El rey del hampa

The hurried approach that Lewis Seiler takes with King of the Underworld establishes a deeper plot, while still maintaining an efficient run-time. One of the clearest examples of this is the transition between poverty and wealth for the married medical couple. The audience is instantly transported from a shanty medical office to a luxurious suite at the city's most prestigious inn. This development is critical to understanding the position the doctors have been thrown into. The story suggests from the intro that these two people are generally happy with providing medical practice to those who are less fortunate. By abruptly cutting from this scenario to the morally conflicting occupation (the mob's personal physician), the viewer is called upon to experience this sudden turn of events. The Nelsons (Kay Francis and John Eldredge) are forcibly employed by Gurney (Bogart) without objections. This stylized notion of organized crime being too influential and powerful to overcome has become a standard component in every gangster picture. The one aspect of this film that raised some questions for me, ironically dealt with the pacing of the story, and that rate at which it was told. I think that character development and social identity can suffer when certain aspects of a story are not fully examined. This paradox happens to be a result of personal taste, in that I think that the movie going experience can be enhanced through rigorous character development. However, for the purposes of this film, I must admit that the rapid action contributes more dynamic flare to the impact of the film.

**1/2 (of ****)

The central role in this low-budget crime melodrama really belongs to KAY FRANCIS, and she makes her lady doctor pretty believable. But it's HUMPHREY BOGART who walks off with the show, which is no more than a programmer made on the cheap, by playing up the comic elements of his character.

Bogart is an illiterate man who wants his "genius" to be known. He kidnaps a man (James Stephenson) with a reputation as a writer in order to tell him his life story and make him the "king of the underworld." But Kay Francis spoils all his plans when she has to prove herself innocent of criminal charges pending against her due to a prior event. She fools the hoods into believing they will go blind if they don't let her help them.

The story has several implausible script problems and never really comes off as credible. Interesting only to see that Bogart was far more worthy of his early material than the studio realized. And Kay Francis has one of her more believable roles in this crime melodrama.

Humphrey Bogart was tiring of playing gangsters in film after film for "Warner Bros." and sought any kind of variation in such vehicles. In "King of the Underworld," his character has a Napoleon fixation and has aspirations to become just like him. The running time helps to keep this minor movie at a reasonable pace. Kay Francis was once a fairly big star but by 1939, her popularity had gone into decline. She is hardly remembered these days but she was a very capable performer. In this movie, she plays a doctor who has no choice but to leave her city practice and set up shop in the countryside. Bogart isn't quite his usual evil, sneering self and his scenes with Francis are quite good. The film doesn't rise above being ordinary but it isn't a terrible film by any means.

King of the Underworld (1939)

** 1/2 (out of 4)

Warner remake of their 1935 Paul Muni flick DR. SOCRATES has Kay Francis playing a doctor trying to clear her name after her husband got connected to a gangster (Humphrey Bogart). I watched this film for the first time many years ago and found it to be campy fun but this was my first viewing since seeing the original 1935. My opinion on this film here has certainly changed but in the end I think this is still worth seeing if you're a fan of Bogart. That original film was an incredibly smart and tense little gem that should be better known to film fans but this remake, clearly meant to be the second film on a double-feature, leaves out the brains and instead goes with action. The movie runs a fast-paced 67-minutes and for the most part we get to see Bogart chew up one scene after another and this here is clearly fun if you're a fan of his. He's constantly shouting at his men, giving orders or just going around like a madman and we even get to hear him quote a few things from Napoleon. Bogart's maniac-style performance is clearly the stand out here and the reason people should tune in. Francis seems to be rather upset at having to appear in something like this as she pretty much sleepwalks through here role and she certainly brings the film down some. She was certainly a capable actress but you really can't tell that by watching her here. James Stephenson adds nice support in his small role. The ending to the original film worked wonderfully well because they went for suspense but that's not the case here. The ending is pretty wacky and over the top and sure to draw a few laughs. It does lead up to some violent gun play, which is never a bad thing in a Warner movie.

Once again, through no fault of her own, Kay Francis is in trouble and must get out of it through brains and determination. This time it's Bogey, doing a minor variation on Duke Mantee from PETRIFIED FOREST. As in most of Kay's vehicles from this period -- Warner's was pushing Bette Davis as their leading female star at this point -- everyone works hard and gives a performance that makes this hokey weeper watchable.