Prison Shadows

Eddie Nugent is in prison for murder; he's a boxer whose opponent died in the ring. He's been paroled, and hopes to get back with girlfriend Lucille Lund, but as a parolee he can't get married, so there's nothing for him but the fight racket, where he wants to win. But there's something weird going on, fixed fights, and he finds himself in the middle of a lot of problems.

Given director Robert Hill, I wasn't expecting much from this movie, but despite somewhat garbled story line, it's decently paced and acted. Cinematographer William Hyer shoots a lot of the boxing shots from above, doubtless hoping the unusual angle will disguise the fact that the matches don't look very well fought, despite the undercranking. Clearly the crew was feeling ambitious; but the results aren't very distinguished.

In Prison Shadows, hero Gene (Ed Nugent)Harris has been sent to prison for killing a boxing ring opponent for a reason which only makes sense to Al Martin, the scriptwriter. Gene is paroled to a fight promoter who bills him as Killer Harris. The promoter is aided by Gene's betrothed, wicked gal Claire (Lucille Lund) and a crooked fight manager. All told, Claire is stringing Gene, the promoter and the fight manager. All together they plot to have Killer Harris kill all his opponents so that they can get rich quick from all that good publicity. Honest.

Dumber than the plot is Gene (Killer) Harris who loves Claire, his dog and donuts, not necessarily in that order. Gene is blind to Mary (Joan Barclay)Grant's love. Mary shows up when Gene gets out of the clink, while Claire sharpens her femme fatale skills. Mary is mostly ignored by Gene, but makes due by tending to the dog, being secretary to the evil promoter and giving Gene lessons on how to properly dunk donuts. Honest.

But back to the dog as existential hero. Hollywood has given us daring dogs, cute dogs, drunken dogs and brave dogs, all usually partnered with humans that weren't anywhere near as smart as the dogs, whatever condition the dogs are in. This film could be considered a splendid example of the heroic dog formula. There is a twist here however. This dog, whose name I hopefully will never remember, does two dog tricks: leaping into the outstretched arms of any human who wants to hold the delightful little fur ball and sabotaging any sincere effort by a human to correctly dunk donuts. Just Ed Sullivan stuff, so far. Dogginess is only a pose however, until the moment arises when the cute little dickens can become a detective and uncover a key clue that eventually leads to the hero solving the mystery of why only Irish fighters are murdered. Or something. The solution involves towels, Chinese herbs, a now deceased dog and police force members whose average age appears to be about ninety. Not enough to hook you, yet?

There are three scenes that I will not live long enough to forget: the aforementioned donut dunking seminar spiced with syrupy flirting and accompanied by the dog doing a medley of his tricks; Gene doing roadwork in tweed trousers, a cardigan sweater and fedora; and the obligatory thrilling climax when a police stenographer (age 93) pops out of a gym locker pen and pad in hand.

Finally, intended as comic relief, but mostly functioning as a major depressant, is Syd Saylor,whose mugging and shtick are lost on me. Jerry Lewis fans might like him, though. Most comic, however, aside from the performances, is the method of murder practiced by the baddies. Truly creative and unique in cinema history as far as I know. One for the it's so bad, it's good collection.

Prison Shadows only makes sense in the context of the Thirties and the boxing game. During that decade there were several ring deaths, two of the most prominent were killed by Max Baer in the ring. One was Frankie Campbell who was annihilated by Baer in a match. The second was Ernie Schaaf who took a terrific beating from Baer but survived to be 'knocked out' by Primo Carnera and die after that match. But neither Baer or Carnera served any time for the deaths involved.

As did Eddie Nugent in this film. But he gets a parole and there's a promoter who's willing to back him in the ring as 'Killer Harris'. Apparently that's something no one thought of for OJ in these times. But it's a good gimmick and another fighter dies.

We're never told why someone is doping these fighters to make it look like Nugent has a killer punch. Shades of Primo Carnera. I won't say who, you'll just look at the film and you're never really told why.

This came from an outfit called Puritan Pictures, a poverty row movie company and it shows.

From those tiresome overhead boxing shots, used to great excess, to dogs being poisoned with secret Chinese medicine, to convicted felons having the run of the prison, creating a lasting friendship with the warden, and so on. This empty headed boxing movie goes nowhere and stretches the disbelief of the most gullible viewer. The lead doesn't look like a boxer. He is also pretty skinny and not very buff. The whole business of people being killed in the ring would bring about investigations that would make the head swim. Two bouts, two deaths. Gee, do you suppose something is going on? Then there's the relationships with the two women. The bad girl, of course, gets all the attention. Do you suppose that the nice, settled down girl will somehow win out in the end. The lobster scene from Annie Hall is sort of reprised with the dunking of donuts. Don't ask. It's about as sappy as it can be and not all that entertaining.

Promising prize-fighter Harris is paroled from jail after killing a man in the ring. Wishing to resume his career, he falls into the hands of a tricky promoter and corner man. Good thing good girl Mary is there to help even though Harris seems stuck on bad girl Claire.

Rather far-fetched programmer, marred by casting leading man Ed Nugent as a rough and tumble prize fighter. Trouble is he looks more like a fraternity boy with his refined good looks. Girls may have swooned but it does nothing for the movie's plausibility. Crucially, he lacks needed intensity that the fighter's role calls for. At the same time, it's really Joan Barclay (Mary) who carries the film. Catch her many restrained expressions of unrequited love, only once going over-the-top-- the frequent pitfall of early talkies.

Also, note the many overhead shots of the boxers trading blows. I expect the unusual number was so that a double could be used for Nugent, what with his undamaged good looks. Anyhow nothing much to remark on with this thoroughly forgettable 30's programmer. Oh yes, one more thing—that curious business with the proper way to dunk a doughnut was taught to upper-class girls in Finishing Schools. After all, a debutante doesn't want to act like a truck driver when supping at Mrs. Big Bucks afternoon tea. Sort of separates the refined folks from us commoners. Anyhow, it's an amusing moment in a film that could have used more.