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In the days of Prohibition, orphaned country boy Junior Durkin (as James "Jimmy" Mason) goes to live in the city with his aunt and uncle, after his mother is hit by a car. There, Mr. Durkin becomes meets, and hero-worships charismatic boarder Pat O'Brien (as Matt Kelly). Durkin doesn't know it, but Mr. O'Brien is a bootlegger. O'Brien dupes Durkin into being the lookout for a cache of liquor, which police discover. Durkin naively thinks the booze was planted, and refuses to squeal. O'Brien lets the lad take the rap, and Durkin is sentenced to three years in "The State Industrial School for Boys".

After arguing over who gets top, Durkin befriends bunkmate Frank "Junior" Coghlan (as "Shorty"), who has a heart ailment. Conditions in the reformatory are terrible. The boys have a plan to spring Durkin, but young Coghlan is caught. While his pal lies close to death, in solitary confinement, Durkin breaks out to enlist O'Brien's help in finding suitable doctors for Coghlan. But, O'Brien doesn't want to get involved, or he'll have to leave pretty Bette Davis (as Peggy Gardner) for prison...

Howard Higgin's "Hell House" was relatively ahead of the juvenile reformatory curve, and boasts several points of interest.

First off, you have the two "Juniors" Durkin and Coghlan in the same picture, comparable to the 1980s "Coreys" Haim and Feldman. Durkin even looks a little like Feldman. Unfortunately, Durkin died in a car accident. Coghlan's supporting performance upstages even Ms. Davis - and, you will see Davis get her hair messed up as O'Brien tell her, "I just washed my hands and I can't do a thing with 'em!" Note, this was before Davis uttered her famous trademark response, "I'd like to kiss ya, but I just washed my hair" (see "The Cabin in the Cotton"). Finally, you have a delirious Coghlan "talking" to his dead mother quite credibly in one scene - and, in the end, Durkin's deathly "conversation" gives the story startling emotional closure.

******* Hell's House (1/30/32) Howard Higgin ~ Junior Durkin, Frank Coghlan Jr., Pat O'Brien, Bette Davis

One of the first films Bette D ever did. and unfortunately, one of the last that Howard Higgin directed. and almost the end of the road for Junior Durkin (played "Jimmy") as well. more about them later. In the film, Jimmy's mom gets bumped off, and he goes to live with relatives. Pat Obrien is "Kelly", a no-good boarder, and Davis is his girl. Jimmy takes the fall for Kelly, and now he's off to reform school. Sound and picture are pretty rough, which is probably why we never see this one on Turner Classics. director Higgin died quite young at 47. and Junior Durkin, the "star" of this also died young, at 19 in a car accident. Durkin also lost his own mother at a young age, just like in this film. The car was driven by friend Jackie Coogan. The film's okay. and a good oppurtunity to see a young Bette Davis in an early, small role. Showing on Moonlight Movies channel.

The worthwhile story material in this crime drama helps to make up for its weaknesses in other areas. In approaching the subject of juvenile crime, it doesn't present anything revolutionary or ground-breaking, but it does call attention to a few issues that are worth considering, such as the ways that young persons become involved in crime, and the priorities of the justice system in dealing with young offenders. The movie is also of some interest in having Bette Davis in one of her earliest screen roles.

Junior Durkin plays a young man who in all innocence becomes involved with a charismatic bootlegger during the days of prohibition. Jimmy (Durkin's character) is arrested for being in the wrong place at the wrong time, and is sent to reform school, where things get worse. Some of the plot developments are not all that logical or plausible, but the story works in calling attention to the way that the young offenders are often treated simply as annoyances to be minimized, with insufficient attention given to constructive development.

Pat O'Brien is effective as the bootlegger, and Davis, though cast as a stock character, has a few good moments as his tough-minded girlfriend. The rest of the supporting cast, which features Charley Grapewin and Junior Coghlan, is solid, and the story moves at a good pace. Overall, it's a little above average for its time and genre, and it contains some ideas worth thinking about.

Jimmy idolizes bootlegger Matt, and when he refuses to implicate his friend, he is sent to reform school. He befriends Shorty, a boy with a heart condition, and escapes to let the world know about the brutal conditions.

Mordaunt Hall observed, "The attempt to pillory reform schools is hardly adult in its attack, but it has a few moderately interesting interludes. The direction of this film is old-fashioned. Pat O'Brien gives a forced performance. Young Durkin's playing is sincere and likewise that of Bette Davis as Peggy."

