This year we celebrate two decades of Windy City Pulp and Paper Conventions. In recognition of that milestone, the 2021 lineup includes two movies repeated from our very first film program, way back in 2002. As usual, you’ll find among the current offerings a number of obscure but meritorious motion pictures based on stories from our beloved pulp magazines. Among the genres represented are comedy, mystery, horror, and adventure. Among the top Hollywood stars you’ll see are Bette Davis, Rita Hayworth, Bela Lugosi, and Edward G. Robinson. Feel free to drop in anytime . . . just remember to bring your own popcorn.
FRIDAY
12:00 pm — The Roaring
West (1935), Chapters One through Eight, 160 mins.
Adapted from Ed Earl
Repp’s “Six-Gun Law” (Wild West Stories and Complete Novel
Magazine, January 1935).
Buck Jones, who had been a Western star for 15 years when he made Roaring
West, was also an avid reader of pulp fiction. During his 1934-37 tenure at
Carl Laemmle’s Universal Pictures, Buck had his own production unit and
personally selected the stories for his starring vehicles. The vast majority
were yarns first published in rough-paper magazines. We have not read Ed Earl
Repp’s “Six-Gun Law,” the credited source for The Roaring West,
and therefore can’t comment on the serial’s degree of fidelity to the original
story. But very few novels had plots dense enough to fill 15 two-reel episodes,
and it’s obvious that screenwriters George H. Plympton, Nate Gatzert, Basil
Dickey, Robert Rothafel, and Ella O’Neill added numerous capture-and-escape
sequences to pad the proceedings.
Jones plays Montana Larkin, a two-fisted cowboy who helps his pal
Jinglebob Morgan (Frank McGlynn Sr.) rescue the latter’s brother Clem (Harlan
Knight) from claim jumpers led by Gil Gillespie (Walter Miller). The bad guys
are eager to learn the location of Morgan’s gold mine. Montana’s allies include
prominent rancher Jim Parker (William Desmond) and his daughter Mary (Muriel
Evans).
Some Windy City viewers might find Roaring West unnecessarily
repetitive, although it should be remembered that serial chapters were designed
to be seen at the rate of one per week, not bunched together in groups of seven
or eight per day. But the chapter play’s plot deficiencies are compensated for
by a wealth of fast action and Buck’s endearing performance. He’s especially
good in scenes with Muriel Evans, his favorite leading lady, who also appeared
in six of his self-produced feature films. Their chemistry is palpable and
authentic; when I met Muriel in 1990 and asked her about Jones, she described
him as “one of God’s great gentlemen.”
At the time of this serial’s production Buck Jones was the nation’s
top cowboy star, a favorite of exhibitors and hero to millions of American
boys. The Roaring West isn’t the best of his motion pictures by a long
shot, but it’s representative of his peak-period output and rollicking good fun
even today, 85 years after its theatrical release. We can guarantee that it
won’t tax your brain, so if looking to take a break from the dealer room’s
hustle and bustle, you could do a lot worse than to relax by watching a few
chapters.
02:45 pm — Tentacles
of the North (1926), 52 mins.
Adapted from James Oliver
Curwood’s “In the Tentacles of the North” (Blue Book, January
1915).
Few fictioneers ever attained the success enjoyed by James Oliver
Curwood, who wrote for slicks and pulps alike and saw many of his best tales
published between hard covers. His virile adventure stories, mostly taking
place in Alaska and the Canadian Northwest, were extremely popular with
filmmakers, who began licensing them in 1910 and adapted them to the screen
regularly for the next 50 years. Some Curwood yarns, including River’s End,
The Wolf Hunters, and Back to God’s Country, were made into
movies three and four times each. For many years, especially during the
Twenties and Thirties, his name on a movie poster virtually guaranteed an
audience regardless of the film’s quality.
This low-budget thriller, while hardly among the best Curwood-based
movies, is certainly typical of the breed. A terse synopsis from Motion
Picture News captures its essence nicely: “Ice in North seas ties up
two vessels; one with boy mate and other with daughter of seaman left alone
through death of crew. Boy leaves his ship and discovers girl. He is chased by
his crew but outwits them and escapes both them and the Arctic wastes. He
brings girl back to civilization.”
