Reviews (9)

Bogie and The Dead End Kids
This is the film that propelled the Dead End Kids (Leo Gorcey, Huntz Hall, Bobby Jordan et al) to stardom.
Humphrey Bogart portrays a gangster who returns to his old neighborhood only to come to grief.
The Dead End Kids portray slum kids living right next door to the luxurious apartment houses of the rich.
Sylvia Sidney and Joel McCrea are the star-crossed lovers who try to battle their way out of the slums.
Gangster melodrama at its finest!

can't beat bogart and dead end kids
this performance doesn't rank with bogart's most famous but it should, since he is darn near perfect in the part. it makes you wonder why he struggled for so many years in his career. it also has sylvia sydney, the perfect depression era actress with her nobility and wounded sweet beauty. even joel mccrea, who i usually find to be a dud (wait, he was phenomenal in "Sullivan's Travels" and "Palm Beach Story"!) is excellent here. of course, the dead end kids became national institutions with this movie. a fine, fine, really fine movie.

"Yeah, she was my goile when we was kids"
This is a wonderful film about the life of people living in a Manhattan ghetto in the 30's. Their life is starkly juxtaposed against that of an upper class family living in a posh residence in the same neighborhood--moving there for a desirable view of the river. From their terrace, the rich folks are insulated from, and can look down upon, the poor people living in tenements.

The film has a very theatrical feel; most of the action happens right on the street in the neigborhood. The dialouge, written by Lillian Hellman, is snappy and excellent.

The kids of the Dead End are young adolescent boys on the verge of growing up. Their choices in life are constrasted by the characters of Joel McCrea and Humphrey Bogart: adults who were also once Dead End kids. McCrea, who still lives in the neigborhood, has been to college but is now is looking for work. Bogart, who is returning to the neighborhood after many years away, is the nortorious gangster, Baby-faced Martin; he has killed eight men.

The adults are facing tough choices too: McCrea is torn beween two women: Sylvia Sidney, a neighborhood friend who is trying to raise her younger brother (one of the Kids) on her own, and Wendy Barrie, a member of the rich family (her father is brother to a Judge). Sidney, when her brother gets in trouble, contemplates helping him run away. Barrie is apparently engaged but wants to go with McCrea--if a prospective job for him comes through.

Bogart has come back to the neighborhood for something...he's not sure. Perhaps he wants some stability in his life so he seeks out an former girlfriend, Clair Trevor, leading to a memorable scene:

Bogart (reminiscing): "Remember that night on the roof?"
Trevor: "The night was full of stars and I was full of dreamy ideas."

He makes a pitch for her to come away with him but she tells him to take a closer look at her... Bogart feels betrayed--and this comes shortly after being rejected by his own mother--whom he hasn't seen for years. Trevor, like other characters here, feels as if her life is at a dead end. What hope? But this film is not depressing. There is a glimmer of hope offered through the characters of McCrea and Sylvia; and, of course, in the boys.

This is a very enjoyable film, well written and executed. And the dilemmas portrayed are still with us today.

AN all time great movie
This is the movie that made Billy Halop a star..He was a fine actor and its a shame his last job was a male nurse, before he died in 1976...Only 56 years old .God Bless You Billy...You are missed indeed.

Park Ave. it ain't!
In the film Dead End, the murky waters of Manhattan's East River served as an appropriate backdrop for the squalor that manifested itself within the conefines of tenament housing. City streets that offered little hope for the jobless, poor, and oppressed were truely "dead ends". Written by Lillian Hellman and directed by William Wyler, Dead End exposed the stark social and economic divisions between the affluent and the underpriveledged. Logistically, the film was easily adapted from Sidney Kingsley's stage play, as most of the scenes are shot within the shadows of Manhattan's East 53rd street highrises. Dead End is essentially about people and their relationship with the neighborhood that spawned them. Gangster Baby Face Martin ( Humphrey Bogart) returns to his old block seeking glorified acceptance from his mother, only to be rudely rebuffed. Plastic surgery may conceal Martin's outward identity, but his crimminal persona is clearly defined through his street wise and violent attitude towards survival. At first Martin basks in the limelight; preening with sharp suit, hat, and polished shoes. As if to make a social statement exclaiming the virtues and rewards of crime, Martin becomes an icon for a teenage street gang (The Dead End Kids). When Martin is shocked by his mother's repulsive behavior, he seeks out his old flame (Clair Trevor). When she reveals that she is now a prostitute, Martin once again becomes tormented that his homecoming is a lonely one. Sylvia Sydney plays Drina, a young unemployed woman struggling to forge an identity of her own while raising her teenage brother. Drina can only dream about escaping the confines of her depressing neighborhood, since her childhood beau ( Joel McCrea) has been enticed by a society girl ( Wendy Barrie) who resides in an exclusive penthouse overlooking the shoddy apartments that define Dead End. Huntz Hall, Gabriel Dell, Leo Gorcey, and the rest of the Dead End kids provide enough street talk to make an English teacher cringe with embarrassment. Is there a way out of Dead End? Most street toughs assumed a life of crime would free them from poverty. Others set up businesses relying on the patronage of tenanment residents to keep the bills paid. Others relied on marriage in hopes of "marrying up". Still others sought education as a way out. The year is 2000, and if you visit the streets of Manhattan above 110th street not much has changed since Wyler's 1937 film Dead End. ... Read more

