Showing posts with label Evelyn Brent. Show all posts
Showing posts with label Evelyn Brent. Show all posts

Sunday, April 23, 2023

King of Gamblers was released on this day in 1937

King of Gamblers was released on this day in 1937. The film is a stylish low-budget crime drama about a slot-machine racket and the crusading reporter who uncovers it. Though a “B” picture, this almost noir was given an “A” treatment by director Robert Florey. Louise Brooks’ role as Joyce Beaton, love interest of the reporter, was cut from the film’s final release. More about the film can be found on the Louise Brooks Society filmography page.

The film was part of an unofficial Paramount series based on crimes and criminals suggested by the J. Edgar Hoover book, Persons in Hiding. Despite its source material, the film’s gritty realism shocked some. The Christian Science Monitor stated “Sociological aspects of the theme are quite overshadowed by melodramatics which may prove too violent for the more sensitive.” Fox West Coast Bulletin said the film was “Not wholesome. Waste of time.” Motion Picture Review wrote “Such a picture as this has no constructive social value.” The Kansas City Star added “. . . the subject hardly can be recommended to the attention of the youth and future glory of the land.” While Mae Tinnie, the onomatopoeically named film critic of the Chicago Tribune, suggested “If you like a grisly little programmer, King of Gamblers is that.”

Though considered a B-movie (typically shown as part of a double bill), the film received very good notices from both exhibitors and the public alike. The manager of the Cory Theater in Winchester, Indiana stated, “I thought when I showed Night Key I had given my patrons the best picture ever made, but this King of Gamblers is even better than that. Played last two days of week to big business.” Other exhibitors agreed: comments published in Motion Picture Herald included “Excellent entertainment in any spot. Well liked by all,” and “Was afraid of this one, but found it packed with suspense and action.”

In reviewing the film’s New York City opening, Irene Thirer of the New York Post wrote “Criterion goers are clutching their chairs these days, because this is probably the most blood-thirsty picture in several seasons. . . . Supporting the principals (and Lloyd Nolan’s job as the reporter in corking), are Larry Crabbe, the late Helen Burgess (who strangely met her untimely death immediately after she had died in this picture via script requirements), Porter Hall, Harvey Stephens, a couple of walloping shots of the capable Evelyn Brent, and others. Robert Florey directed – which accounts for the picture’s unusual camera angles.” 

The Washington Post had a similar sentiment. “The cold chills and icy thrills of King of Gamblers make the Metropolitan air-conditioning quite superfluous. If you are one for hard-boiled homicides mixed in with your entertainment, this show will give you a good time and a half.”

The film reunited Brooks with Evelyn Brent. The two actresses had first appeared together in Love ‘Em and Leave ‘Em (1926), when each were emerging stars. For the two faded stars, King of Gamblers was seen as a comeback opportunity. And indeed, studio publicity promoted their appearance as such. Around the time of the film’s release, the Los Angeles Times ran a picture of Brooks and Brent under the headline, “Two actresses resume screen career.” The caption noted their “return to the silver sheet.” Brooks’ scene and character were cut from the film before its release.

Under its American title, documented screenings of the film took place in Australia (including Tasmania), Bermuda, Canada, China, Dutch Guiana (Surinam), Hong Kong, India, Ireland, Japan, New Zealand, The Philippines, and the United Kingdom (including England, Isle of Man, Northern Ireland, and Scotland). On a few occasions, the film was shown in the United States under the title Czar of the Slot Machines. In the United States, the film was also promoted about under the title El Rey de los Jugadores (Spanish-language press).

Elsewhere, King of Gamblers was shown under the title L’homme qui terrorisait New-York (Algeria); O Amor é como Jogo (Brazil); El Rey de los jugadores (Cuba); Král hazardních hrácu (Czechoslovakia); Storbyens sjakaler (Denmark); El Rey de los Jugadores (Dominican Republic); L’homme qui terrorisait New-York (France); O tromokratis tis Neas Yorkis (Greece); Rándyr stórborgarinnar (Iceland); 犯罪王 or Hanzai-ō (Japan); L’homme qui terrorisait New-York (Morocco); Król graczy (Poland); El Rey de los jugadores (Spain); L’homme qui terrorisait New York and Der König der Spieler (Switzerland); NewYorku' Titreten Adam (Turkey); and El Rey de los jugadores (Uruguay).