Produced by Poverty Row habitué Ben Wilson, Tentacles of the
North hews closely to the Blue Book yarn on which it’s based and seems
to have pleased the undiscriminating small-town audiences for which it was
intended. The unabashed melodrama wasn’t very well received by big-city
sophisticates, though. Variety‘s critic “Mark” (no last name
given), reviewing the picture after a screening in Manhattan, was decidedly
unimpressed: “It may have been the intention to make this Curwood
[adaptation]
a big production, but it pulled a smashing dud, face down. Little
to commend it despite the apparent camera effort to make the far, far northland,
but the icy, frigid scenes won’t. [sic] The New York audience didn’t
think much of it. Some of them sighed when the end came. One wonders if Mr.
Curwood could recognize in this production any of the realistic scenes his book
[sic] describes.”
On the plus side, we are showing a privately pressed DVD mastered
from an original tinted 35mm nitrate print of Tentacles. As always with
the silent movies we include in our Windy City film program, it’s accompanied
by a period-appropriate music score.
03:45 pm — The Working
Man (1933), 75 mins.
Adapted from Edgar
Franklin’s “The Adopted Father” (All-Story Weekly, January
22—February 19, 1916).
Totally forgotten by even the most rabid fans and collectors of pulp
magazines, Edgar Franklin (real name: Edgar Franklin Stearns) for many years
was a ubiquitous presence in the Munsey sheets—Argosy, Cavalier, All-Story,
Scrap Book, Railroad Man’s Magazine—and sold frequently to other
general-interest pulps such as People’s, Blue Book, and The
Popular Magazine. His work also appeared regularly in such prestigious
slicks as Red Book, Hearst’s Cosmopolitan, and the mighty Saturday
Evening Post. So why is Franklin so little known today? Mostly because he
specialized in humorous tales with domestic settings and not gun-dummy Westerns,
lost-race adventures, or masked-hero melodramas—in other words, not the types
of stories favored by most present-day collectors.
Franklin’s stories were licensed by Hollywood studios some 32 times
between 1914 and 1938, although elements from the best were
“borrowed” rather promiscuously by scripters cranking out purportedly
original screenplays. His 1916 book-length comedy-romance “The Adopted
Father” was filmed three times: in 1924 as $20 a Week, in 1933 as The
Working Man, and finally in 1936 as Everybody’s Old Man. The first
two versions starred stage actor George Arliss, a horse-faced ham who
reinvigorated his film career with a series of well-regarded early-Thirties
biopics that cast him as Voltaire, Disraeli, Cardinal Richelieu, Alexander
Hamilton, and the Duke of Wellington. A scenery-chewer of the first water,
Arliss occasionally eschewed heavy historical fare in favor of lighthearted
contemporary tales that permitted him to portray avuncular characters.
The Working Man casts Arliss as wealthy
shoe manufacturer John Reeves, who leaves his business in the hands of
ambitious nephew Benjamin Burnett (Hardie Albright) and goes to Maine on a
fishing trip. While up there Reeves meets Tommy and Jenny Hartland (Theodore
Newton and Bette Davis), the fully grown but undisciplined children of his
friendly rival, the late Tom Hartland. Distressed by their cavalier handling of
the family business, Reeves has himself appointed a trustee of the Hartland
estate. He insinuates himself into the lives of Tommy and Jenny—who don’t know
his true identity—and persuades them to take greater interest in the venerable
firm that is their father’s legacy. Jenny becomes sufficiently competitive to
secure a job at the Reeves Company under an assumed name, but she doesn’t count
on falling in love with John’s nephew Benjamin. As the saying goes,
complications ensue.
Working under his favorite director, John G. Adolfi, Arliss turns in
a delightful performance. Bette Davis, still a year away from her star-making
turn in Of Human Bondage (1934), is appropriately spirited as Jenny
Hartland; it’s hard to imagine that Working Man audiences wouldn’t have
recognized the obvious talent that would soon make her one of the biggest names
in the picture business. Fast-faced and funny, this Warner Bros. programmer is
easily the best adaptation of Franklin’s thrice-filmed 1916 pulp story.
Immediately Following
Auction — Lawless Valley (1938), 59 mins.