The biggest problem with this film is how poorly the physical film itself has held up. The Library of Congress has done a great job cleaning it, but it remains a bit of a mess, particularly in the first act. Hopefully some day a better print will be found. The story itself is decent, and tells another angle on the whole gangster theme: what of those who are not gangsters but keep their mouths shut on their behalf?

"Hell's House" (Capital Films, 1932), directed by Howard Higgins, is a low-budget drama that might have been a much better reform school drama had it been produced at the Warner Brothers studio, in spite of pre-Warner Brothers contract players of Pat O'Brien and Bette Davis in supporting roles that give this the Warner Brothers feel. The central character to the story happens to be played by Junior Durkin (famous for his role as Huck Finn in Paramount's Mark Twain classics, "Tom Sawyer" (1930) and "Huckleberry Finn" (1931), both starring Jackie Coogan). But for today's viewers who may possibly find this movie in a local video store, Bette Davis is the one who brings added interest in a somewhat small role.

The story opens at a farm where Jimmy Mason (Junior Durkin) helps his widowed mother (Mary Alden) with the chores. The pleasant day turns out tragically when Mrs. Mason is suddenly struck and killed by a passing automobile. Left alone, Jimmy decides to come to the city and live with his Uncle Henry (Charley Grapewin) and Aunt Emma (Emma Dunn), landlords of an apartment building. There he meets one of their tenants, Matt Kelly (Pat O'Brien), who befriends the boy, and later introduces him to his girlfriend, Peggy (Bette Davis), a tough babe with a good heart, who takes an instant liking to this young teen. Jimmy, however, is quite naive and doesn't realize that Kelly is a smooth-talking, small-town operator and racketeer. Jimmy is soon offered a job by Kelly answering the telephone at his bootlegging headquarters. After showing him what to do and say, Kelly leaves Jimmy alone to tend to business. As Kelly slowly drives away, he looks at his rear view mirror to find the police barging in the place and arresting Jimmy. While in juvenile court, Jimmy believes that Kelly will come and speak on his behalf, and be released (no such luck). He refuses to identify Kelly as the man who hired him to the judge (Wallis Clark). Because of this, Jimmy is sentenced to three years in a state reformatory. While there, Jimmy becomes the victim of a cruelly-operated institution.

The supporting cast includes Junior Coughlan as Shorty, a reform school boy with a heart ailment who befriends Jimmy; Morgan Wallace as Frank Gebhardt, a crusading publisher wanting to improve reform school conditions; and James Marcus as the superintendent. While the opening credits presented on TV or video today give Davis and O'Brien star billing over Junior Durkin, the current opening credits are actually taken from reissue prints that capitalized on the stardom of both Davis and O'Brien, and is not the original opening credits as presented to 1932 audiences, hence the misspelling of Durkin's surname spelled Dirkin.

Although a reform school drama like this had been produced numerous times by other studios throughout the 1930s, "Hell's House," is really nothing new, in fact, a trifle slow at 70 minutes, handicapped by low-budget production values. Acting is good and reform school situations are grimly handled. However it's still interesting to see mainly because of the supporting actors of O'Brien and Davis, both of whom would become major film stars in later years, especially at Warner Brothers. (**1/2)

Jimmy Mason is an orphan living with his aunt and uncle. He is taken with their cocky boarder Matt Kelly (Pat O'Brien) who claims to have political connections but is only a petty bootlegger. Peggy Gardner (Bette Davis) is Matt's girlfriend. When Jimmy gets arrested, he is sure to be rescued by his well connected friend Matt. He refuses to turn in Matt and gets sent to reformatory school for three years instead. It's a rough place and his new friend is dying.

The most compelling part of the movie is Jimmy waiting for Matt while he's in court. The rest is a functional story for the boy although he's a little too clueless even at the end. His character needs to get smarter. Bette Davis is a supporting actress in this one. It's very early in her career. I would like Matt to be younger and his turn is a little too happy ending.

Really liked the idea for the story for 'Hells House'. It sounded quite touching and relatable. It also had Bette Davis, reason enough to see anything she was in regardless of the film's overall quality, in a small early role. The title does grab the attention and do appreciate early film, so there were enough reasons to make me want to see 'Hells House'. Regardless of the lukewarm reviews here and that it didn't look particularly great production-values wise.

'Hells House' has its moments and good things, and is overall quite watchable. It is though not much more than a curiosity piece, my curio reason being me wanting to see all the films not seen yet starring or featuring Davis. For me, the film could have a lot more with its relatively under-explored potential and more induced mixed feelings within me. It is namely to be seen for Davis but execution-wise it doesn't have much of everything else going for it.