 


SOME THINGS ABOUT THE FILM YOU MAY NOT KNOW:

 — Director Robert Florey hoped to use Louise Brooks in an earlier film, Hollywood Boulevard (1936), but it didn’t work out.

— An opening sequence with “Jim Adams” (Lloyd Nolan) being jilted by “Joyce Beaton” (Louise Brooks) was shot but eliminated from the final cut. Prints of the film which include Brooks’ may have been sent overseas, as Brooks is included in advertisements for the film in at least two countries.

— Helen Burgess, a promising 18 year old actress who had the second female lead in the film, died shortly after its completion on April 7, 1937 (and just five days before this film’s preview). Discovered by Cecil B. De Mille, the demure actress was cast by the famous director in his epic western The Plainsman (1936). While working on her fourth film, Night of Mystery (1937), Burgess caught a chill that resulted in a serious cold, which in turn developed into pneumonia. An article at the time of her death noted that the Hollywood High School graduate had recently been picked for stardom by a vote of the Paramount film editors.

— The film was previewed at the Alexander theater in Glendale, California. This first ever showing took place on April 12, 1937. King of Gamblers was paired with Swing High, Swing Low – a romantic drama starring Carole Lombard and Fred MacMurray. Advertisements in the local paper noted stars of the unnamed preview film would be in attendance. Motion Picture Herald reported “The audience, which had been watching Swing High, Swing Low, found in the added attraction a contrast that caused it to pay strict attention. Several times it broke into applause.”

— In Los Angeles, King of Gamblers played at the Orpheum Theater, a prominent downtown venue. The film was also shown at the neighborhood theaters like the Beverly (now owned by Quentin Tarantino), Egyptian, and Village, as well as the Figueroa and Larchmont, where the film was paired with Go-Getter, a Busby Berkeley film whose stars were coincidentally listed as Brent – Louise (George and Anita).

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2023. Further unauthorized use prohibited. 

Saturday, May 3, 2014

King of Gamblers - A round up of reviews

King of Gamblers was officially released on this day in 1937. The film is an underworld crime drama about the slot-machine racket and the crusading reporter who uncovers it. The film was sometimes referred to and was shown under the title Czar of the Slot Machines. [This 1937 film should not be confused with a later release, King of the Gamblers, from 1948.]

The film stars Claire Trevor (as nightclub singer Dixie Moore), Lloyd Nolan (as reporter Jim Adams), Akim Tamiroff (as gangster Steve Kalkas), Buster Crabbe (as Eddie), Helen Burgess (as Jackie Nolan), Evelyn Brent (as Cora), and Natalie Moorhead (as woman at table). Scenes with Louise Brooks playing the role of Joyce Beaton were cut, and it is not known if they still exist.

Though only a "B" picture from Paramount, King of Gamblers was given "A" treatment by noted director Robert Florey. The film was based on a story by Tiffany Thayer, who is best known today for his novel Call Her Savage, the basis for the 1932 Clara Bow film, as well as for being a founder of the founder of the Fortean Society. King of Gamblers was scripted by Doris Anderson with uncredited contributions by Ben Hecht and Charles MacArthur.

With its expressionist flourishes, King of Gamblers might be considered an early example of film noir (attention Eddie Muller). When first released, the film was both praised and condemned. Some noted its realism, while others thought it too violent. Here is a round up of magazine and newspaper reviews and articles drawn from the Louise Brooks Society archive.

Evelyn Brent and Louise Brooks pose for a
publicity photo for King of Gamblers

author unknown. Hollywood Reporter, April 13, 1937.
--- "This is an excellent crime melodrama on the program level that, without departing radically from established plot elements, progresses by so much fresh and believable episode and builds for such high suspense that it will win general approval."

author unknown. Box Office, April 24, 1937.
--- "Given the benefit of superior production, this film is meaty but highly entertaining fare."

author unknown. Motion Picture Review, May, 1937.
--- "Such a picture as this has no constructive social value."

anonymous. "Monitor Movie Guide." Christian Science Monitor, May 1, 1937.
--- "Sociological aspects of the theme are quite overshadowed by melodramatics which may prove too violent for the more sensitive."

author unknown. Philadelphia Exhibitor, May 1, 1937.
--- "Above average racketeer story, this is packed with fast action, suspense."

