Hell's Kitchen

The Dead End Kids are unfortunate residents of the crookedly run Hudson Boys Shelter. Paroled gangster Buck Ceaser is advised by his lawyer nephew that making a contribution to the shelter would be good for his image. For a while conditions at the shelter improve, but Krispen, the shelters warden, fears the contributions from Caeser might raise suspicion, and lead to an audit. An audit is the last thing Krispen wants. Krispen fears an audit would certainly expose his clever graft scheme. Krispen arranges for Ceaser to get into a fight, thus violating his parole. With Caeser out of the way, Krispen returns to his iron fist rule over the boys. Krispens favorite punishment is locking unruly boys in "the cooler." When Joey (Bobby Jorden) causes Krispens wrath, he locks Joey in the cooler. Joey, a weak sickly boy dies as result of his stretch in the cooler. Krispen arranges a private funeral. At the funeral the arrogant Krispen delivers an eulogy that blames the boys. This causes the boys to revolt and take control of the shelter. The boys put Krispen on a mock trial. The Verdict: Krispen is to "join Joey." This is my favorite Dead End Kids film. The boys are all in top form and they overshadow the films star lead Ronald Reagan. Frankie Burke, who played James Cagney as a boy in ANGELS WITH DIRTY FACES, plays a member of the gang in this one. His resemblance to James Cagney was uncanny.

The Dean End Kids are fine - Led by Billy Halop, the "kids" perform well. In fact, they are better in this "juvenile delinquent" genre than many others. Mr. Halop is strong, with Leo Gorcey, Gabe Dell and the others; they work well as a team. It looks like Bobby Jordan is directed (Lewis Seiler) to overplay, but he is endearing.

The "Adults" are not so good. Stanley Fields is okay, but his performance doesn't belong in this movie. Ronald Reagan isn't very good, with a performance that may not belong in any movie. Margaret Lindsay is pretty. Some of the performances are inappropriately comic.

There is a reference in this film to MGM's "Boys Town" (1938), which invites comparisons. It's direct enough for anyone who as seen the "Boys Town" films. The character played by Ms. Lindsay wants to use the techniques successfully employed by Spencer Tracy's character on the "Dead End" kids of "Hell's Kitchen".

The studio took the cheaper route with the "Dead End" series, obviously. The film is not technically competent. For example, a great "West Side Story"-type moment is ruined when the chanting on the soundtrack doesn't match the marching Dead Enders. Actors don't know how to play their parts - or don't play their parts at all. Still, the Dead End Kids make it enjoyable. Their terrific "Trial" for Headmaster Grant Mitchell is a most complete summation of the American justice system. Through all the bad editing, you'll get some suspense and action, too - including a "foul" hockey game, and a fire.

***** Hell's Kitchen (7/3/39) Lewis Seiler ~ Billy Halop, Bobby Jordan, Leo Gorcey

Dead End kids may get the billing, but it's really Stanley Fields' (Buck) movie. A Wallace Beery look-a-like, his fractured English and Runyonesque manner hit the right notes for what is really a soft hearted gangster. Seems he's got to help out at a boy's home or he's off probation and into the slammer. Trouble is the boys' home is run by cruel supervisor Krispan (Grant Mitchell in a fine performance), who's also skimming money from donors. So Buck uses gang money to buy in and run the home in a more humane manner. But the scheming Krispan's got other ideas.

The subplot here is interesting since it's the wayward boys and the soft-hearted gangster who come across as humane and just, while the politically connected, respectable guy is the real crook. It's sort of a reversal of what is usually expected, but perhaps not unusual for the restive 1930's.

Anyway, Bobby Jordan (Tony) shows his chops in a nicely calibrated emotional scene, while Gorcey (Gyp) does his tough guy bit, and Halop shows leadership abilities. Surprisingly, Huntz Hall (Bingo) has a secondary, non-comedic role, unlike his later dominating role in the long- running series. Reagan fans may be disappointed since his is also a secondary role, but at least he gets the girl as played by the fetching Margaret Lindsey.

All in all, the movie's an entertaining combo of serious themes seasoned with humor. However that hokey hockey game looked anything but real since there was neither officiating nor penalties for roughhousing. But that's a relatively minor point in an otherwise well executed production.

Crime boss Buck Caesar gets a suspended sentence. Supported by his nephew and lawyer Jim Donahue (Ronald Reagan), he decides to go legit. His criminal minions are not so supportive. Jim suggests contributing to a reform school for boys. Unbeknownst to them, the place is a cruel place run by Krispan. He fires caring teacher Beth Avery which happens to be seen by Buck and Jim. Buck is taking over. He intends to reform the reform school.

It's the "Dead End" kids. It's their third movie. The subject matter is still serious with some moments of humor. It has the stiff acting of Ronald Reagan. He's the quintessential square jaw actor. Leo Gorcey and Huntz Hall are still only two of the boys. It's good standard Dead End Kids.

Once again RONALD REAGAN is involved with The Dead End Kids, only this time the romantic interest is supplied by MARGARET LINDSAY rather than ANN SHERIDAN. Otherwise, the plot here resembles the studio's other Dead End Kids entry, ANGELS WASH THEIR FACES produced the same year, in that the Kids put the bad man on trial and eventually put him out of business.

GRANT WITHERS is the corrupt principal of a reform school who uses dirty tactics to keep his kids in line, even to the point of punishing a sick kid who fails to survive solitary confinement. It's up to Ronald Reagan, on the good side of the law with Margaret Lindsay, to urge the boys not to take vigilante justice.

Warner Bros. apparently intended this to be a showcase, not for Reagan or Lindsay, but The Dead End Kids who get all the prominence in the script. It's all got a familiar ring, but is directed in brisk style by Lewis Seiler and is lively enough to hold the interest.

Nevertheless, it never rises above the ordinary and the overall impression is that of a formula crime melodrama, the kind that Warners churned out pretty frequently in the late '30s and early '40s.