Movie Review: The Mayor of Hell (1933)
Some kids are sent to a reform school that’s run like a corrupt prison, but two well-meaning adults—including a former gangster from the neighborhood—help save them.
Believe it or not, Warner Bros. made this movie three times in the 1930s—each time with their star of the moment. Here, it’s Cagney. In 1938, it was “Crime School” with Humphrey Bogart. A year later, Warners made “Hell’s Kitchen” with Ronald Reagan.
Wait, Ronald Reagan? As a former gangster?
Yeah, not quite. More on that another time.
The star isn’t really the star anyway—the kids are. Here, they’re somewhere between Our Gang and the Dead End Kids. They’re teenagers like the latter but diverse like the former. It’s a rainbow coalition of early 20th-century stereotypes: emotional Italian, money-conscious Jew, bug-eyed black kid.
This last is played by Allen Hoskins, who played “Farina” in the Our Gang comedies. The Jewish kid, Izzy (Sidney Miller), is just as outré but feels less problematic. Sure, he winds up running the company store, but his lines are the lines Jewish authors would give their characters decades later. “What I’m making in here I can put in my right eye” he says. “I’ll fix you, ya gonif,” he says. It’s a type produced from within rather than imposed from without.
You know what I liked about this one? The kids aren’t the only ones who start out on the wrong side of the law.
As Patsy Gargan, the new deputy commissioner, Cagney doesn’t show up until 25 minutes in. He rolls into the reformatory with his drunk pal Mike (Cagney foil Allen Jenkins) and Mike’s blonde moll (Sheila Terry), offers a drink to the movie’s villain, Superintendent Thompson (Duddley Digges), then wonders how “to make things look regular.” He asks Thompson to turn in his reports for him. He’s a crook—a cheap ward heeler, as someone calls him. His job is a sinecure in a corrupt administration.
What changes him? For starters, he runs into a younger version of himself, Jimmy (Frankie Darro of “Wild Boys of the Road,” who played the young Cagney in “Public Enemy”). He’s on the lam, gets caught, is whipped and ordered back into solitary.
But what really changes him, of course, is a woman, Miss Griffith (Madge Evans), the school’s pretty nurse. She insists Jimmy gets medical attention. Patsy agrees. She insists what’s truly needed in the school is self-government. Patsy agrees. Then he makes a pass at her.
Here are the books she owns:
- Fundamental Principles of the Juvenile Republic
- Self-Government for Juvenile Correction
Immediate thought: Was the screenwriter...? Yes. Edward Chodorov was a member of the Communist party. In 1953, he was fingered by Jerome Robbins and wound up blacklisted after he refused to cooperate with HUAC.
Delayed thought: Wait, self-government? Why does Patsy think this is a good idea? Isn’t he part of a corrupt government machine himself? I guess the key is the “self.”
Anyway, it works. The kids get real food, they clean the joint up, and even elect our titular mayor (Jimmy, of course). One kid, Pete, gets hungry and steals a chocolate bar from the company store. He winds up in front of the “Supreme Court.” Farina is his defense attorney and another tough mug is the judge. Justice is dispensed. It’s all super-cutesy.
Of course, the forces of corruption try to fight back but the kids are too strong. Patsy is the one who screws it up. One of his men, Joe, tries to take over his racket back in town, so he shows up to reclaim it. A gun goes off, Joe winds up in the hospital, Patsy’s on the lam. At the school, Thompson takes back the reins and it’s back to pig slop for the kids. Even Nurse Griffith resigns.
The ending is fascinating and menacing. Thompson forces Johnny (Raymond Borzage), a kid with a croup-like cough, into solitary after he doesn’t squeal; he dies there. When Thompson gets the news, he’s stunned, and rushes to the infirmary ... where all the kids are waiting. From director Archie Mayo (or Michael Curtiz, who did uncredited work) we get like a minute-long silent sequence in which Thompson stares at the kids faces—who are, by turns, sad, then increasingly angry—and, realizing his predicament, he struggles to get out as if fighting against the current. He makes it, but the kids know the tide has turned. It’s the tsar all over again.
If that scene reminded me of some part of “The Blue Angel”—the nightmarish quality of trying to move and being locked into place—the rest recalled “Frankenstein.” The kids, wielding torches, chase Thompson onto a barn roof, then light the barn on fire. Trapped, screaming, he jumps, hits a wire fence, bounces in the air, and lands in the slop of a pig sty—dead. I actually laughed out loud. Those commie writers don’t fuck around.
And where’s Cagney in all this? Hiding out. But he shows up at the end to convince the kids to put out the fire and face the authorities—who, in ultimate bow-tie neatness, declare it was Thompson’s own fault that he died. Meanwhile, Joe lives, Patsy gives him his racket, and he and the pretty nurse return to run the school. Ain’t life swell?
Come back to the five and dime, Frankie Darro, Frankie Darro
One of my favorite things about watching these movies is finding out about the players.
Frankie Darro is so good in this, so graceful and present, one wonders why he wasn’t bigger. Was it the fact that he never grew tall? Fifteen years later, he was still playing a newsboy in “The Babe Ruth Story.” But he kept acting, and he’s the subject of a biography published in 2008.
The villain? Dudley Digges? He not only played the original Casper Gutman in the 1931 version of “Maltese Falcon,” he directed “Alexander Hamilton” on Broadway in 1917. It was the biggest Hamilton play of all time ... until recently.
I think I got most lost in Sidney Miller’s story. In 1938 he played opposite Mickey Rooney in “Boys Town,” they became friends, and Miller wrote songs for him. (He’s got 28 soundtrack credits.) In the 1950s he helped revamp the first iteration of “The Mickey Mouse Club” and in the ’60s became a regular director of sitcoms: “My Favorite Martian,” “Get Smart,” “The Monkees.” (He’s got 38 directing credits.) He also kept acting (146 credits). I once saw him in an episode of “Barney Miller” in the mid-70s. He’s also the father of Barry Miller, who played the gay kid in “Fame,” and one of Travolta’s friends in “Saturday Night Fever.” IMDb can be such a rabbit hole.
At 90 minutes, “The Mayor of Hell” is longer than most of the early ’30s Cagney movies, but then Cagney isn’t in it much. But his ethos is. It’s the Warner Bros. ethos: Never rat on your friends. Sadly, it’s a lesson that Jack Warner, one of the first and loudest to testify before HUAC, never learned.