Adapted from W. C.
Tuttle’s “No Law in Shadow Valley” (Argosy, September 26,
1936).
A phenomenally prolific pulpster whose Westerns appeared in
rough-paper magazines for more than 40 years, Tuttle also enjoyed considerable
success in Hollywood. Movie rights to his yarns were being snapped up by
studios as early as 1920, and during the silent-film era he penned original
screen stories for such popular cowboy stars as Hoot Gibson. One of his pulp
tales, “Sir Piegan Passes,” was adapted by filmmakers three times.
Tuttle’s 1936 novelette “No Law in Shadow Valley” was
licensed early in 1938 by RKO, at that time on the lookout for properties that
would make suitable vehicles for its newest Western star, George O’Brien. No
stranger to horse operas adapted from pulp stories, O’Brien at Fox Film
Corporation during the early Thirties had top-lined sturdily made Westerns
based on popular yarns by Zane Grey and Max Brand. Budgets routinely approached
$200,000 and funded lengthy sojourns to picturesque locations in Arizona,
Colorado, and Utah.
O’Brien’s RKO series, however, was produced on a more modest scale. Lawless
Valley, which opened the 1938-39 season, cost exactly $80,364 with
exteriors lensed in familiar Southern California locations and on the Western
street in the studio’s Encino facility. A strong entry, it has a dialogue-heavy
first act but picks up the pace considerably about 30 minutes in, finishing
with the knuckle-bruising action that audiences had come to expect from
George’s pictures. The brawny star plays an ex-con who returns to his home
range to apprehend the men responsible for killing his father and framing him
into prison. Forbidden from carrying a gun by the terms of his parole,
O’Brien’s character is forced to rely on his wits to expose the real culprits.
In a nice bit of casting, veteran heavy Fred Kohler and his son Fred
Jr. play a crooked father and his offspring. Chill Wills, rail-thin at this
early stage in his film career, interprets a familiar Tuttle character type:
the lanky, disrespectful deputy who’s forever needling a blustery sheriff.
Erstwhile silent-serial leading man Walter Miller contributes a solid
supporting turn as a tramp who befriends O’Brien after the latter is released
from prison.
Nobody will ever mistake Lawless Valley for Shane, Stagecoach,
or The Searchers. It’s a Saturday-matinee “B” Western, plain
and simple, but a first rate example of the species. If you’re not expecting
too much we think you’ll thoroughly enjoy this encore presentation from our
2002 lineup.
SATURDAY
10:00 am — The Roaring
West (1935), Chapters Nine through Fifteen, 140 mins.
Adapted from Ed Earl
Repp’s “Six-Gun Law” (Wild West Stories and Complete Novel
Magazine, January 1935).
See above notes for
Friday screening.
12:30 pm — The Hatchet
Man (1932), 75 mins.
Adapted from Achmed
Abdullah’s “The Hatchetman” (Blue Book, March 1919), also his
play The Honorable Mr. Wong.
Let’s make this clear at the outset: If you can accept such
obviously Occidental actors as Edward G. Robinson, Loretta Young, Dudley
Digges, and Charles Middleton as Chinese inhabitants of San Francisco during an
early 20th-century tong war, you’ll probably enjoy this William
Wellman-directed drama from Warner Bros. But doing so requires an enormous
suspension of disbelief and has proved an insurmountable obstacle for many a
viewer. We daresay that was the case upon the film’s initial theatrical release
in 1932, which probably accounts for its lackluster box-office performance.
Still, there’s much to recommend in The Hatchet Man.
Robinson plays Wong Low Get, the hatchet-wielding dispenser of
justice for Frisco’s Lem Sing tong. Forced by his fealty to the tong to kill
his own best friend, the member of a rival group, Wong accepts the role of
guardian to the latter’s six-year-old daughter Toya San, who grows up to look
like Loretta Young. Because the hatchet man has been so kind to her—even though
he killed her father, a fact of which she is unaware—Toya believes herself
honor bound to accept his proposal of marriage. But her true love is Harry En
Sai (Leslie Fenton), a New York-born Chinaman who has come west to join the Lem
Sing tong. Their romance is destined to end in tragedy, but we guarantee you’ll
be surprised by its exact nature.
