The Mayor of Hell

JAMES CAGNEY gets top billing in THE MAYOR OF HELL but it's really little tough guy FRANKIE DARRO who has the central role of a boy from the slums who lands in a reform school run by a ruthless warden (DUDLEY DIGGES) interested only in punishing the boys while he cooks the books. Darro makes quite an impression with his hostile looks, locking glances with the warden at every turn with eyes blazing with hatred.

It takes the entrance of Cagney to change things around, an ex- gangster who has been deputized to help run things at the reformatory and who sympathizes with the plights of the boys, especially Darro who reminds him of his own tough days as a street punk. JAMES CAGNEY puts all of his usual energy into the role of the do-gooder who changes things around, along with cooperative Nurse Griffith (MADGE EVANS), and is there when the going gets tough and things revert back to their nasty ways during his brief absence.

The last half-hour of the film gets a little too melodramatic as the kids take matters into their own hands after the warden causes the death of one of their fellow inmates. There's a climactic scene where they put him on trial. When he escapes their clutches by jumping out a window, a chase follows and a barn is burned down forcing him to jump to his death. The plot contrivances that follow are hard to swallow, but for Jimmy and Madge Evans at least there's a happy ending.

ALLEN JENKINS is a welcome presence for comic relief but the tone of the film borders on heavy prison melodrama almost all the way.

DUDLEY DIGGES plays the unsympathetic role of the sadistic warden fairly well, but I still think of him as the befuddled detective who has a hard time pinning down RAFFLES (Ronald Colman) in that Scotland Yard yarn.

For Cagney fans, this is a glimpse of him at his talented best in an early role. Archie Mayo directs the project in his brisk, no nonsense Warner style.

Mayor of Hell, The (1933)

*** (out of 4)

James Cagney plays a crime boss who uses his power to get a "real" job working in a boys reformatory school. At first he doesn't take the job too serious but then he sees how the boys are mistreated so he takes over running the school and tries to turn it into something good. This film was remade twice in the next six years with Crime School and Hell's Kitchen and while both of those films were very entertaining there's no question this is the best of the three versions. One thing that helps is the fact that this one was made before the code came into play so it has a lot more of a raw feel to it whereas the remakes were toned down in content. Another added bonus is seeing Cagney who once again delivers a strong performance. He doesn't show up until the twenty-five minute mark and it speaks well of the young actors who hold the film up before the star gets on screen. The supporting players all do fine work with Madge Evans as the love interest, Allen Jenkins as Cagney's sidekick and Dudley Digges as the bad guy running the school. I think one fatal flaw is the ending and the aftermath. The ending turns into a Frankenstein type setting, which might have worked but the aftermath is so rushed and faked that it really ends the film on a sour note. Outside of that this is a pretty good drama with its heart in the right place and the toughness you'd expect from a Warner/Cagney film.

This one of those social dramas that WB knew how to put together and were guaranteed boxoffice hits in the thirties. This early "dead end kids" are sent to a reform school where they are mistreated. Cagney, a gangster as part of a deal is appointed as the commissioner of the school. He doesn't take it seriously at first but he changes and makes the necessary changes to improve the lives of the boys. The idea is to let the boys rule and administer their community. Whether this is sound social reform is beyond my belief but it's a movie. It's a lot like Boys Town with a slight darker tone. A useless happy ending deluges what impact the scene prior hard but is still good. WB would later make this same movies with Bogart in the Cagney/fatherly role.

Before the Dead End Kids, there was Frankie Darro. Forgotten today, he epitomized angry desperate youth during those early depression years. Here he comes across with his usual hot-headed intensity, enough to make up for a nonthreatening small size. In fact, Darro acts a lot like a younger version of Cagney, which is no accident since the story line depends on Cagney seeing a lot of himself among the brutalized boys of the reform school. Without that, his transformation from racketeer to reformer makes little sense.

Some good scenes, such as the regimented mess hall with its robotic commands and synchronized quick-step. Also, the movie really comes alive during the well-staged riot scene. The raging mob, flickering shadows and wildly burning torches create a disturbingly hellish scene befitting the title. Still, unless I missed something, the mob really is responsible for the cruel Dudley Digges death, allowing the boys to get away with murder or at least manslaughter no matter how much Digges deserves it. This may be an example of justice prevailing over the law during those pre-code days.

Showing how closely the school's operation is tied to greedy political patronage provides an interesting touch. Nonetheless, Cagney's conversion from corrupt ward healer to the George Washington of a boy's republic remains something of a stretch. And I'm sure the stereotype of the Jewish kid may have brought some chuckles in that day, but not in this post-holocaust period. Then too, the black kid's dad may be a crude stereotype, but the boy isn't, participating importantly in republic activities. Notice how subtly his role emerges, probably so as not to offend some audiences. Still, it was a nervy move for the time. Notice also, how deglamorized the boys are. With the many shapes and sizes, they look as though they were recruited off the streets-- another nice touch.

As in most Warner Bros. pictures of the time, there's an atmosphere of New Deal reform, embodied here by the understanding judge who's willing to try unorthodox methods to remedy social ills. All in all, the film stands as an entertaining period piece, with a humane message that stands the test of time.

This film worked for me where the estimable "Boys' Town" failed a few years back; true, it's a brisk-paced, openly manipulative crowd pleaser, but it's lively and gripping, with generous dollops of social comment, romantic comedy, melodrama, prison story, ensemble character work and even gangster action all thrown into the mix. Warner Brothers did have a social conscience, as Hollywood studios went (it didn't extend to their own employees, for example), but they certainly also knew how to play up the exploitation angle for entertainment. Perhaps the film's best moments are at its most cynical - Allen Jenkins shines as the lugubrious 'Uncle' Mike, the hard-bitten sidekick who has to put up with his boss's mercurial gyrations, and it's always entertaining to watch James Cagney go a little too far and get his face slapped by a dame who gives as good as she gets.

The child actors are all very good, and nicely differentiated in the vast mix of boys, and there is attention to background detail throughout - not everything is spelt out explicitly in the dialogue, for all the film's efficient hustle. There is a bit of almost everything from heartbreak (the scene with the clinging mother in the courtroom is unexpectedly effective) to horror, with a healthy spice of humour on the side; the studio roster of character actors fills out the single-scene minor roles with talent, and all in all it's a fine film in ninety minutes.