Davis' screen time is far too small and her character is stock, she is above her material, but she brings a lot of dignity to what she has. Actually thought that in general the acting was above average, not mind-blowing but not amateur-hour, definitely one of 'Hells House's' better aspects. Great to see Pat O'Brien and Charley Grapewin here and giving likeable performances, Junior Durkin tries too hard at times and Jimmy was to me a problematic character in a way but he and Frank Coghlan's performances are deeply felt.

Their chemistry is also tenderly done, generally thought the character interaction was beautifully done in 'Hells House' and didn't get too cloying or overdone.

For all those good things though, too much is done wrong. The production values are far from great, excepting the effective use of shadow it looks very primitive. The sound likewise. The dialogue tends to be too corny and doesn't flow particularly well.

As said, Jimmy's character is problematic. Too naive in an unrealistic way. The story is charming and touching enough, but can be a little too slow in the early parts and can be contrived.

Overall, watchable curio but there are far better representations of Davis around. 5/10

Despite the fact that Bette Davis takes top billing here, she rarely features in this rather effective tale of a young boy "Jimmy" (Junior Durkin), who does the right thing and ends up taking the rap for bootlegger "Kelly" (Pat O'Brien). His integrity now sees him in Reform School for three years. There he befriends "Shorty" (Frank Coghlan Jr.) and together we experience the hardships faced by these young men as they are essentially incarcerated, used and forgotten about. Meantime, newspaper man "Gebhardt" (Morgan Wallace) is set on exposing the truth about this place and improving the standards for the boys. Can he do it before tragedy ensues? The film belongs to the charming and decent "Jimmy", and Durkin turns in an engaging performance in the role as the young, naive and optimistic young man ill-equipped for his new life in city where he is ripe for exploitation. It builds slowly, but well until a denouement that is maybe a bit late in the day, but fitting nonetheless. The production is all a bit basic, but I still quite enjoyed this.

Stars Pat O'Brien and Bette Davis have not near as much time as juvenile actor Junior Durkin in this one. It's another sociological drama from Warner Brothers about juvenile crime.

Junior Durkin is fresh off the farm in every sense of the word. The film opens up with Junior's Mom killed by a hit and run driver. Junior goes off to the big city to live with uncle and aunt Charley Grapewin and Emma Dunn.

They have conman boarder in Pat O'Brien and Junior falls for his spiel, hook, line, and sinker. O'Brien's a bootlegger and when his warehouse is raided, Junior takes the fall because he won't rat out his pal.

Junior goes to reform school where the conditions kind of open up his naive young eyes a crack. I think you can figure the rest of the plot.

Granted that things were more innocent back then even in Hollywood before the Code. But I have to believe that even audiences in 1932 had trouble believing this kid could be that naive. Also the beginning scene was totally unnecessary with Mom being killed. That storyline was left hanging. I was waiting for the driver to be caught and dealt with and he never was. Bad editing to say the least.

Warner Brothers got things a whole lot better with James Cagney in The Mayor of Hell the following year and then in a whole series of films with The Dead End Kids. Bette Davis is totally wasted on a thankless role.

Hell's House is an independent picture which has the feel of a Warner Brothers product, not only because it stars Warner refugees Bette Davis and Pat O'Brien but because of the crime and prison - or reform school - subject matter. Although Davis and O'Brien headline, it's the ill-fated Junior Durkin, playing a good kid who ends up in reform school, who has most of the screen time. A pacey and tough drama that stands up well to the second-tier features churned out by the majors.

Hell's House (1932)

** 1/2 (out of 4)

Low-budget crime/melodrama is best remembered for the early views of Pat O'Brien and Bette Davis. In the film, a young boy (Junior Durkin) moves to New York after the death of his mother where he quickly looks up to Matt (O'Brien). What the boy doesn't know is that Matt is a bootlegger and he ends up taking the rap for a crime and sent to an abusive reform school. The boy is trapped there unless Matt can grow some guts and admit that he is the one who should be behind bars. This film beat the Warner/James Cagney drama THE MAYOR OF HELL into theaters by nearly a year so I'm curious if this is one of those small studios hearing about a major studios work and then trying to race a finished product into theaters. The film certainly comes off that way because it has the structure of a decent drama but everything seems so rushed that they forgot to add any heart or soul. The movie is pretty flat, especially compared to the Cagney film and its several remakes, because we really don't see too much here. This reform school is suppose to be "hell's house" yet we hardly ever see any of the abuse or torments that the boys are going through. O'Brien's character is underwritten pretty badly as is his girlfriend played by Davis. The two actors are the main reason to see the film because they both come off very likable. O'Brien gets to shine in the role of the bad guy with a heart and it's easy to see why Warner signed him up. Davis doesn't come off as good but it's fun seeing a legend pay her dues. Durkin also does pretty good in his role but I thought he was a lot more believable in his "country boy" state early in the film rather than the hero at the end.