The Hatchet Man was an unusual assignment
for Wellman, who become a top Hollywood director following the success of his
Oscar-winning World War I aviation drama Wings (1927). As a Warners
contractee in the early Thirties he specialized in rugged crime thrillers and
socially conscious dramas such as Public Enemy (the 1931 gangster film
that made James Cagney a star), Night Nurse, Star Witness, Safe
in Hell, Love Is a Racket, Heroes for Sale, and Wild Boys
of the Road. We’re guessing he chafed under the responsibility of making
the anachronistic Hatchet Man marketable to Depression-era moviegoers,
but the film benefits from his no-nonsense helming and the uncompromising
fatalism that was a Warners trademark during this period.
01:45 pm — The Human
Monster (aka Dark Eyes of London, 1939), 73 mins.
Adapted from Edgar
Wallace’s “Blind Men” (Detective Story Magazine, May 7—June 4,
1921), later published in hardcover as Dark Eyes of London.
A spine-tingling Edgar Wallace adaptation that was filmed in London
but traded on the conventions of American horror movies, Dark Eyes of London
is notable as the first British film awarded an “H” certificate
(identifying a “Horrific” movie to which only those over the age of
16 could be admitted). While certainly tasteless, this Argyle Productions
shocker wasn’t far removed from its Hollywood counterparts. In choosing Bela
Lugosi as the film’s lead villain, producer John Argyle clearly intended his
modestly budgeted Wallace adaptation to emulate American-made chillers. Indeed,
Dark Eyes is comparable to the “B”-grade product Bela would
soon be making for such low-rent Tinseltown outfits as Monogram and PRC.
Polite, kindly Dr. Orloff (Lugosi) heads the Greenwich Insurance
company and funds a home for the blind run by coolly efficient Mrs. Reaborn
(May Hallatt). But when a series of murders are linked to the charitable
institution, Scotland Yard Inspector Larry Holt (Hugh Williams) and recently
orphaned Diana Stuart (Greta Gynt) launch a discreet investigation that finds
the young woman taking a job at the home. Suspicion lands on a bestial resident
named Jake (Wilfrid Walter), although Larry believes a master mind is behind
the killings.
Although British citizen Edgar Wallace enjoyed his greatest success
in the United Kingdom, his thrillers were nearly as popular in America. Many of
them, including “Blind Men,” saw publication in Street & Smith’s Detective
Story Magazine prior to issuance in hard covers. Nearly all took place in
Merry Olde England (and frequently were confined to London), so it’s no
surprise that Brit filmmakers licensed them for translation to celluloid.
During the Thirties alone more than two dozen Wallace properties reached U.K.
theater screens, with another half dozen being dramatized late in the decade
for experimental television broadcasts by the BBC.
Our DVD of Dark Eyes derives from a transfer of the American
theatrical version, retitled The Human Monster and released here by
Monogram Pictures in early 1940.
03:00 pm — Convicted
(1938), 58 mins.
Adapted from Cornell
Woolrich’s “Face Work” (aka “Angel Face,” Black Mask,
October 1937).
The first Cornell Woolrich story to reach the screen was Children
of the Ritz, a College Humor novelette adapted by Warner Brothers in
1929. But this unpretentious Columbia “B” picture was the first to
adapt one of his suspenseful crime stories from the pulps. It was produced in
Canada (with studio funding) under the auspices of Kenneth J. Bishop’s Central
Films Ltd. Shot over a two-week period in December 1937, Convicted was
directed by Leon Barsha and reunited 19-year-old starlet Rita Hayworth with
handsome Charles Quigley, with whom she had already been paired in several
low-budget melodramas.
Woolrich’s heroine, one Jerry Wheeler, is a street-wise stripper who
turns detective to prove that her kid brother Chick has been framed for the
murder of gold-digging Ruby Rose. Not surprisingly, Jerry became a nightclub
dancer in the film version, which otherwise sticks closely to “Face
Work,” even to incorporating much of Woolrich’s dialogue.
