O Prefeito do Inferno

Five years before the film Dead End hit theaters, this film was produced. This was definitely a film that tried to show what reformatories were really like. In most cases, the kids who were sent there didn't become reformed, they only came out harder and moved on to bigger crimes. James Cagney is great in this early role as Patsy, the racketeer who tries to keep the kids from making some of the same mistakes that he did by making conditions better for the boys in the camp. Dudley Digges played the perfect villain in Thompson, the warden of the school. He pretty much showed how when the odds were against Thompson and his cronies that he was nothing more than a coward. Also Allen Jenkins, who ironically would appear a few years later in the aforementioned Dead End, provided a lot of the humor as Patsy's stooge "Uncle Mike". Too bad this little gem is rarely shown on television anymore or that it is currently not out on DVD.

Jimmy Smith leads a group of thieving kids. Jimmy and five others are caught in their hideout and sent to reform school run by the heartless superintendent Thompson. Dorothy, the nurse, is concerned about the conditions. Well-connected street gangster Patsy Gargan (James Cagney) had been appointed deputy commissioner as a political payoff. With no particular interest in the political work, he is tasked to write a report on the school. After witnessing Thompson's brutal treatment, he decides to take an interest in the kids.

This is Cagney playing his good guy gangster. It's solid. The kids are solid pre-Dead End Kids. The morality is pretty simple. My only complaint is nurse Dorothy would never quit. She needs to be outright fired and be carried out kicking and screaming. She's basically abandoning the boys. The guard who gives the boy his coat should be replaced with Dorothy. Patsy's call to Thompson should be replaced with a call to Dorothy. That way the story could still end the same way. This is a very simple moral gangster film.

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.

The great James Cagney, top-billed in big letters, doesn't show up till the movie's second third, and probably has less screen time than Dudley Digges, who plays the eee-vill reform-school potentate. But when Jimmy arrives, as a deputy commissioner of something-or-other out to reform reform schools, he slashes the air with his hands and jumps on the balls of his feet and spits out punchy Warners-First National dialogue with all the customary, and expected, panache. The psychology in this crisp antique, one of Warners' many efforts to assert its place as the "socially conscious" studio, doesn't run deep: Digges is bad just because the script requires him to be, and there's the quaint notion that juvenile delinquents will turn into swell kids if they're just given a dash of autonomy. But it's made in that spare, fast style that the studio specialized in, and it never bores. Frankie Darro, who got into all kinds of onscreen trouble during a brief tenure as Warners' favorite Rotten Street Kid, is an ideal JD -- a handsome, charismatic toughie with a pug nose and a hate-filled stare that could wither steel. No kid actor today can touch him.

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.