Prisons d'enfants

The worthwhile story material in this crime drama helps to make up for its weaknesses in other areas. In approaching the subject of juvenile crime, it doesn't present anything revolutionary or ground-breaking, but it does call attention to a few issues that are worth considering, such as the ways that young persons become involved in crime, and the priorities of the justice system in dealing with young offenders. The movie is also of some interest in having Bette Davis in one of her earliest screen roles.

Junior Durkin plays a young man who in all innocence becomes involved with a charismatic bootlegger during the days of prohibition. Jimmy (Durkin's character) is arrested for being in the wrong place at the wrong time, and is sent to reform school, where things get worse. Some of the plot developments are not all that logical or plausible, but the story works in calling attention to the way that the young offenders are often treated simply as annoyances to be minimized, with insufficient attention given to constructive development.

Pat O'Brien is effective as the bootlegger, and Davis, though cast as a stock character, has a few good moments as his tough-minded girlfriend. The rest of the supporting cast, which features Charley Grapewin and Junior Coghlan, is solid, and the story moves at a good pace. Overall, it's a little above average for its time and genre, and it contains some ideas worth thinking about.

The reviews for this film posted here (quite a large number) reflect badly not on the movie, over 90 years old now, but on the submitters. They take a high-handed tone as if the movie had been shot recently, reflecting/comparing it to current budgets, techniques, sensibilities. I'd hate to see their reactions to silent films, only four or five years earlier than this one.

Silent Era Pathos was a formidable approach to movie making a hundred years ago, from Chaplin to Borzage, and a surefire way of captivating an audience. The simplicity of "Hell's House" in aiming for pathos is its strength, not a weakness, and its lack of flashiness (in camerawork or other techniques) is because it's not an All-Star big-budget picture or a musical extravaganza.

I truly enjoyed this simplicity, the unaffected performance by Junior, who resembles a young Sean Penn. The immense charisma bursting from stars Pat O'Brien (perfectly cast as the glad-handing con man) and just starting out Bette Davis balances the downbeat subject matter. Director/story writer Howard Higgin makes his point on prison reform -reform school subset here - without sensationalism, while obviously today's audience is looking for an exploitation movie approach a la Reefer Madness.

One sidelight: the young Bette Davis is a dead ringer (no pun intended) for current porn starlet Chloe Cherry, an amazing resemblance I hadn't noted even after seeing dozens of Cherry's videos, probably because in my mind's eye I imagine Davis with her iconic look years later in her career. Chloe's star quality has served her well, as she is one of the rare actresses to make a name for herself in the mainstream (via "Euphoria" and social media) after being pigeonholed in the still-looked down upon porn industry.

Jimmy idolizes bootlegger Matt, and when he refuses to implicate his friend, he is sent to reform school. He befriends Shorty, a boy with a heart condition, and escapes to let the world know about the brutal conditions.

Mordaunt Hall observed, "The attempt to pillory reform schools is hardly adult in its attack, but it has a few moderately interesting interludes. The direction of this film is old-fashioned. Pat O'Brien gives a forced performance. Young Durkin's playing is sincere and likewise that of Bette Davis as Peggy."

The biggest problem with this film is how poorly the physical film itself has held up. The Library of Congress has done a great job cleaning it, but it remains a bit of a mess, particularly in the first act. Hopefully some day a better print will be found. The story itself is decent, and tells another angle on the whole gangster theme: what of those who are not gangsters but keep their mouths shut on their behalf?

Hell's House (1932)

** 1/2 (out of 4)

Low-budget crime/melodrama is best remembered for the early views of Pat O'Brien and Bette Davis. In the film, a young boy (Junior Durkin) moves to New York after the death of his mother where he quickly looks up to Matt (O'Brien). What the boy doesn't know is that Matt is a bootlegger and he ends up taking the rap for a crime and sent to an abusive reform school. The boy is trapped there unless Matt can grow some guts and admit that he is the one who should be behind bars. This film beat the Warner/James Cagney drama THE MAYOR OF HELL into theaters by nearly a year so I'm curious if this is one of those small studios hearing about a major studios work and then trying to race a finished product into theaters. The film certainly comes off that way because it has the structure of a decent drama but everything seems so rushed that they forgot to add any heart or soul. The movie is pretty flat, especially compared to the Cagney film and its several remakes, because we really don't see too much here. This reform school is suppose to be "hell's house" yet we hardly ever see any of the abuse or torments that the boys are going through. O'Brien's character is underwritten pretty badly as is his girlfriend played by Davis. The two actors are the main reason to see the film because they both come off very likable. O'Brien gets to shine in the role of the bad guy with a heart and it's easy to see why Warner signed him up. Davis doesn't come off as good but it's fun seeing a legend pay her dues. Durkin also does pretty good in his role but I thought he was a lot more believable in his "country boy" state early in the film rather than the hero at the end.

One of the first films Bette D ever did. and unfortunately, one of the last that Howard Higgin directed. and almost the end of the road for Junior Durkin (played "Jimmy") as well. more about them later. In the film, Jimmy's mom gets bumped off, and he goes to live with relatives. Pat Obrien is "Kelly", a no-good boarder, and Davis is his girl. Jimmy takes the fall for Kelly, and now he's off to reform school. Sound and picture are pretty rough, which is probably why we never see this one on Turner Classics. director Higgin died quite young at 47. and Junior Durkin, the "star" of this also died young, at 19 in a car accident. Durkin also lost his own mother at a young age, just like in this film. The car was driven by friend Jackie Coogan. The film's okay. and a good oppurtunity to see a young Bette Davis in an early, small role. Showing on Moonlight Movies channel.