The Mayor of Hell

This film worked for me where the estimable "Boys' Town" failed a few years back; true, it's a brisk-paced, openly manipulative crowd pleaser, but it's lively and gripping, with generous dollops of social comment, romantic comedy, melodrama, prison story, ensemble character work and even gangster action all thrown into the mix. Warner Brothers did have a social conscience, as Hollywood studios went (it didn't extend to their own employees, for example), but they certainly also knew how to play up the exploitation angle for entertainment. Perhaps the film's best moments are at its most cynical - Allen Jenkins shines as the lugubrious 'Uncle' Mike, the hard-bitten sidekick who has to put up with his boss's mercurial gyrations, and it's always entertaining to watch James Cagney go a little too far and get his face slapped by a dame who gives as good as she gets.

The child actors are all very good, and nicely differentiated in the vast mix of boys, and there is attention to background detail throughout - not everything is spelt out explicitly in the dialogue, for all the film's efficient hustle. There is a bit of almost everything from heartbreak (the scene with the clinging mother in the courtroom is unexpectedly effective) to horror, with a healthy spice of humour on the side; the studio roster of character actors fills out the single-scene minor roles with talent, and all in all it's a fine film in ninety minutes.

James Cagney, racketeer and political ward heeler, get to become a Deputy Commissioner of Corrections and visits a boys reform school. The catch is that Cagney is not in it for the graft, he genuinely wants to make a difference in the lives of the kids there because he comes from a background like their's.

The villain of the piece is Dudley Digges who is a grafting chiseler and a sanctimonious hypocrite to boot. One of the subtexts of the plot of The Mayor of Hell is that these kids are mostly immigrants and those that judge them and are in positions of power are those who are here a few generations. Note in the mess hall scene as Digges offers a prayer of thanks for the food they are about to receive, Digges is eating well, but the kids are getting quality you wouldn't feed to your pet.

Cagney has his own troubles back in the city with some of his henchmen and he has to take it on the lam. That puts Digges back in charge and setting up the film for it's climax.

The Mayor of Hell was a typical product from the working class studio. And because it was pre-Code it gets pretty gruesome at times. A later version of this, Crime School, with Humphrey Bogart and the Dead End Kids, was a more sanitized remake.

Although Cagney is fine in the lead role as is Madge Evans the school nurse, the acting honors go to Dudley Digges. Hard to believe that the same man could portray the drunken, but kindly, one legged ship's surgeon in Mutiny on the Bounty. But Digges is a fine player and a joy to watch in every film he's in.

This film is not shown too often because of the racial and ethnic stereotypes it portrays. A whole lot of minorities would be offended today. Still it's a fine film.

Interestingly enough a few years ago the film Sleepers came out and it touched on some of the same issues. I guess films about reform schools don't change in any time.

Racketeer James Cagney takes over a reform school that's being run like a prison. With help from pretty nurse Madge Evans, he turns the place around and helps the boys get back on the right track. But the scummy guy that used to run the school is determined to destroy all the good work they've done, no matter what harm it does to the kids.

Intense, gritty drama that tackles the issue of juvenile crime and how to deal with it. Strong writing with some good characters. Cagney's excellent in one of his best and probably most underrated films. The kid actors are all terrific and believable. Dudley Digges is a particularly evil villain. Backed up by a typically solid WB stable of supporting actors. Jaw-dropping climax is one of the best finishes to any movie of this decade. Remade as Crime School, with Humphrey Bogart and the Dead End Kids. That one's not bad but it's not nearly as powerful as this one.

Mayor of Hell, The (1933)

*** (out of 4)

James Cagney plays a crime boss who uses his power to get a "real" job working in a boys reformatory school. At first he doesn't take the job too serious but then he sees how the boys are mistreated so he takes over running the school and tries to turn it into something good. This film was remade twice in the next six years with Crime School and Hell's Kitchen and while both of those films were very entertaining there's no question this is the best of the three versions. One thing that helps is the fact that this one was made before the code came into play so it has a lot more of a raw feel to it whereas the remakes were toned down in content. Another added bonus is seeing Cagney who once again delivers a strong performance. He doesn't show up until the twenty-five minute mark and it speaks well of the young actors who hold the film up before the star gets on screen. The supporting players all do fine work with Madge Evans as the love interest, Allen Jenkins as Cagney's sidekick and Dudley Digges as the bad guy running the school. I think one fatal flaw is the ending and the aftermath. The ending turns into a Frankenstein type setting, which might have worked but the aftermath is so rushed and faked that it really ends the film on a sour note. Outside of that this is a pretty good drama with its heart in the right place and the toughness you'd expect from a Warner/Cagney film.

The great James Cagney, top-billed in big letters, doesn't show up till the movie's second third, and probably has less screen time than Dudley Digges, who plays the eee-vill reform-school potentate. But when Jimmy arrives, as a deputy commissioner of something-or-other out to reform reform schools, he slashes the air with his hands and jumps on the balls of his feet and spits out punchy Warners-First National dialogue with all the customary, and expected, panache. The psychology in this crisp antique, one of Warners' many efforts to assert its place as the "socially conscious" studio, doesn't run deep: Digges is bad just because the script requires him to be, and there's the quaint notion that juvenile delinquents will turn into swell kids if they're just given a dash of autonomy. But it's made in that spare, fast style that the studio specialized in, and it never bores. Frankie Darro, who got into all kinds of onscreen trouble during a brief tenure as Warners' favorite Rotten Street Kid, is an ideal JD -- a handsome, charismatic toughie with a pug nose and a hate-filled stare that could wither steel. No kid actor today can touch him.