dead, a woman with whom he recently had an affair. Huston/Bogart’s Spade is a much more complex character than the dandy portrayed by Cortez in the earlier version. It is not just Spade who is different, Bebe Daniels Brigit O’Shaughesssey is more defenseless than the tough as nails, manipulative Mary Astor version. In Huston’s version no characters trusts any other. While the 1931 pre-code film is blunter about Spade’s womanizing as portrayed by Ricardo Cortez there is no sleaze factor in his Spade whereas Bogart’s Spade you can tell has been around the block a few times. I will not even discuss the second remake “Satan Was a Lady” barely recognizable as a remake..
No one at Warner Brothers was expecting much from what was a low-budget production. They even wanted to call the film “The Gent From Frisco.” George Raft, it is well known, refused to work with an untried director, turned down the lead role opening up the position for Humphrey Bogart, and with that began the “beginning of a beautiful friendship” as Rick Blaine (Bogart) says to Captain Renault (Claude Rains) in another Warner classic a few years later, between the director John Huston and actor Humphrey Bogart. His performance here was a major step in the creation of the Bogie persona which achieved its completion in Michael Curtiz’s “Casablanca.” Huston and Bogart would make six films together. This being his first film Huston made drawings of all the camera setups so as not to appeared unprepared on the set came time to actually shoot.
For a director making his first film Huston’s camera setups were superb, Close oppressive atmosphere, stunning low-angle shots, and the final shot of Mary Astor as the police take her away with the elevator door closing on her like a jail cell door are some examples. There is also one long continuously shot scene in Spade’s apartment that according to Huston in his autobiography, “An Open Book” required something like twenty-six dolly moves requiring the cameraman to move along with the actors in order to complete the six or seven minute take. A theme that would become common in Huston films shows up in this first outing, greed, the lust for the falcon representing the stuff dreams are made of. This theme will be explored over and over again in films like “The Treasure of the Sierra Madre”, “The Asphalt Jungle” and “The Man Who Would Be King” and others.
“The Maltese Falcon” was a major hit, financially and artistically, receiving Academy Award nominations for Best Picture of the Year, Best Screenplay and Best Supporting Actor (Sydney Greenstreet in his film debut). This was also the first pairing of Greenstreet and Peter Lorre who was award worthy himself as Joel Cairo. The film is generally considered the first film noir, though there are some that will debate that. Bogart became a major league star and Huston’s directing career was off to an auspicious start.
“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.”
Greed and the pursuit of power are major themes in John Huston’s films. They propel Gutman and Joel Cario to pursue the stuff that dreams are made of in “The Maltese Falcon,” only to find out their targeted prize is worthless. In “The Man Who Would Be King,” two soldiers attempt to become rulers of a country until greed and ego come between them. These themes are also plainly evident in “The Asphalt Jungle” and “The Kremlin Letter.” Similarly, these themes are at the center of what is considered Huston’s greatest work, “The Treasure of the Sierra Madre.” You hear it in Howard, the old prospector’s voice when he explains the lust and fever that grows in men’s desire for gold and you see it in Fred C. Dobb’s eyes throughout the film as the potential increases for a larger prize with man’s morality all but disappearing.
Huston read the novel in 1936 and was interested in filming it; Warner Brothers owned the film rights, yet, it took ten years to get off the ground. After Huston returned from his World War II duty the green light was finally given. Huston had two major obstacles to overcome in adapting the screenplay. First was B. Traven’s beautifully unique, though unrealistic for the screen, writing style. Second was the book’s strong anti-capitalist sentiment and its blatant attack on materialism both of which had to be toned down. The novel also has a downbeat ending and the film’s star is not portraying a likable person, still the post war cynicism that gave rise to the popularity of film noir, also fit in here with the dark mood of the story.
Two down on their luck Americans, Fred C. Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt) in 1920′s Mexico hook up with an old time prospector named Howard (Walter Huston) and go searching for gold. The old-timer is skeptical, forewarning that trouble will lie ahead, still he agrees to go. They head for the Sierra Madre mountains, and soon are attacked by bandito’s during the train ride out there. Once in the dessert, and as they begin to mined the gold, the loyal friendship begins to disintegrate. Dobbs trust no one and is afraid his partners will kill him for his share. Another American, a man named Cody (Brue Bennett) follows Curtin back to the campsite when he went for supplies and tries to deal his way into the group’s fortune. As tensions mount the three begin to question each other and thier morals, as they considered whether let in the newscomer, letting him have a share or to just kill him. Before they decide, they are attacked by a gang of bandito’s and the fourth American is killed. Mexican Federale’s fortunately show up chasing the bandito’s away. For the three prospectors their rush for gold continues to go downhill, disintegrating into a tale of greed, paranoia, and lost dreams.