This is only the second feature film directed by Howard Higgin that I get to see, and unfortunately confirms my suspicion that his craftsmanship still lagged behind other directors of the time, such as Edmund Goulding, Mervyn LeRoy, Alfred Hitchcock etc.

I would cite the screen writing (in which he had a major hand) as one of the weaknesses. The characters often act cartoonish and not all the narrative bases are always covered. For instance, here we see the only the first part of an escape attempt, then the viewer is left in the dark as to how the escapee managed the rest of it.

On the other hand, Higgin's direction of the actors still manages to make me care about the characters, even if their behaviour is often cartoonish, as mentioned above. The actors use facial expressions quite well in communicating emotions, overcoming some of the production difficulties in the early years of talkies.

Another reviewer stated that the opening scenes are "unnecessary" and the "storyline left hanging". Au contraire! A central theme is introduced, i.e. the unwillingness of citizens to take responsibility for their actions, leaving the innocent to suffer in their wake. We then see the main character cradling a dying person in his lap, foreshadowing a critical scene later on.

I believe therefore that director Higgin had a good understanding of cinematic techniques and dramatic elements, but it is in the execution and communication of those aspects, where he disappoints somewhat.

And wait, I didn't mention the joy of seeing Bette Davis in an early role...

There are some powerful ideas and messages floated in this story about a young man caught up in juvenile reform school - especially for this time period.

This movie is worth seeing for very early performances by Bette Davis and Pat O'Brien before they were stars.

This 1932 pre-code film has a lot of social commentary which remains relevant today. It wouldn't have gotten made in the same way during the height of the code and Red Scare era which would follow over the next two decades.

There are certain uses of imagery which bring to mind the ascent of the Nazis who were just about to come to power in Germany which is striking from a historical perspective. One even wonders if they saw this film or if it is mere coincidence about the parallels shown between the system here and what would happen there. Of course some of these ideas would be picked up on in a different way in Paul Newman's Cool Hand Luke.

A little better direction might have gone a long way. There was some tidying up that was needed. It looks like they did the best they could - from a historical perspective and acting perspective this is an important movie to watch.

Barely a few minutes into this movie, I was confused as to why I was even watching it. The acting in the first scene between Jimmy and his mom is absolutely awful, as is the camera work. Jimmy's performance doesn't seem to improve at all. In fact, I cringed when Jimmy stares directly into the camera after his first exchange with Shorty when he arrives at the reform home. That was quite a choice to make, but as far as the performance goes, I believe it's the kind of acting that doesn't understand the difference between on-stage and on-camera. Bette Davis easily gives the best performance in this movie, and with the amount of screen-time she gets, I think that's saying something.

I also noticed the lighting being slightly inconsistent and overall, not great. The transitions, however, consisting mainly of the number assigned to Jimmy at the reform home being added to list after list of new duties, were something I enjoyed. It was one of the only things that made me feel sympathy for his character.

One scene I did really enjoy was Jimmy's first try at supervising the other boys, who have been instructed to stare at a line on a wall indefinitely. The shots of their shadows on the wall followed by the one boy fainting really made me feel something. Horror, injustice, sympathy, disgust. While it had its moments, I can't say I was engaged or thoroughly enjoyed this movie.

The beginning of the film marks its character. A single mother gets run over by a car, which leaves her there to die in the arms of her only child, a small boy with the name of James Mason. He has no choice but to go to town to his nearest of kin, his mother's sister and her husband out of work, but they have a tenant, who employs James Mason in his bootlegging business. Naturally the boy gets caught while his 'benefactor' absconds in faked innocence. That's the beginning of the downward journey into hell.

He ends up in a reform school, and the real interest of the film is the shocking revelation of conditions there. The boys are forced to slave work and subjected to inhuman punishments which are not far from brainwash. But the truth will out, even from the hell of a reform school, and a nosy journalist gets interested. That, however, does not help the one boy who has already died.

The acting in this movie was very good. All the characters really helped shape the movie. The plot/meaning behind it was very hard to decipher but the plot overall never got boring. It really made you learn about how that time period handled crimes and how even a young boy can be thrown into hell without a second thought. The lighting was very well done, too. It was perfect to watch the movie throughout and had darkened with shadows and face contours for effect when needed.This was very apparent in the scene with Shorty and Jimmy in the solitary confinement room. The photography was excellent, there were amazing shots and narrative when it came to the camera. The film lacked good sound effects. It was good, overall, but lacked in some areas.