Hayworth was actually too young for her role; actor-screenwriter
Edgar Edwards, who played Chick, was several years her senior. But even at this
early stage in her career Rita exhibited star quality and easily outclassed
wooden leading man Quigley. Prolific screen heavy Marc Lawrence, just beginning
a lengthy career, delivers the film’s best performance, although his
comeuppance is a bit too abrupt to be wholly satisfying.
We make no claims of greatness for Convicted. Cheaply made,
intended for the bottom half of a double bill, and produced in Canada under an
arcane quota requirement of Hollywood studios marketing product to the United Kingdom,
it’s primarily of historical interest to pulp fans. Including the picture in
this year’s Windy City lineup acknowledges two anniversaries: the Black Mask
centennial and the 20th anniversary of our convention. Convicted was
among the movies screened in our very first film program. Back then we were
running 16mm prints exclusively. The DVD we’re showing this year is a recent
high-definition video transfer made from original 35mm elements in the studio’s
vault. As yet it has not been made commercially available for purchase.
04:00 pm — The Spider
(1931), 59 mins.
Adapted from Grace
Oursler’s “The Spider” (Ghost Stories, December 1928—July
1929), a novelization of the 1927 play by Fulton Oursler and Lowell Brentano.
Like The Sin of Nora Moran, which we showed here last year, The
Spider has a convoluted literary history. The basic plot was devised for
“The Man with the Miracle Mind,” serialized in four late 1921 issues
of National Pictorial Brain Power Monthly, a magazine published by
physical-culture enthusiast Bernarr Macfadden. Authorship was attributed to one
Samri Frikell, a pseudonym used by Fulton Oursler, who edited and contributed
to various Macfadden sheets.
In 1927 Oursler and author/playwright Lowell Brentano dramatized the
story as The Spider, a play that opened on Broadway in March 1927. A
true novelty, it was a murder mystery that took place in a New York vaudeville
house, which was represented by the theater staging the play (Chanin’s 46th
Street Theatre from March to May, then the Music Box until the show’s December
17 closing). Actors playing the chief suspects were thus scattered throughout
the first few rows, near the orchestra. Once the murder had been committed,
actors playing police ran down the aisles shouting that nobody could leave the
theater while the investigation was underway. It was a fascinating gimmick that
inspired favorable word-of-mouth and enabled the show to sell out 319
performances in its first run. (A 1928 revival in the Century Theatre
inexplicably lasted just two weeks.)
Following the Broadway engagements, the play was novelized by
Oursler’s wife Grace and—not surprisingly—slated for publication in a
Macfadden-owned pulp magazine, Ghost Stories, running as a serial from
December 1928 through July 1929. Screen rights to both play and novel were then
sold to the Fox Film Corporation for $27,500. The Spider was assigned to
a new directorial team, former actor Kenneth MacKenna and well-regarded scenic
designer and visual-effects specialist William Cameron Menzies. The latter
eagerly accepted the challenge of making a magician’s stage illusions
spectacularly cinematic. Art director Gordon Wiles, meanwhile, designed
elaborate sets to represent the entire theater—the stage, the auditorium and
orchestra pit, dressing rooms, and a prop-filled basement. Award-winning
cinematographer James Wong Howe, working from Menzies’ detailed sketches,
devised atmospheric lighting effects to reflect the director’s vision.
Principal photography began on June 11, 1931 and consumed just three weeks.
Menzies and company had prepared thoroughly.
The plot revolves around a magician and mentalist named Chatrand the
Great (played in the film by Edmund Lowe), whose emotionally fragile assistant
Alexander (Howard Phillips) has genuine psychic abilities and participates in a
mind-reading act that’s the highlight of Chatrand’s nightly show. Alexander
suffers from amnesia, and each evening Chatrand broadcasts from the stage an
appeal for information to the young man’s identity. Hearing the psychic’s voice
over the radio, Beverly Lane (Lois Moran) becomes convinced that he is her
brother, driven from his home long ago by their cruel stepfather, John
Carrington (Earle Foxe). She persuades the reluctant Carrington to bring her to
Chatrand’s next show, and he is murdered when theater lights are extinguished
during the performance. Alexander is suspected of the crime and Chatrand uses
his assistant’s psychic talents to help ferret out the real killer.
The film cost $311,517, a fairly substantial amount for a glorified
“B” picture. It earned worldwide film rentals totaling $519,137.
