The 1930 The Big House, directed by George Hill, is the original men-in-prison drama in terms of the way it established the conventions. There’s the pecking order of tough guys behind bars, the culture of loyalty, the sniveling snitches, the prison reform speech from the tough but committed warden (Lewis Stone, who is indeed tough), an inmate protest, a prison break and a riot. And through it all, Hill shows us the overcrowding, the regimentation of routine, and the numbing, soul-crushing oppression of the experience, from the processing of a newly-convicted prisoner (Robert Montgomery as a privileged kid completely unprepared to take care of himself here) to the predatory society within. Chester Morris is the leading man here as Morgan, a kind of underworld aristocracy thanks to his reputation as a criminal mastermind, and he comes off as a slightly darker, tougher, and more wooden Richard Barthelmess, the square guy rolling with tough breaks. Wallace Beery is the prison-yard bully Butch, who isn’t too bright but defers to Morgan, and Montgomery is nervous and sweaty as the wide-eyed fresh meat who ignores good advice and turns snitch, illustrating the warning given by the warden in the first scene: “Prison doesn’t make you yellow, but if you are already yellow, prison brings it out.” I guess we know his predilections.
The story is basically a roll call of what will become prison movie clichés but the presentation is striking. The mess hall scene presents mealtime in purgatory, with the inmates lined up in rows and columns with regimented precision, and the image is echoed at chapel, where the prisoners file in out of duty rather than faith. Meanwhile Hill contrasts the surface of resignation to the routine with the covert dealings below the table tops as inmates pass weapons and messages out of sight of the guards. The soundtrack keeps returning to the lock-step trudge of marching feet instead of music. And the warden responds to the occupation of a cell block by prisoners with overwhelming force: he calls in the tanks! It was nominated for Best Picture and Best Actor (Wallace Beery) and won Oscars for the sound and France Marion’s screenplay.
The Big House was previously released as a stand-alone movie on the Warner Archive line. The “special edition” of this release comes in the other two films of the triple feature: the French language version, directed by Paul Fejos and starring Charles Boyer as Morgan, and the Spanish language version. Both are shot on the same sets and utilize the same crowd shots, special effects, and even shot-lists and set-ups. The compositions are almost exactly the same, like an assembly line cranking out the alternate versions on a timetable, and the biggest difference is in the variations of characters brought by the actors and dramatic direction. Fejos seems constrained by the structure here—see his striking Hollywood work in the Lonesome disc set Criterion released last year (a triple feature in its own right) to see his eye for setting scenes and moving the camera—but he and Boyer turn Morgan into a much more charismatic figure, less hard-boiled, smoother and cooler, with a sense of authority that comes from confidence and ease. The Spanish version, from journeyman director Ward Wing (a sometime actor with a couple of shorts and documentaries to his credit as a filmmaker), hasn’t the same strength of character (Jose Crespo is a bland, unimpressive Morgan but Juan de Landa makes a strange mix of childlike clown and psychopathic bully as Butch) but the production value and the momentum keep it rolling along.
Three films on two discs. The print has seen wear and the contrast fluctuates a bit but it looks quite good considering the age and the era. The French and Spanish versions are not quite as well preserved but perfectly watchable and acceptable. The English subtitles are actually close captions and include notations on sound effects.
5 Fingers (20th Century Fox Cinema Archives), a smart 1952 espionage thriller directed by Joseph Mankiewicz, features James Mason in a superb performance as the contemptuous valet to the British Ambassador to Turkey during World War II. A career servant, he decides to make his fortune selling British military secrets to the Germans and enlists a penniless French countess (Danielle Darrieux), a woman he once served and still desires, to help him hide his money and provide a safe house. Based on real events from World War II, the 1952 film reworks the story and the players to make the valet, who is given the code name Cicero, a bitter, resentful British man determined to break through the class barriers. Mason plays him with smooth arrogance and cynicism, beholden to nothing but money and power. While he’s nakedly obsessed with class and status, everyone else is simply more subtle about it—this almost invisible valet is never once suspected by either side of being the leak in the embassy—and the Germans are so afraid that he’s actually a double agent that they never act upon the intelligence. Even the agent sent from London to find the leak (Michael Rennie) discounts him from his investigations.
The direction is low key, with a focus on the culture of the city of Ankara during the war (Turkey did not choose sides and Allied and Axis powers both had a presence in the city), the script full of sharp wit and clever dialogue, and the story is filled with delicious ironies. Mankiewicz did not receive screenplay credit but some of the dialogue surely came from his pen, such as the Countess saying to a civil servant: “Please don’t look at me as if you had a source of income other than your salary.”
The Fox Archive release has not been mastered in HD and it looks only slightly better than laserdisc quality, but it’s a good source print and is perfectly watchable.
