The Purple Gang

Most of my 7/10 goes to two things - Robert Blake's effective portrayal of completely amoral, calculating, and mentally unbalanced baby-faced mobster Honeyboy Willard and to the rather detached documentary feel of this film as it is narrated by the cop that has vowed to put the Purple Gang away, Barry Sullivan as Lt. William P. Harley of the Detroit Police. It really has the look and feel of "The Untouchables" except with poverty row roots.

There really was a Purple Gang in Detroit in the 20's and 30's, although the character of Honeyboy is a fictional one - the actual power in the real gang was in the hands of four Jewish brothers. The cleaner and dyers war was a real one, except in real life the Purple Gang was allied with the union against non-union independents. There was no rather clean ending to the story of the Purples in real life. Like so many other gangs, Prohibition gave them money and power they could have only dreamed about, and its end sent them on a slow decline with the primary source of their wealth literally dried up.

This film is unusual in that there are no female leads or even substantial female supporting roles here. Women are just the subjects of particularly savage crimes by the Purples, and very little more, meant to underscore the violence of the Purple Gang.

If this film had been in wider release by a bigger studio, maybe Robert Blake wouldn't have had to wait until 1967 and "In Cold Blood" to catapult to stardom. Here he steals the show, kills everyone else, and gives a truly riveting performance of a guy who really loves his work for reasons that seem to have more to do with a need for power and a desire to be feared than just pure greed. Don't believe the low rating on this one - give it a try realizing it is a B feature from a small studio made just as the production code was losing its grip.

Robert Blake's portrayal of Honeyboy is chillingly charismatic. Honeyboy leads his gang of teenage hoodlums to success in the big leagues of organized crime. The key to Honeyboy's success and his dedication as a "leader" lies in the fact that he is a sociopathic killer and a psychopathic egomaniac. Robert Blake plays it all to the hilt and still manages to make Honeyboy cute and sympathetic.

As I have already told many many times in my reviews, the early sixties in Hollywood was the era where gangsters period crime biopics were gallore, more or less inspired from actual facts though: PORTRAIT OF A MOBSTER, PAY OR DIE, MURDER INC, RISE AND FALL OF LEGS DIAMOND, KING OF THE ROARING 20'S, BABY FACE NELSON, YOUNG DILLIGER, AL CAPONE, MAD DOG CALL. Only "mature" Dillinger's character was missing between a 1945 and 1973 movie !!!! This one is not the least in terms of quality, yes, 1961 was the year of this kind of gangster tales, maybe the TV series THE UNTOUCHABLES influenced this period. I am dead sure of it. Robert Blake as here as John Davis Chandler was in MAD DOG CALL; purely terrific as a cold blooded killer. It begins like a DEAD END KIDS flick but the pace rapidly changes. Frank Mac Donald's best film for me, because he was rather a lousy director. Mostly B westerns for B companies.

During this period of the late Eisenhower and Kennedy years many studios started making films of the notorious Prohibition and post Prohibition years. No coincidence that these were the years The Untouchables found a TV audience.

In 1959 Allied Artists put out the Purple Gang who were as rough a bunch in real life as any. When Al Capone tried to take over their Detroit territory the Purples sent Capone back limping to Chicago.

Allied Artists was the former Monogram Pictures so you knew it was going to be cheap. It certainly is a B product.

But it boasts an eletrifying performance by Robert Blake as the leader of the Purples. For that alone you should not miss this film.

But it ain't the real story of The Purple Gang.

The Purple Gang was a mob of bootleggers and hijackers with predominantly Jewish members operating in Detroit, Michigan, during the 1920s. They came to be Detroit's dominant criminal gang, but ultimately excessive violence and infighting caused the gang to self-destruct in the 1930s. This Allied Artists production, leveraged by a goodly amount of footage lifted from earlier films, plays fast and loose with what was an interesting history in a production weighted by two excellent leads, Sullivan and Blake, and which contains two or three memorably violent scenes while Blake's screaming claustrophobia offers other choice moments. Ultimately not one of the genre stand outs (for that one needs to seek out such titles as AL CAPONE or the RISE AND FALL OF LEGS DIAMOND etc) it is never the less a entertaining enough time waster even if it ends up feeling rather perfunctory. Sullivan's best gangster film, imho, is the appropriately named THE GANGSTER.