Subtracting distribution costs, it returned a modest profit of $16,052 to Fox.
Grosset & Dunlap published a hardcover “PhotoPlay” edition of
Grace Oursler’s novelization.
The Spider is heavy on visual appeal but
light on plot. It also lacks the key element of the stage play’s appeal:
Broadway audiences were part of the action, but moviegoers were just
spectators. Nonetheless, it’s an extremely entertaining film and, at just 59
minutes, too compact to be boring. It was also a good warm-up for the following
year’s Chandu the Magician, another mysticism-heavy melodrama starring
Lowe, photographed by Howe, and co-directed by Menzies (this time with Marcel
Varnel). By the way, Lowe’s Chatrand must have been the model for the
comic-strip character Mandrake the Magician, who first appeared in newspapers
three years after The Spider‘s release. See the movie and decide for
yourself.
Immediately Following
Auction — Riders of the Whistling Skull (1937), 53 mins.
Adapted from William Colt
MacDonald’s “Riders of the Whistling Skull” (Wild West Stories and
Complete Novel Magazine, March 1934) and “Valley of the
Scorpions” (Big-Book Western Magazine, November 1934).
Next to Clarence Mulford’s Hopalong Cassidy, featured in 66
feature-length movies produced between 1935 and 1948, the most popular
Western-pulp characters to grace the silver screen were William Colt
MacDonald’s Three Mesquiteers: Tucson Smith, Stony Brooke, and Lullaby Joslin.
They were featured (with occasional substitutions) in 55 films made between
1935 and 1943; all but two of these emanated from Republic Pictures, the small
studio that also was home to Gene Autry and Roy Rogers.
MacDonald introduced Tucson and Stony in “Restless Guns,”
a book-length yarn serialized in late 1928 issues of the Clayton pulp Ace-High
Magazine. They were joined by Lullaby at the end of “The Law of the
Forty-Fives,” serialized in the December 1929—April 1930 issues of Harold
Hersey’s Quick-Trigger Western Magazine. That yarn was the first Mesquiteer story to reach the
screen, produced in 1934 with Guinn “Big Boy” Williams as Tucson and
comedian Al St. John as Stony (whose last name was inexplicably changed to
Martin). Williams then played Lullaby in Powdersmoke Range (1935 RKO)
opposite Harry Carey’s Tucson and Hoot Gibson’s Stony.
Republic’s series began in 1936 with The Three Mesquiteers,
which cast little-known actors Ray “Crash” Corrigan as Tucson and Bob
Livingston as Stony. Painfully unfunny comedian Syd Saylor played Lullaby for
this entry only; the next film, Ghost Town Gold, replaced him with
old-time vaudevillian and radio performer Max Terhune.
Riders of the Whistling Skull (1937),
Republic’s fourth Mesquiteers opus, was the best to date. The screenplay by
Oliver Drake and John Rathmell combined plot elements from two MacDonald
novels, “Whistling Skull” and its successor, “Valley of the
Scorpions” (published in hard covers as The Singing Scorpion).
The film is suffused with mystery and includes a dollop of horror to
chill the blood. It opens with the Mesquiteers joining an archaeological
expedition searching for the lost city of Lukachukai, home to descendants of an
ancient Indian murder cult known as the Sons of Anatazia. One of the scientists
has just been murdered, and detective-story enthusiast Stony is eager to find
the killer. While searching for the lost city’s landmark—a huge rock formation
in the shape of a human skull—the expedition is menaced by raiders from the
lost city. The Mesquiteers learn that the man behind these depredations is a
member of their party. Riders of the Whistling Skull offers
a refreshing departure from horse-opera formula. There are no cattle rustlers,
stagecoach robbers, crooked bankers, or dictatorial ranchers. No stampedes, no
saloon brawls, no street duels at high noon. Instead there’s genuine mystery
and steadily building suspense. Competent but undistinguished director Mack V.
Wright fails to fully exploit the script’s possibilities—it indicates a spooky
atmosphere he never really develops—yet Riders succeeds primarily by
virtue of its novelty. At 53 minutes it’s short and fast-moving . . . just what
you’ll crave after a lengthy auction!
