This racket drama from the late 30's it's just another monster film about someone who thought they were a big shot, but really was just an obnoxious bully. As played by Barton MacLane (one of the oddest choices to ever play leads), he's charmless and humorless, and not commanding enough outside of his Broderick Crawford like barking to warrant respect. His parents, Esther Dale and Oscar O'Shea, argue every time he comes around, with Dale wanting nothing to do with her son (obviously a copy of Marjorie Main in "Dead End") and O'Shea weak and defeated by life.
Old girlfriend Eve Arden (underused in a far too serious role) warns him to leave his brother Tom Brown alone, but Brown is far too impressed with big brother's life to stay away, especially since his brother can get him work as a prize fighter. Eventually the rackets get involved in manipulating the fights Brown is involved in, and tragic circumstances puts MacLane on the run. Efforts to give his character a conscience aren't fully believable because there's not enough backstory, and Brown seems far too young to be his brother, while MacLane is closer in age to Dale and O'Shea.
Programmers like this, obviously meant to show that crime doesn't pay, came out at least one feature a week during the 1930's and 40's, but not everybody could be a Bogart or a Cagney or a Raft or a Robinson. MacLane was great in supporting roles, and he puts in all the effort here, but there is not much sympathy for him. The fact that the film is far too bent on the criminal elements and never has any lighthearted moments makes it a bit dark, even though it fortunately avoids being dull. But it's basically just another "we've seen this before, and better" blip on the screen of film history, the type of film you'll forget about 15 minutes after it's done. Ed Sullivan, who wrote the story, provides a bit of narration with all of the energy of a gangster's stogie.
Old girlfriend Eve Arden (underused in a far too serious role) warns him to leave his brother Tom Brown alone, but Brown is far too impressed with big brother's life to stay away, especially since his brother can get him work as a prize fighter. Eventually the rackets get involved in manipulating the fights Brown is involved in, and tragic circumstances puts MacLane on the run. Efforts to give his character a conscience aren't fully believable because there's not enough backstory, and Brown seems far too young to be his brother, while MacLane is closer in age to Dale and O'Shea.
Programmers like this, obviously meant to show that crime doesn't pay, came out at least one feature a week during the 1930's and 40's, but not everybody could be a Bogart or a Cagney or a Raft or a Robinson. MacLane was great in supporting roles, and he puts in all the effort here, but there is not much sympathy for him. The fact that the film is far too bent on the criminal elements and never has any lighthearted moments makes it a bit dark, even though it fortunately avoids being dull. But it's basically just another "we've seen this before, and better" blip on the screen of film history, the type of film you'll forget about 15 minutes after it's done. Ed Sullivan, who wrote the story, provides a bit of narration with all of the energy of a gangster's stogie.
