Antonius Block Don't let the overly sensationalized title put you off of this one, which is about a gang of young toughs all sentenced to a reform school, where they suffer mistreatment until James Cagney improbably shows up to run the show. Cagney befriends the nurse (Madge Evans), but clashes with the strict warden (Dudley Digges), who does not approve of their ideas to give the kids more freedom and the chance to govern themselves. Cagney has further trouble in that he's a gangster himself, trying to keep his 'racket' under control while he spends time at the school.Cagney has such charisma and his presence carries the movie, but there are also fine performances from Frankie Darro (the leader of the kids), Digges, and Arthur Byron (a thoughtful judge), among others (and including all those child actors). It's fun to hear all the 'tough talk' and slang from the 30's, and the scenes early on with the kids are enjoyable. The film's message, to paraphrase Cagney's character, is that you have to take a firm hand with kids or they'll walk all over you, but on the other hand, they're just kids, and behave better when shown a little love and respect. The action gets a little melodramatic as the film progresses, and the simplistic and somewhat horrifying ending isn't great, but all in all it's an entertaining film.

AaronCapenBanner Archie Mayo and Michael Curtiz co-directed this effective social drama that stars Jimmy Cagney as reformed juvenile delinquent gangster Patsy Gargan, who, as a result of a political favor, is appointed Deputy Commissioner of the state reformatory for trouble youth, where he discovers that it is run by callous and corrupt Thompson(played by Dudley Diggs). Patsy is determined to initiate reforms to help the kids there(he sympathizes because they remind him of himself) but Thompson fights back, getting Patsy removed from his position, but the inmates refuse to lose the reforms put through, and rebel, forcing Patsy to return to prevent a tragedy... Well-directed and acted film is quite compelling as well, overcoming the melodramatic nature of the plot.

Michael_Elliott Mayor of Hell, The (1933) *** (out of 4) James Cagney plays a crime boss who uses his power to get a "real" job working in a boys reformatory school. At first he doesn't take the job too serious but then he sees how the boys are mistreated so he takes over running the school and tries to turn it into something good. This film was remade twice in the next six years with Crime School and Hell's Kitchen and while both of those films were very entertaining there's no question this is the best of the three versions. One thing that helps is the fact that this one was made before the code came into play so it has a lot more of a raw feel to it whereas the remakes were toned down in content. Another added bonus is seeing Cagney who once again delivers a strong performance. He doesn't show up until the twenty-five minute mark and it speaks well of the young actors who hold the film up before the star gets on screen. The supporting players all do fine work with Madge Evans as the love interest, Allen Jenkins as Cagney's sidekick and Dudley Digges as the bad guy running the school. I think one fatal flaw is the ending and the aftermath. The ending turns into a Frankenstein type setting, which might have worked but the aftermath is so rushed and faked that it really ends the film on a sour note. Outside of that this is a pretty good drama with its heart in the right place and the toughness you'd expect from a Warner/Cagney film.

classicsoncall "The Mayor Of Hell" has the feel of an early Dead End Kids film, but with a much harder edge and very few light spots, preceding the first appearance of the Dead Enders by four years. James Cagney has a full screen opening credit, even though technically, the 'mayor' of the movie's title is actually portrayed by Frankie Darro, one of several boys sent to reform school during the opening scenes. Darro's character is Jimmy Smith, a young tough who's befriended by 'Patsy' Gargan (Cagney), and is elected to the position when Gargan takes a chance at humanizing conditions at a state reformatory.Warner Brothers made a lot of these types of films, attempting to provide a conscience of sorts in an era that knew only too well about the effects of crime and poverty. This movie is quite gritty, with no apologies for ethnic stereotyping, as in the submissive posture of a black father in court or the way a Jewish kid gets to run a candy shop in the reform school. The rules at the reformatory are simple enough - work hard and keep your mouth shut; step out of line and you answer personally to Warden Thompson (Dudley Digges).Cagney's role in the story seems somewhat ambiguous, since even though he makes a serious effort to improve conditions inside the reformatory, on the outside he's still nominally in control of a criminal racket. The film's attempt to juggle this dichotomy falls short in my estimation, the finale attempts to wrap things up in a neat package as Gargan awaits the outcome of a near fatal shooting of one of his henchmen. Not exactly the kind of role modeling one would look for in a film like this.Warner Brothers would sanitize some of the elements of this story in a 1938 remake titled "Crime School", featuring Humphrey Bogart in the Cagney role, and Billy Halop in the Frankie Darro part. If you're partial to the Dead End Kids you'll probably like the latter film better, since it also offers familiar faces like Leo Gorcey, Huntz Hall, Bobby Jordan and Gabriel Dell. However the ending is somewhat muddied in that one too, with Bogart's warden character involved in a cover up of a prison breakout. Both films offer a romantic interest for the lead characters, in 'Mayor', Madge Evans is a reform minded nurse that falls for Cagney's character.Curiously, a lot of James Cagney's early films aren't commercially available, so you'll have to keep your eyes peeled for a screening on Turner Classics, or source the film from a private collector. Personally, I can't get enough of this kind of stuff, and find intriguing points of interest in the films of all genres from the Thirties and Forties.