6,000 Enemies

Relentless prosecutor (Walter Pidgeon) is framed for bribery and sent to prison. Once there, he is faced with thousands (!) of criminals he put away. He finds unlikely help from a woman (Rita Johnson) he prosecuted. Pidgeon discovers she, too, was framed and has to face that the justice system is more flawed than he originally believed.

Excellent 'B' movie from MGM. A fast-paced, tough crime drama with a colorful cast backing up Pidgeon that includes Grant Mitchell, Nat Pendleton, Harold Huber, Guinn Williams, and Paul Kelly (no stranger to prison). Arthur Aylesworth is fun as a creepy old lunatic Pidegon is forced to sleep next to. It's one of those movies where convicts are mostly an alright bunch of guys and, even if they hate your guts, they will learn to respect you if you show how tough you are. Yeah, it's far-fetched but still entertaining. It's barely over an hour so there's no excuse not to check it out.

6,000 Enemies (1939)

*** (out of 4)

Good "B" picture from MGM about a tough-as-nails D.A. (Walter Pidgeon) who sends everyone to the big house and he takes pleasure in making sure that the streets are clear of any scum. His luck eventually runs out when a gangster frames his and soon the D.A. gets sent to the same prison where he's sent thousands of people. Once inside his life is in danger but he plans on making it through and along the way he meets a woman (Rita Johnson) he sent up who might just have been innocent as well as hold a clue to his own case. 6,000 ENEMIES is without question MGM's attempt to try and capture the mood and spirit of a Warner crime picture and for the most part it succeeds. At just 62-minutes there's really no time for any character development or any type of plot growth as everything happens without much reason for thought. The first five-minutes pretty much covers Pidgeon's rise to the top and then the next two-minutes covers his fall from grace and yet the way he's framed makes no sense and probably could have been defeated inside any court room. With that said, there's really no point in making fun of the plot too much because the movie was made to be simple entertainment and that's exactly what it manages to be. I thought the prison stuff was a lot of fun as we get a lot of familiar situations yet director Seitz really makes them seem fresh and original. One of the highlights is a scene where the D.A. wants to be put in with the regular guys instead of the safe haven so they send him to the cafeteria where a full riot breaks out. Another very good sequence has him having to fight 'Socks' Martin (Nat Pendleton) who just happens to be one of the men sent to kill him. There's another good subplot between the D.A. and a doctor (Paul Kelly) inside the prison. In a film like this it's always good to have a strong group of actors and they all do fine work here with Pidgeon fitting the role of the tough guy with ease. He has no problem making you believe he's this brilliant D.A. and he is good at showing off his toughness as well. I thought both Kelly and Pendleton added a lot of entertainment and both are strong as usual. Johnson was also very good in her role and you'll certainly be wishing you could see more of her. Character actor Grant Mitchell plays the dimwitted warden and we even get Guinn Williams in a brief part. Fans of "B" crime pictures are going to get a real kick out of this one. It's certainly far from a masterpiece but then again it wasn't trying to be GONE WITH THE WIND.

I'm intrigued that Paul Kelly and Tom Neal are both in the cast of '6000 Enemies'. Kelly and Neal both had prolific careers in tough-guy roles, but they are now remembered largely for the fact that, in real life, both of them (separately) did prison time for manslaughter. The fact that '6000 Enemies' is a prison movie lends an air of irony to Kelly's and Neal's presence in this film. As it happens, though, they have no scenes together.

'6000 Enemies' has a premise fairly similar to that of the Howard Hawks film 'The Criminal Code', but it takes that premise in a different direction. Steven Donegan (Walter Pidgeon) is a tough D.A. who has shown no mercy to the thousands of criminals he has sent to prison. Racketeer Joe Silenus (Harold Huber) frames Donegan on a bribery charge; for good measure, Silenus has also framed pretty Anne (Rita Johnson) on an embezzlement charge. Donegan has urged no mercy for convicted criminals, so now that he is (falsely) convicted he finds himself on the receiving end of the same tough sentencing policy. Donegan and Anne are sent to the respective his'n'her hoosegows, but it's clear they're going to end up as each other's ball-and-chain.

Disbarred D.A. Donegan finds himself doing hard time in a penitentiary where all the other convicts want to kill him. (Hence the film's title.) The scenes of prison life are even less realistic than usual for prison movies from this period. The movie climaxes with a prison break (I shan't tell you if it's successful), but at this point all credibility has long since gone over the wall. In a small role as a petty thug, Frank Lackteen briefly displays his famous cheekbones and swarthy complexion. Esther Dale gives her usual "I've seen it all, dearie" performance. I'm always glad to see Nat Pendleton, Grant Mitchell and Raymond Hatton, but their performances here are more lacklustre than usual for these fine character actors. Paul Kelly has very little to do here, and Tom Neal even less: the irony of their presence in this prison flick far outweighs their actual performances. I'll rate '6000 Enemies' only 3 points out of 10. Better make that 6,001 enemies...

Walter Pidgeon is a tough and honest D. A. He gets framed for bribery, convicted and sent to prison, while his brother, John Arledge works to figure out who framed him. Pidgeon has other problems, to wit the many convicts whom he convicted and sent to the pen.

MGM frequently claimed they produced no B movies, but this one has all the hallmarks, including direction by the always competent George Seitz, and camerawork by John Seitz. That's not to say it didn't have the MGM gloss on it, and the sequence in which Pidgeon earned the respect of his fellow cons by getting into the boxing ring with Nat Pendleton and being pounded into unconsciousness has a crowd of hundreds dressed in prison greys watching the fight; let's just say that an MGM programmer had the budget of an A picture at Columbia or Universal, and showed the money on the screen.

MGM'S 6000 ENEMIES (1939) bears a passing resemblance to Warner Brothers EACH DAWN I DIE (1939) without the star power of James Cagney and George Raft. Stalwart crime fighting citizen is unjustly framed and put behind bars. Proves himself to the "Cons", gets the goods on the guilty and brings them to justice, wins the girl, fade out. Oh, forgives the society that imprisoned him destroyed his career that leads to the death of his brother. Does not even give a thought to filing a lawsuit. Did I mention that this is also a fantasy.

The most interesting thing about this film is seeing the way MGM handles such a subject. Or how differently they handled it nine (9) years earlier. THE BIG HOUSE (1930) is a gritty, realistic and tough depiction of prison life. THE BIG HOUSE is a dirty and very unpleasant place to be in. The inhabitants of this prison are scum with little or no saving graces. They will turn on you with the least provocation and on the flimsiest of motives.

By the time of 6000 ENEMIES things had changed. The 1934 Production Code was being enforced and at MGM Irving Thalberg was gone and with him the driving force of creativity and risk. L. B. Mayer preferred every picture to be as clean and sanitized as Dr. Kildare's instruments. No studio embraced 'The Code' more then MGM. If you were looking to stretch the envelope it better be at another studio and this film is a perfect example of that. Even the dirt looks clean and as for the gangsters you get the feeling all they need is career counseling. Even when they brought in a hi-powered actor like Edward G. Robinson (for other films) who knew how to play gangsters the results were still tepid. So there is little that Walter Pidgeon could do but fulfill his contract in a pedestrian role. Thankfully for him better days were ahead.