One of the keys scenes is when the old prospector Howard tells the other two men that the potential of gold to be mined is going to much more than they anticipated. At the beginning of their adventure, no one was looking to be greedy, but as the gold fever began to catch on, especially with Dobbs, not only is there greed in the air, but the distrust factor shows its face again specifically with Fred C. Dobbs who “suggest” they all hide their shares of gold dust from each other. Dobbs mistrust of his two partners will only escalate as the film progresses until it turns into delusional madness. In contrast to Dobb’s, Tim Holt’s character, Bob Curtin is portrayed as honest if a bit too naive and innocent, still Holt, a B-western actor handles the part well never letting it fall flat. Originally John Garfield was set for the role until he backed out. But the acting kudos belongs to Huston, who won the Best Supporting Actor Oscar and to Bogart for one of the finest performances of his career. At the time it was a courageous move by Bogie to portray such a pathetic despicable character as Dobbs. Also worth noting is the performance of Alphonso Bedoya as Gold Hat the leader of the Mexican bandito’s. It is Bedoya who has the famous lines, often misstated, “Badges? We ain’t got no badges. We don’t need badges! I don’t have to show you any stinkin’ badges!”
Huston and Bogart are one of the great actor/director teams. Huston was a well respected screenwriter having written or co-written scripts like “Juarez”, “Jezebel”, “Dr. Ehrlich’s Magic Bullet” and “Sgt. York”, however it was his adaptation of W.R. Burnett’s “High Sierra” that opened the door to his directing career. Together, Huston and Bogie would go on to make six films including two certified masterpieces, “The Maltese Falcon” and “The Treasure of Sierra Madre” and four other films ranging in quality from decent to very good works. There is not one that I would consider bad. Huston was the Oscar for Best Screenplay adaptation making it the first time a father and son was the awards.
The film is notable for some interesting cameos beginning with John Huston who portrays a well-dressed American at the beginning of the film who Bogart’s Dobb’s keeps attempting to panhandle from. Also look for a very young Robert Blake as the Mexican boy who sells Dobbs a lottery ticket. Jack Holt, Tim’s father has a small role in the flophouse scene early in the film where Dobb’s and Curtin first meet Howard. And then there is Ann Sheridan…maybe. There is a scene where a prostitute walks passed Dobbs and is seen shortly later going up a flight of stairs. According to the extra in the DVD, “The Making of the Sierra Madre” the lady is Ann Sheridan. Some historians claim it is Sheridan while others do not. There seems to be no definitive answer or at least one I could find.
Whether the woman in that scene is Sheridan or not, one thing for sure, “The Treasure of the Sierra Madre” is one of the great American films, nominated for a best picture Oscar only to lose to Oliver’s “Hamlet.”
Bogart Takes on the Nazis.
Produced and released by Warner Brothers, always the most socially conscience of the studios, this 1941 propaganda film came out just months before America would enter World War II. Starring Humphrey Bogart as “Gloves” Donahue, a local hoodlum who runs the neighborhood bookie operations. “Glove’s” is a long way from Bogart’s other roles as a gangster. Here he is sort of a neighborhood Robin Hood with his gang, a bunch of Damon Runyonesque type comedic characters.
Most of the neighborhood seems to like “Gloves”, except for the cops, and his rivals led by Barton McLane. Conrad Veidt plays Ebbing, the head Nazi who commands an underground organization of fifth columnist with sabotage on their mind. Peter Lorre is Pepi, Ebbing’s little weasel of an assistant.
“Gloves” involvement begins when a neighborhood German baker is murdered by the master of creepiness, Peter Lorre. The baker was a friend of “Gloves” mother and made his favorite cheesecake, so at his mother’s beckoning he begins to look into the killing. When a nightclub bouncer is also murdered and one of “Gloves” gloves is found at the scene, the police can only conclude one thing, he is the murderer.
While trying to prove his innocence “Gloves” investigation leads him to discover a group of fifth columnist with plans to sabotage the New York Harbor by blowing up a naval battleship. The police, who are clueless about the German threat, are only interested in fingering “Gloves” for the murders.
