The Life of Jimmy Dolan (1933, directed by Archie Mayo)


Jimmy Dolan (Douglas Fairbanks Jr.), the light heavyweight champion of the world, goes out of his way to present himself as being a wholesome boxer who loves his mom and is as saintly outside the ring as he’s fearsome inside.  Instead, in private, Jimmy is a hard-drinking cynic with a corrupt manager (Lyle Talbot) and a wild girlfriend (Shirley Grey).  When a reporter (George Meeker) threatens to reveal the truth, Jimmy’s manager punches him and accidentally kill him.  The manager frames Jimmy for the crime and then flees with Jimmy’s girlfriend, just to suffer a fiery end in a car accident.

Everyone except for weary Inspector Phalanxer (Guy Kibbee) thinks that Jimmy is dead.  Jimmy goes on the run, hitching rides on freight trains and nearly starving to death before he stumbles over a home for orphans.  Peggy (Loretta Young) takes Jimmy in and gives him food and a place to live.  Jimmy helps with the kids (including Mickey Rooney).  When Jimmy learns that the orphanage might be shut down, he agrees to fight in a charity boxing match against the fearsome King Cobra (Sammy Stein).  King Cobra is so tough that even John Wayne (playing a boxer named Smith) is scared to get in the ring with him.  Jimmy risks his life and his freedom for the orphanage.

This is a good pre-code melodrama.  Because this was a pre-code film, it doesn’t have to shy away from portraying Jimmy’s decadent lifestyle outside of the ring.  Douglas Fairbanks, Jr. was a likable actor and easy to root for.  He was athletic enough to be convincing as someone who could handle himself in a fight.  When he finds himself down-and-out, he’s standing in for everyone who was struggling during the Depression.  The great character actor Guy Kibbee also has some great moments as the inspector, especially towards the end of the film.  Fans of John Wayne won’t see much of him here but it’s still interesting to see Wayne play a character who is frightened of something.

All in all, The Life of Jimmy Dolan is a good, pre-code boxing movie.

Horror on the Lens: Svengali (dir by Archie Mayo)


In this atmospheric film from 1931, sinister singing teacher Svengali (John Barrymore) used hypnotism to not only turn Trilby O’Ferrall (Marian Marsh) into the most popular singer in Europe but he also takes control of her mind.  Trilby’s former boyfriend, Billie (Bramwell Fletcher) attempts to break Svengali’s hold over her, with results that are …. well, you’ll have to watch the movie.

And really, you should watch the movie!  There are moments of dream-like beauty to be found in Svengali, with my favorite being an extended sequence in which the camera seems to float above the streets of Paris.  John Barrymore gives one of his best performance as Svengali, playing the role with a mix of menace and sly humor.  The film keeps you guessing as to how much of Trilby’s actions are of her own free will and how many of them are due to Svengali’s influence.

(Interestingly enough, Barrymore’s Svengali is a dead ringer for the infamous Rasputin.)

With its dark humor and its “arty” style, Svengali struggled with audiences but it has since been recognized as one of the best of the early psychological thrillers.

Enjoy!

Pre Code Confidential #15: James Cagney in THE MAYOR OF HELL (Warner Brothers 1933)


gary loggins's avatarcracked rear viewer

The Brothers Warner never shied away from social issues of the Depression Era in their films, from bootlegging gangsters (LITTLE CAESAR, THE PUBLIC ENEMY) to “yellow” journalism (FIVE STAR FINAL, PICTURE SNATCHER) to  rampant illicit sex (BABY FACE, CONVENTION CITY)… even the musical GOLD DIGGERS OF 1933 featured an ode to the unemployed and destitute, “Remember My Forgotten Man”. THE MAYOR OF HELL tackles the juvenile justice system, as a gang of slum kids get tossed in a reform school run by a crooked superintendent and suffer extremely harsh conditions, until a political hack takes over and implements change. The hack… why, it’s none other than Jimmy Cagney !

Cagney bursts on the scene in typical Cagney fashion about a third of the way  into the movie, pulling up to the prison gate as the guard demands to know who goes there: “Gargan, the new deputy commissioner, ya screw!”. Patsy…

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