The story follows events in a southern chain-gang.
Catch those rolling cages the convicts are kept in. They'd even be sub-standard for wild animals in a circus. But then, this is a down and dirty look at a chain-gang work crew, circa 1932, where shooting a con is made easier by the bull's eye on their backs. And if a con misbehaves, like not working fast enough to make the road contractor more money, it's a time in the sweat box, which is like doing time in an upright coffin-- you walk in, they carry you out. Now all this might sound like a lefty screenwriter's fevered dream, but the prologue assures us that the abuses are based on fact.
Then too, the cons are toiling in the middle of one ugly nowhere, and when the place catches fire, it's big enough to take down Chicago. No wonder the cons are looking to escape, and being a prison movie, they do. In my book, the best scene is the luckless deaf guy who never hears the bullet coming. I hope his last minute mumbo-jumbo was enough to get him past the pearly gates—it's a moving and inspired moment.
Then too, Dix makes a convincing boss con, as does C. Henry Gordon as the brutal boss muleskinner. But my money's on the cadaverous Charles Middleton (the hermit) who's on prison vacation from three wives and apparently dabbles in the black arts as when he foresees doom in the stars. His graveyard voice and grim reaper demeanor are like no other and can chill you to the proverbial bone.
Of course, being a Rowland Brown directed film, there are passing references to homo-erotic behavior, (see especially his Blood Money {1933}). All in all, he manages to blend the diverse story elements, including the black men's chorus, into a forcefully memorable whole. Too bad his directing career was so brief. He was that rarest bird in old Hollywood—a genuinely independent spirit.
It's a bang-up 60-minutes from struggling little RKO that takes no prisoners, so to speak. More importantly, there's something topical about tax-supported labor being used to enrich private contractors, as in the movie. Too bad, this over-looked little gem was assigned to pre-Code oblivion.
Catch those rolling cages the convicts are kept in. They'd even be sub-standard for wild animals in a circus. But then, this is a down and dirty look at a chain-gang work crew, circa 1932, where shooting a con is made easier by the bull's eye on their backs. And if a con misbehaves, like not working fast enough to make the road contractor more money, it's a time in the sweat box, which is like doing time in an upright coffin-- you walk in, they carry you out. Now all this might sound like a lefty screenwriter's fevered dream, but the prologue assures us that the abuses are based on fact.
Then too, the cons are toiling in the middle of one ugly nowhere, and when the place catches fire, it's big enough to take down Chicago. No wonder the cons are looking to escape, and being a prison movie, they do. In my book, the best scene is the luckless deaf guy who never hears the bullet coming. I hope his last minute mumbo-jumbo was enough to get him past the pearly gates—it's a moving and inspired moment.
Then too, Dix makes a convincing boss con, as does C. Henry Gordon as the brutal boss muleskinner. But my money's on the cadaverous Charles Middleton (the hermit) who's on prison vacation from three wives and apparently dabbles in the black arts as when he foresees doom in the stars. His graveyard voice and grim reaper demeanor are like no other and can chill you to the proverbial bone.
Of course, being a Rowland Brown directed film, there are passing references to homo-erotic behavior, (see especially his Blood Money {1933}). All in all, he manages to blend the diverse story elements, including the black men's chorus, into a forcefully memorable whole. Too bad his directing career was so brief. He was that rarest bird in old Hollywood—a genuinely independent spirit.
It's a bang-up 60-minutes from struggling little RKO that takes no prisoners, so to speak. More importantly, there's something topical about tax-supported labor being used to enrich private contractors, as in the movie. Too bad, this over-looked little gem was assigned to pre-Code oblivion.