Surprisingly, the film is amazingly light in its humor considering that the war was going strong in Europe by this time. Released on December 2nd, according to IMDB, only days before the Japanese bombed Pearl Harbor and America would enter the war. The release may have been only in Los Angeles though because the New York Times review is dated January 24th 1942 and makes note that this is a “pre Pearl Harbor” film, “lest anyone raises the objection that it plays too fast and loose with a subject much too serious for melodramatic kidding in these times.” The review, by Bosley Crowther, then goes on to say, “One would hate to think that an enemy plot of such elaborate magnitude as the one presented here should be so completely overlooked by our capable F. B. I. (italics mine), and that the responsibility for licking it should fall upon a semi-gangster. So don’t even let yourself think that this picture pretends to be fact. It is straight, unadulterated fiction pulled out of a script-writer’s hat.”
So here we are now some 70 years later, and considering what we have been going through since 2001, such blind faith in the F.B.I. or Homeland Security or any other Government Agency is naiveté of the highest order. I am not picking on Mr. Crowthers, as I usually do, I’m sure that many Americans had blind faith in and felt secure that organizations like the F.B.I had security matters well in hand back in those days.
Much of the films humor is supplied by members of “Gloves” gang, consisting of fanciful character actors like William Demarest and Frank McHugh along with some additional bizarre casting of Jackie Gleason and Phil Silvers. McHugh’s character is newly married and the running joke throughout the film is that he cannot consummate his marriage because he is always helping “Gloves” in hunting down the Nazis. Gleason and Silvers are regulated to humorous roles that are close to slapstick level.
There is a touch of seriousness thrown into the mix when “Gloves” in his search to find the murderers comes across nightclub singer Leda Hamilton (Karren Verne), a young woman who is first made to seem to be aiding the Nazis. We soon find out that Leda is being forced to help them because her father is a prisoner in Dachau. Ebbing promises to keep him alive as long as she helps them with their sabotage plans.
The cast also includes Jane Darwell as “Gloves” mother, Judith Anderson as an assistant to Ebbing and Barton McLane as Callahan, the rival gang leader. Bogart handles his role in typical Bogie fashion, cool and unflappable. Peter Lorre and Karren Verne would marry, in real life, a few years after this film was made. Today, “All Through the Night” comes across as a bizarre little film, somewhat uncomfortable in its humor, melodramatic with some odd casting but still entertaining enough.
Joe “Duke” Berne (Humphrey Bogart) is a three-time loser. One more arrest and the law will send him away for life. With that ingrained into his head, Duke has given up the criminal life. The problem is getting a regular job, you know how it is, who’s going to hire an ex-con? No one, so here he is roaming the streets, unshaven, wondering where his next meal is going to come from.
In desperation, Duke gets involved with some old cronies who are planning an armored car robbery. At first Duke wants nothing to do with it. He wants to remain clean despite taunts from a young punk named Frenchy who calls Duke a coward even throwing a glass of milk in his face. Duke takes it all.
When Duke finds out mob lawyer, Martin Fleming (Stanley Ridges) in backing up the deal he becomes interested.
Duke visit’s Fleming who is now married to Lorna (Irene Manning), Duke’s former lover. It’s obvious from the first time they see each other, Lorna still has a thing for Duke and visa versa. With Duke in charge they plan the robbery (Duke straightens Frenchy out by throwing a glass of milk in his face and kicking him off his chair) which all seems to think will be a piece of cake except for Duke. The night of the robbery as Duke is getting ready to join the boys, Lorna shows up at his door pleading with him not to go through with it. She tells him they could run away together and start a new life. Duke, still hooked on Lorna, stays with her.
The robbery, without Duke goes bad, all the criminals are killed except for Frenchy who will get his revenge on Duke soon after. A witness to the robbery, an elderly woman, is brow beaten by the police into mistakenly identifying Duke as the crook who got away.
Duke, now being hunted by the police, figures the only way to get himself off the hook is to get Fleming to defend him by setting up a full proof alibi. Fleming double crosses Duke after Frenchy, getting his revenge, tells Fleming about finding Duke and his wife together.
The remainder of the film spirals out of control as Duke escapes from prison, but in an unbelievable moment of weakness agrees to give himself up in order to set the record straight about a young con who is innocently being accused of being part of the escape plan and the resulting murder of a prison guard. We know from the beginning, Duke is doomed since the entire story is told in flashback from Duke’s deathbed in prison.