Description

The film that started the classic TV series. Although he's only seven, Eddie's got it all figured out. He wants his father, a widower, to get remarried - to the girl next door. Unfortunately, she's not one of the women that his dad's been dating. Sweet family comedy. ... Read more

Reviews (1)

Billy Halop leads the pack with little tough guys.
It began with DEAD END (1937), the boys came from the broadway play and landed their first starring role togther. After Dead End (1937), Warner Bros. made six more films with them in 1938 and 1939. In 1938, Billy Halop brought along Huntz Hall, Gabriel Dell and Bernard Punsly in Little Tough Guy (1938). This spun off into another film series with a total of nine films for Universal from 1938-1943. They also made film serials for the new Universal: JUNIOR G-MEN (1940), SEA RAIDERS (1941) and JUNIOR G-MEN of the AIR (1942). In 1940, Leo Gorcey and Bobby Jordan bacame The East Side Kids for Monogram Pictures Corp. for 22 films from 1940-1945. Huntz Hall and Gabriel Dell would later join the new gang. Then in 1946, The East Side Kids bacame The Bowery Boys and made 48 more films from 1946-1958. Now back to Billy Halop and Bernard Punsly. They continued with The Dead End Kids with The Little Tough Guys film series until they both said goodbye in MUG TOWN (1943). Billy Halop continued a film and television career, but getting parts was hard. In between acting jobs, Halop was a chef, electric dryer saleman and in his final years was a male nurse. He played "Bert Munson" in he CBS tv series, "All in the Family" in 1972 and aired through 1977. In 1976, Billy Halop had a heart attack and passed away ending a 50-year career in show biz that started with radio in the 1920's. Bernard Punsly last film ever was MUG TOWN (1943). He became a gynocologist M.D. in Torrence ,California and recently passed away on January 20, 2004 as the last surviving Dead End Kid. Huntz Hall died January 30, 1999. Marjorie Main who was in DEAD END (1937) plays a role as Halop's mother in this film. She went on to do THE EGG AND I (1947) as "Ma Kettle" (which spawned into a new film series "Ma & Pa Kettle"). This film, Little Tough Guy is also David Gorcey's (Leo's younger brother) film debut. ... Read more

Reviews (6)

The boys are working on a farm. Here comes John Garfield.
This is the forth Dead End Kids film. (Dead End [1937], Crime School [1938], Angeles With Dirty Faces [1938]). A boxer (John Garfield) has a little party after his fight. In a apartment, Johnnie trys to swing a punch at a nosy reporter, but he is so drunk he misses and ends-up passed out in a chair. Another man hits the reporter over the head with a whiskey bottle. The reporter McGee ends up dead. Later, they decide to make Johnnie take the fall. Johnnie is innocently drunk-sleep. The bad man and woman try to make there getaway, but with the police catching them, they go off the road and instantly die. They think it is Johnnie who is dead. But one detective is on the hunt. Johnnie runs away and he comes across a farm where the delinquent Dead End Kids (Leo Gorcey, Huntz Hall, Billy Halop, Bobby Jordan, Gabriel Dell, Bernard Punsly) have been sent to work. There he meets the boys who he trys to reform. Also a woman at the date farm, Peggy (Gloria Dickson), softens his heart too. Meanwhile a detective (Claude Rains) is close on the trail. This is a good film for Billy Halop, who practically steals the film. Great acting from Halop. Good performances by May Robson who played the Grandma on the farm. Filmed at Palm Desert, California. Great ending. Get a hankercheif. On this DVD version, Alpha Video only offers an "index" which is a chapter selection. Very good print of film.