Roadblock (Warner Archive) opens with a set-up that promises a femme fatale siren thriller and a heist picture, and in its own way it defies both genres, or at least it takes a different twist. Charles McGraw is the hardcase of an insurance investigator, an incorruptible agent who earned the name “Honest Joe” but falls hard for a chiseling dame (Joan Dixon) looking to score a rich husband: “You’re a nice guy, honest Joe, but you’re not in the right league. I’m aiming for the World Series.” So he trades his integrity in for a crooked payday and ends up investigating the very robbery he masterminded while his partner (Louis Jean Heydt in soft-spoken conscience mode) starts to suspect him.
The 1951 picture is a film noir by definition, with its corrupted characters and mercenary femme fatale and atmosphere of a noose tightening around our anti-hero. Director Harold Daniels is no visual stylist and there’s a slackness to many of the scenes, but he comes to life in a nighttime murder scene that he transforms into a model of noir violence, an urban street fight in the dark of the empty city picked out in shards of light (credit likely goes to cinematographer Nicholas Musuraca, RKO’s crime movie vet), and the screenplay co-written by Steve Fisher has a bite of irony in its twists. And give the film credit for making a heist film work where we never see the heist; we’re checking in from McGraw’s honeymoon, which is also his alibi. The gravel-voiced McGraw carries the rest of the film with his working class integrity and moral judgments twisted into self-destructive panic when he becomes everything he despises just to impress a girl. Print quality is good.
Dante’s Inferno (20th Century Fox Cinema Archives), one of Spencer Tracy’s final films for 20th Century Fox before moving to MGM and a little more respect, came out just as the production code cracked down on the bad behavior and licentious imagery celebrated in so many films of the early thirties. This 1935 feature gets away with its share of salacious spectacle by hewing to the Cecil B. DeMille formula—show the sins of its anti-hero Jim Carter (Tracy) for two and a half acts and then redeem him for the finale—in a modern setting. Carter is a hustler who works his way up from stoking the furnaces of a luxury liner to running the biggest entertainment empire on the East Coast by steamrolling the competition and flaunting the law, but when it comes to family he is completely loyal. That’s a dynamic that Tracy pulls off well here.
Director Harry Lachman, a painter-turned-filmmaker who spent most of his career making B-movies, pulls out the stops for the spectacle: the collapse of the epic amusement park funhouse Dante’s Inferno that rivals any of DeMille’s Biblical smitings and the film’s famous trip to the hellfire and torment of the inferno described by Dante, a nightmare of underworld imagery with tormented souls writhing in agony in the jagged caverns and fiery pits of Hades. Those sequences alone justify the film, which overstuffs the drama with a third act disaster on the high seas that is, for all of its spectacle, anti-climactic after the painterly tour of Hell. Claire Trevor co-stars as his loving wife, oblivious to the reality of his moral compromises in big business, Henry B. Walthall (star of D.W. Griffith’s The Birth of a Nation) is his paternal father-in-law, and watch for the floor show in the final act: the young raven-haired dancer is Rita Cansino, the 16-year-old starlet soon to be made over as Rita Hayworth. A looking disc from 20th Century Fox Cinema Archive, not restored and a touch on the soft side but well preserved with little damage and good contrasts.
Bill Elliot Detective Mysteries (Warner Archive) presents cowboy star “Wild Bill” Elliot in a modern urban setting as a tough veteran Detective Lt. solving murders for the Los Angeles County Sheriff’s department. After making his debut as Andy Flynn in Dial Red O (1955), where he’s on the trail of a war vet who escapes the psychiatric wing of a Veteran’s hospital, he’s renamed Andy Doyle but otherwise the same emotionless figure of authority for four more features made for Allied Artists. Beverly Garland co-stars in the second film, Sudden Danger (1955), and she’s the biggest name in any of the films, and Don Haggerty joins the team as partner Sgt. Mike Duncan for the final three films in the series: Calling Homicide (1956), Chain of Evidence (1957) and Footsteps in the Night (1957). These are strictly B-movies, all under 65 minutes and shot on the cheap, and frankly they are dull, but I did enjoy the twist in Sudden Danger: the prime suspect is a blind man whose arrogance gets under Doyle’s skin.
The Public Defender (Warner Archive), a 1931 murder mystery, stars Richard Dix as a bumbling playboy with a secret life as a mysterious avenger known as The Reckoner. The low-budget thriller sends The Reckoner on a mission to clear the name of a bank officer framed for misappropriation of funds and he’s assisted by two partners in vigilante justice: The Professor (Boris Karloff) and Doc (Paul Hurst). William LeBaron directs.
Mystery in Mexico (Warner Archive), an early low-budget murder mystery directed by Robert Wise, sends insurance investigator William Lundigan south of the border to look for a stolen diamond and the agent before him who went missing. This programmer gets a boost of production value thanks to shooting on location in Mexico City and Cuernavaca and Ricardo Cortez in a supporting role as a shady nightclub owner.
Circumstantial Evidence (20th Century Fox Cinema Archives) is a B-movie produced in-house with the Fox studio machinery. Michael O’Shea is an innocent man convicted of murder and Lloyd Nolan is the best friend turned detective out to prove his innocence.
All of these are DVD-R releases, no-frills discs from studio masters, ordered online and “burned” individually with every order.
Warner Archive releases are available exclusively from Warner Archive.