Idade Perigosa

Mention the Great Depression and most folks draw a blank or nod off. After all, who wants to be reminded of soup kitchens, dour old men, and dust bowls. Seventy years later and it's a closed book, forgotten and unlamented. Now and again, however, that dusty book needs re-opening. Because, in spite of the best efforts of the best of us, the past is not alway past. This edgy little Warner Bros. production provides a brief picture of the youth of that day, a harrowing story of survival amidst economic collapse.

The movie wouldn't work so well without the contrast the first half-hour provides. Darro and friends are typical middle-class teens, fun-loving and care-free. It's a world of proms, necking parties, and harmless pranks. Then without warning things change. Why they change is never really explained which is the way it should be. For most kids knew nothing of stock markets and dis-investment. They only knew that suddenly Dad doesn't go to work anymore and mom cries a lot, bills pile up, and no one gets a job, anywhere. Middle-class privilege plunges into no-income poverty, and Darro and his buddy do like millions of others. They hop a freight, hoping the next town, the next state, the next someplace, will give them a chance to make a living. What they get instead are private armies, battalions of cops, and a forest of billy clubs. They're driven on to the next jurisdiction and the next welcoming committee. Nobody wants the footloose unemployed adding to their own local problems. Maybe the attitude's not charitable, but it makes practical sense.

The battles atop freight cars and in hobo jungles are expertly filmed and dynamically staged, a stark panorama of social desperation. These scenes make up the movie's centerpiece. If anything they're mildly presented compared to the actual blood-letting that surrounded the desperate and up-rooted. Union organizing was especially bloody and bitterly fought-- an explosive topic Hollywood has only timidly touched on over the years. Nonetheless, the nail-biting episode on the train track stands-in for at least some of the actual pain and suffering caused by those crisis years.

Darro may be small, but he's energetic, something of a younger Cagney. His determined spirit to keep going no matter what is convincing, and helps drive the others on. I expect it also had that effect on audiences of the day. I like the way director Wellman suggests the kids can set up their own constructive community, if given half-a-chance. Some reviewers complain about the final scene with the understanding judge. Yes, it is pretty contrived, but it wasn't unrealistic given the package of New Deal reforms then in the works. If those measures didn't exactly solve the economic crisis (only WWII did that), they at least offered hope that the problems would no longer be kicked down the road to the next jurisdiction.

Wild Boys may not be the most honest or best movie on those tumultuous years. Still, it does furnish a provocative and entertaining glimpse. In any event, some books should not remain closed. After all, who knows when the unfortunate history of that era may again repeat itself.

FRANKIE DARRO and EDWIN PHILLIPS play depression-era buddies with great chemistry and natural vigor and charm. They are the key ingredients in keeping the story firmly in the realm of believability throughout. An intriguing slice of life for depression weary audiences--one has to wonder what the initial effect was upon release in 1933.

Whatever, it all plays out extremely well except for what appears to be a tacked on ending that gives a positive spin to the tale.

Grant Mitchell does fine work as Darro's depressed out-of-work father who shows his love and respect for his son when Darro sells his jalopy (for a mere $22!!) to help out the family. Interesting to note Ward Bond in an unsavory role as a railroad official who is brutally punished after taking advantage of a stowaway girl.

All of the vivid railroad scenes have been expertly photographed and the incident involving the unfortunate Phillips and his leg accident is powerfully depicted. William Wellman's direction keeps things moving swiftly and satisfactorily for a tense and gripping little social drama told in little more than an hour.

Highly recommended, especially because it's a product of its time and reveals all of the societal ills rampant in the early '30s.

This astonishing William Wellman film from mid 1933 is simply a masterpiece of neo realist cinema. Histroy raves about THE BICYCLE THIEVES and THE GRAPES OF WRATH but in 1933 years before those excellent struggle films of social decay and recovery came this absolutely riveting mini epic of hobo teens on freight trains battling every social and climate element to survive. the pristine DVD available now will truly amaze you. Crystal clear camera imagery akin to the magnificent black and white books from Ansell Adams, but as a 1933 film. Along with I WAS A FUGITIVE FROM A CHAIN GANG made a year or so earlier, you could not find a more heart-wrenching and emotionally stirring depiction of the brutal reality and its effect on the human spirit imaginable. These early 30s WB Vitaphone talkies should be hallowed as genuine social pop art of their time and rightly recognized as an irreplaceable depiction of an era and a humanity for film students and anyone studying the 20th century. The scenes aboard the roofs of the freight trains, the magnificent clear sharp black and white photography and the sheer bravery of the production let alone the lives depicted makes WILD BOYS OF THE ROAD one of the most rewarding films of any genre you could imagine discovering. And Frankie Darro! What a magnetic teen star he was.... All thru the 30s and 40s in films like BOY SLAVES and BOWERY BOY films and even ANGELS WITH DIRTY FACES the ideas here were recycled and exploited... but the absolute pinnacle of the genre is this 1933 film WILD BOYS OF THE ROAD.

`Wild Boys of the Road' is another fine example of the spare storytelling prevalent in the 1930's-- before egos, the demise of double features and the birth of multiplexes conspired to inflate movie running times to over two hours. Wearing its heart on its sleeve at times, Wellman nevertheless creates a story in true Warner Bros fashion--grim reality washed down with a dose of social commentary. One wonders if the rosy ending was considered necessary because of the age of the protagonists involved. Downbeat endings were certainly in evidence during that time from Warners: as the denouement of `Public Enemy' will bear witness. As the young tramps ride the rails, Wellman infuses the scenes with such energy and dynamism as to render them almost euphoric, despite the somber subject matter. As a veteran flyer from World War I, he seemed especially adept at combining humans we care about with dangerous, hurtling machines. And pre-code shocks abound-in addition to the implied rape and dismemberment, it seems apparent that young Sally's aunt, in Chicago, has established a business of dubious respectability in her own home, just before the kids fly the coop to avoid a police raid. Striking location photography.

"Wild Boys of the Road" released by First National/Warner Brothers Pictures in 1933, is a harrowing story of a group of teens who hit the road in Depression-ridden America. It is 1933, and the whole country is mired in poverty, with millions losing their jobs. There was no social safety net just yet -- no unemployment insurance, no food stamps, etc. When you lost your job, you had nothing. Actors Frankie Darro and Edwin Phillips shine in this story of two teens who are forced to hit the road when both their families lose their jobs. They feel with one less mouth to feed, their families will be better off. Both of them hop the railroad cars, seemingly to nowhere, and soon are joined by many others doing the same thing. There is a charming girl (Dorothy Coonan) disguising herself as a boy. She is tough because she has to be to survive. Soon they are joined by hundreds of others. They live in squalid camps, fight the police, and scrounge daily just to feed themselves. All of the actors are good ones, and the living conditions are not prettied up. This is where Warner Brothers as a studio showed realism where other studios felt most Americans just wanted glamor to escape their troubles. The ending of the film is a bit unrealistic, as a sympathetic judge decides not to incarcerate the teens after they ran from the police and racked up charges (not likely!). But, this is still a gem of a film, and it never really seemed to get the recognition it deserved. William A. Wellman, the master director, gave us this and many other wonderful films.