John Garfield meets the Dead End Kids
Future superstar, John Garfield, is cast as a boxer on the lam from a (false) murder rap.
Claude Raines is miscast as the detective who pursues him.
Garfield winds up at a farm where the ever-popular Dead End Kids are too.
There's plenty of action, drama and intrigue as Garfield gets involved with the farm's gorgeous owner and the Dead End Kids, who come to idolize him.

A Very Thirties Film
The always intense John Garfield stars as a boxer framed for the murder of a newspaper reporter who was about to expose the real story behind his carefully crafted public image. Conveniently, the real killer and the only witness to what really happened are both killed in a car accident, leaving Garfield without a defense. So he takes off, ends up in California and gets mixed up with the Dead End Kids, a girl, and an old lady who befriend him, not knowing his real identity. There's a lot left to luck in this film as dogged detective Claude Rains chases after the boxer. The Dead End Kids are an acquired taste, although in this film they aren't as grating as they would become in later years. Garfield, as usual, is very watchable and believable. Rains, on the other hand, is miscast as the detective and never for a moment seems convincing. Ann Sheridan is equally miscast as Garfield's drunk girlfriend, although she makes a quick exit in the film, despite her uncalled-for high billing. Gloria Dickson, the girl he falls in love with, has a few good moments, but lacks star quality. The script has a number of holes in it, but it also has some good moments. I particularly enjoyed the dramatic water tower sequence, as the boys must try to escape from a water tower where the water is going down. This is very much an old fashioned movie, especially in the boxing scenes, but that is also part of its appeal, since it is a great example of the kind of film Thirties audiences enjoyed.

Boxer on the lam hobos to Arizona date farm.
One of the original six DEAD END KIDS films, this "The Fugitive"-style story involves a world-class boxer(John Garfield) who is thought to be dead (but he's not) and also a murderer (but he's not). On the lam with a new identity and little money he hobos his way to an Arizona date farm where the Dead End Kids are on rehabilitation off of New York's East Side and being taken care of by a gorgeous farmer (Gloria Dickson). Garfield is a bad influence on the kids but somehow he is where he belongs. When a boxing promoter offers $500 a round for anyone who can stay in the ring with his champion, Garfield can't resist coming out of hiding to go for the prize. There is an investigation sub-plot (with Claude Rains doing what Tommy Lee Jones did in "The Fugitive") but here it is totally useless and just doesn't work. The ending is even more useless. Regardless, there is much to like due to great direction (Busby wasn't very good at telling the story but boy did he know where to put the cameras and how to fill up the screen), great acting (John Garfield brings compassion to a dislikable character, the reliable Dead End Kids are in top form, and Gloria Dickson is very appealing).

Entertaining Drama
They Made Me A Crimminal is not remembered as a classic drama, but the film still provides predictable entertainment sixty-one years after its theatrical release. Busby Berkeley's direction is excellent as the sequences involving the car crash, Garfield's train ride, and the water tower appear realistic. The fight scenes in the ring are a bit histrionic, but at least Berkeley used enough extras to create a boxing arena type atmosphere- John Avildsen (Rocky) are you reading this? The film contains a credible cast with John Garfield in the lead as Johnny a prize fighter on the run. Gloria Dickson as Peggy gives a Sylvia Sydney type performance as a reformer intent on reabilitating juvenille deliquents. Huntz Hall, Leo Gorcey, Gabriel Dell, and the rest of the Dead End Kids are the NYC teens who idolize tough Johnny, but respect Peggy. Cluade Rains plays a newspaperman who wants to rip the veil of deceit from Johnny's persona. Ann Sheridan receives top billing over Gloria Dickson and for no good reason. Sheridan's role as Goldie is brief and totally unconvincing as a drunken floozie riding the coat tails of Johnny's ring success. For those that enjoy happy endings with morality values, this 90 minute film will not disappoint you. ... Read more

Reviews (1)

Rediscovered film noir gems
"Impact" and "The Second Woman" are excellent examples of the kind of quality programmers that Hollywood seemed to churn out effortlessly in its golden age. Both have clever, tight plotting, well-written dialogue and fine acting. Neither director is much remembered these days, but on the evidence here they deserve reassessment. "They Made Me a Criminal" is solid too, but not really a film noir and not as interesting as the other two. The quality of the prints on this triple-feature DVD is surprisingly good, and the whole package is an amazing bargain. ... Read more