Hell's Kitchen

1939 "WE'RE FIGHTIN' THE WHOLE WORLD... AND WE'RE TRYIN' TO FIGHT CLEAN!"
Hell's Kitchen
6.4| 1h21m| NR| en| More Info
Released: 03 July 1939 Released
Producted By: Warner Bros. Pictures
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Synopsis

A paroled convict's efforts to improve conditions at a boys' reform school alarm the school's corrupt warden, who has been embezzling funds from the institution. He hatches a plan to derail the reformed convict's efforts and have him sent back to prison, and part of that scheme involves cracking down hard on the reform school's inmates.

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dougdoepke Dead End kids may get the billing, but it's really Stanley Fields' (Buck) movie. A Wallace Beery look-a-like, his fractured English and Runyonesque manner hit the right notes for what is really a soft hearted gangster. Seems he's got to help out at a boy's home or he's off probation and into the slammer. Trouble is the boys' home is run by cruel supervisor Krispan (Grant Mitchell in a fine performance), who's also skimming money from donors. So Buck uses gang money to buy in and run the home in a more humane manner. But the scheming Krispan's got other ideas.The subplot here is interesting since it's the wayward boys and the soft-hearted gangster who come across as humane and just, while the politically connected, respectable guy is the real crook. It's sort of a reversal of what is usually expected, but perhaps not unusual for the restive 1930's.Anyway, Bobby Jordan (Tony) shows his chops in a nicely calibrated emotional scene, while Gorcey (Gyp) does his tough guy bit, and Halop shows leadership abilities. Surprisingly, Huntz Hall (Bingo) has a secondary, non-comedic role, unlike his later dominating role in the long- running series. Reagan fans may be disappointed since his is also a secondary role, but at least he gets the girl as played by the fetching Margaret Lindsey.All in all, the movie's an entertaining combo of serious themes seasoned with humor. However that hokey hockey game looked anything but real since there was neither officiating nor penalties for roughhousing. But that's a relatively minor point in an otherwise well executed production.
bkoganbing The first of two films in which Ronald Reagan was featured with the Dead End Kids was Hell's Kitchen where after one stint of time in reform school in Crime School, the boys are back in the juvenile joint. The adult players take a distinct back seat to the boys in both these films.Crime School was an out and out remake of the James Cagney classic The Mayor Of Hell and this one also has aspects of those films in it as well. We've got a self righteous warden of the school in Grant Mitchell who's once again skimming off the tops and treating the kids like dirt. His infamous cooler is an old meat locker where he locks the kids in to 'cool' them off. When one of them dies, it all hits the fan.Challenging him for control of the institution is paroled racketeer, Stanley Fields who is playing his role like a cut rate Wallace Beery. Ronald Reagan is his nephew and Margaret Lindsay is the secretary of the school under Mitchell and who is ready to quit when Caesar arrives on the scene. Jack Warner must have really been in a bind here because he even acknowledges a hit film from another studio. One of the reforms that Fields wants to bring in is a kind of self governing institution by the kids like Father Flanagan's Boys Town. In fact I'm sure that's why this film was made, to cash in on the success of Boys Town.No Oscar winning performances here though like Spencer Tracy's. Still it's entertaining enough.
Neil Doyle Once again RONALD REAGAN is involved with The Dead End Kids, only this time the romantic interest is supplied by MARGARET LINDSAY rather than ANN SHERIDAN. Otherwise, the plot here resembles the studio's other Dead End Kids entry, ANGELS WASH THEIR FACES produced the same year, in that the Kids put the bad man on trial and eventually put him out of business.GRANT WITHERS is the corrupt principal of a reform school who uses dirty tactics to keep his kids in line, even to the point of punishing a sick kid who fails to survive solitary confinement. It's up to Ronald Reagan, on the good side of the law with Margaret Lindsay, to urge the boys not to take vigilante justice.Warner Bros. apparently intended this to be a showcase, not for Reagan or Lindsay, but The Dead End Kids who get all the prominence in the script. It's all got a familiar ring, but is directed in brisk style by Lewis Seiler and is lively enough to hold the interest.Nevertheless, it never rises above the ordinary and the overall impression is that of a formula crime melodrama, the kind that Warners churned out pretty frequently in the late '30s and early '40s.
jim riecken (youroldpaljim) The Dead End Kids are unfortunate residents of the crookedly run Hudson Boys Shelter. Paroled gangster Buck Ceaser is advised by his lawyer nephew that making a contribution to the shelter would be good for his image. For a while conditions at the shelter improve, but Krispen, the shelters warden, fears the contributions from Caeser might raise suspicion, and lead to an audit. An audit is the last thing Krispen wants. Krispen fears an audit would certainly expose his clever graft scheme. Krispen arranges for Ceaser to get into a fight, thus violating his parole. With Caeser out of the way, Krispen returns to his iron fist rule over the boys. Krispens favorite punishment is locking unruly boys in "the cooler." When Joey (Bobby Jorden) causes Krispens wrath, he locks Joey in the cooler. Joey, a weak sickly boy dies as result of his stretch in the cooler. Krispen arranges a private funeral. At the funeral the arrogant Krispen delivers an eulogy that blames the boys. This causes the boys to revolt and take control of the shelter. The boys put Krispen on a mock trial. The Verdict: Krispen is to "join Joey." This is my favorite Dead End Kids film. The boys are all in top form and they overshadow the films star lead Ronald Reagan. Frankie Burke, who played James Cagney as a boy in ANGELS WITH DIRTY FACES, plays a member of the gang in this one. His resemblance to James Cagney was uncanny.