Prisons d'enfants

"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)

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.

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 reviews for this film posted here (quite a large number) reflect badly not on the movie, over 90 years old now, but on the submitters. They take a high-handed tone as if the movie had been shot recently, reflecting/comparing it to current budgets, techniques, sensibilities. I'd hate to see their reactions to silent films, only four or five years earlier than this one.

Silent Era Pathos was a formidable approach to movie making a hundred years ago, from Chaplin to Borzage, and a surefire way of captivating an audience. The simplicity of "Hell's House" in aiming for pathos is its strength, not a weakness, and its lack of flashiness (in camerawork or other techniques) is because it's not an All-Star big-budget picture or a musical extravaganza.

I truly enjoyed this simplicity, the unaffected performance by Junior, who resembles a young Sean Penn. The immense charisma bursting from stars Pat O'Brien (perfectly cast as the glad-handing con man) and just starting out Bette Davis balances the downbeat subject matter. Director/story writer Howard Higgin makes his point on prison reform -reform school subset here - without sensationalism, while obviously today's audience is looking for an exploitation movie approach a la Reefer Madness.

One sidelight: the young Bette Davis is a dead ringer (no pun intended) for current porn starlet Chloe Cherry, an amazing resemblance I hadn't noted even after seeing dozens of Cherry's videos, probably because in my mind's eye I imagine Davis with her iconic look years later in her career. Chloe's star quality has served her well, as she is one of the rare actresses to make a name for herself in the mainstream (via "Euphoria" and social media) after being pigeonholed in the still-looked down upon porn industry.

I love the homo-erotic nature of this film, especially because of the time it was made. Unfortunately Bette Davis does not have a big part, though it is still important. What this boy goes through just because he is naive is a tragedy. This film is hard to find but I recommend searching for it. The story is original and daring. The loss of innocence is heartbreaking and must be seen for yourself.