“The Big Shot” was made after Bogart had finally become a major Warners star that is after “The Maltese Falcon” and “High Sierra” so it is surprising to see him in a film that has the look and feel of a programmer. Still, Bogie is Bogie and he makes the film enjoyable but overall there is not much there. The car chase sequence toward the end is poorly planned with state police on motorcycles chasing after Bogie and his girl along a snowy icy twisting road. The motor cycle cops are implausibly shooting at Bogart’s car with one hand while managing to steer the motorcycle along the icy curved road with the other.
Directed by Lewis Seiler, who spent most of his career cranking out standard melodramas and westerns of little distinction. Bogart during his second tier days worked with Seiler in quite a few films (Crime School, You Can’t Get Away With Murderer and King of the Underworld), Seiler’s other works include some early westerns starring Tom Mix, “Tugboat Annie”, “Pittsburgh” and “Guadalcanal Diary”, probably his best known work. George Raft turned down this role and as he did with “High Sierra” and “The Maltese Falcon” and just like those earlier flicks, Bogart took over the part. Don’t expect much from this minor film other than Bogie who makes it worth at least one viewing considering it was his last gangster role.
I was watching “Hell’s Kitchen” the other night, a 1939 Warner Brothers programmer with The Dead End Kids. They were still riding the crest of a wave of success that began with William Wyler’s “Dead End” and continued with films like “Angels with Dirty Faces”, and the lesser successful “Angels Wash Their Faces.” This is, of course, before they began deteriorating into overaged caricatures of their former selves as they continuously changed names, from The Dead End Kids to The East Side Kids to The Little Tough Guys and finally the Bowery Boys. Moving from major studios like Warners Brothers and Universal to the depths of poverty row with Monogram. What struck me about the Hell’s Kitchen was this feeling of déjà vu, I had seen the film once before but that was not why I had the feeling. Somehow, I thought Humphrey Bogart was in this film or maybe it was James Cagney. In addition, to The Dead End Kids, “Hell’s Kitchen” starred Ronald Reagan (who also appeared with the boys in “Angels Wash Their Faces”) billed way down on the list of characters after all the DEK’s!
About halfway into the film, it struck me that “Hell’s Kitchen” was similar to the Humphrey Bogart film “Crime School” made just the year before. While there are differences between the films, the similarities are striking beginning with the fact both films are directed by Lewis Seiler, and Crane Wilber is given credit for both the story and co-screenwriting on each film. Then it came to me there is another similar film, 1933’s “The Mayor of Hell” where young James Cagney plays a reformed gangster who takes over a juvenile reformatory attempting to fix a corrupt system, which was what Ronald Reagan’s almost reformed gangster father-in-law Stanley Fields does in “Hell’s Kitchen.”
All three films contain corrupt sadistic superintendents. Both “Crime School” and “Hell’s Kitchen” have scenes where the juvenile inmates establish a self-governing system though, in “Hell’s Kitchen” it is sanctioned by the officials in charge whereas in “Hell’s Kitchen”, it quickly turns to a lynch mob mentality. In “Crime School”, Bogart, a deputy commissioner, takes over the corrupt reformatory, as does lawyer Reagan in “Hell’s Kitchen.” In “The Mayor of Hell”, a young James Cagney plays as a reformed gangster who takes over a juvenile reformatory attempting to fix a corrupt system.
Of course, all the films have caring, beautiful leading women. In the “Mayor of Hell”, it is the lovely Madge Evans, while it is Margaret Lindsay who attempts to take care of the boys in “Hell’s Kitchen.” “Crime School’s” leading lady Gale Page is a bit different as she is the older sister of juvenile problem child Billy Halop. One difference between the films is that “The Mayor of Hell” is pre-code while the other two films, made late in the decade, were more restricted in what they could show.
Today, remakes, sequels are almost an expected part of movie going. Can anyone imagine a summer season without a remake or a sequel? We know creativity and the financial guts to take chances is a rare commodity in Hollywood. With these three films, we are given a snapshot that taking chances and looking how to save a buck in Hollywood is not new. Warner Brothers recycled the same story, and in the case of two of the three films, the same actors (The Dead End Kids), the same director and the same writer, all within six years. That’s economy.
None of the films could be called great but all are entertaining, however, “The Mayor of Hell” shines with good performances by Cagney and Frankie Darro and “Crime School”, is well worth your time if for no other reason than it has Bogart. “Hell’s Kitchen” biggest problem is really a lack of a strong leading man. Ronald Reagan comes across as just bland. Of the three films, “The Mayor of Hell” is the only one available on DVD. Your best bet to catch the other two films is when they occasionally appear on TCM or download on-line.