Southern California Council of Federated Church Women. Fox West Coast Bulletin, May 8, 1937.
--- "Not wholesome. Waste of time."

anonymous. "King of Gamblers Exciting Film On Screen At Allyn." Hartford Courant, May 21, 1937.
--- "Three personalities who until a short time ago were among the obscurities of filmdom but are now definitely headed for the peaks of stardom, appear in the principal roles in King of Gamblers, the exciting, at times startling and occasionally almost too brutally realistic. . . ."

author unknown. National Council of Jewish Women, May 25, 1937.
--- "Excellent direction of a well chosen cast adds materially to this interesting expose of 'slot machine' racketeers."

C(risler), B. R. "At the Criterion." New York Times, July 3, 1937.
--- "Unscrupulous editing and the conscienceless substitution of camera angles and mechanical dissolves for ideas and genuine suspense have made a superficially presentable melodrama out of King of Gamblers at the Criterion."

Lusk, Nobert. "Unheralded Film Lauded by Broadways." Los Angeles Times, July 10, 1937.
--- "An unpretentious picture that tops in interest and appeal those which arrive on Broadway with benefit of ballyhoo."

anonymous. "A Brisk Drama Of Gamesters Clicks at Met." Washington Post, July 31, 1937.
--- "The cold chills and icy thrills of King of Gamblers make the Metropolitan air-conditioning quite superfluous. If you are one for hard-boiled homicides mixed in with your entertainment, this show will give you a good time and a half."

author unknown. "King of Gamblers, by Thayer, Racket Expose, Is at the Capitol." Atlanta Constitution, August 1, 1937.
--- "Tiffany Thayer, one of America's outstanding writers on crime and rackets, comes through with another winner in King of Gamblers, a during story of the slot machine racket as it exists in many cities, which opens a week's engagement at the Capitol theater...."

Friday, August 3, 2012

Hot August Nights at Niles Essanay with sexy Clara Bow and sultry Evelyn Brent

Things heats up in August at the Niles Essanay Silent Film Museum in Fremont, California. Known among early film devotees around the world, the venerable museum and theater is set to once again screen rarely shown early feature films (some not available on DVD), along with animated shorts, their regular "Comedy Short Subject Night" and Laurel & Hardy Talkie Matinee. What's causing the heat? How about sexy "It girl" Clara Bow and sultry Evelyn Brent. The latter appeared in two films in which Louise Brooks had a role: Love Em and Leave Em (1926) and King of Gamblers (1937). Here is the line-up for the month.

"Saturday Night at the Movies" with Judy Rosenberg at the piano
Saturday August 4 at 7:30 pm 

In Dancing Mothers (1926, Paramount), energetic "It girl" Clara Bow steals the show in this jazz age melodrama about societal expectations with a surprise ending. Penned by Edmund Goulding, and directed by Herbert Brenon, Dancing Mothers also features Alice Joyce, Conway Tearle, Donald Keith and Leila Hyams. A tinted version will be shown. The feature will be preceded by two shorts films, the animated Automobile Ride (1921, Bray) with Koko the Clown, and Dad’s Choice (1928, Paramount) with Edward Everett Horton.


"Saturday Night at the Movies" with Bruce Loeb at the piano
Saturday August 11 at 7:30 pm 

In Wild Beauty (1927, Universal), crooks attempt to effect the outcome of a horse race in order to take over a ranch - that's if Rex the Wonder Horse can be controlled. Rex, one of the most animal actors of his time, stars here as a wild horse smitten by a thoroughbred rescued from a World War I battlefield. Along with this bit of horse romance, there’s plenty of satisfying racehorse action in this major Universal Jewel production. June Marlowe, who played Miss Crabtree, the teacher in the "Our Gang" comedies, is featured. A tinted print of Wild Beauty will be shown. The feature will be preceded by two shorts films, Felix Wins Out (1923, Sullivan) with Felix the Cat, and Sword Points (1928, Lupino Lane Comedy) with Lupino Lane.

"Laurel and Hardy Talkie Matinee"
Sunday August 12 at 4:00 pm

This month's Laurel and Hardy Talkie Matinee features four comedic shorts, Them Thar Hills (1934) and Tit for Tat (1935), each with Stan Laurel, Oliver Hardy, and Mae Busch, and Forgotten Babies (1933) and For Pete’s Sake (1934), with Our Gang. 

"Comedy Short Subject Night" with Bruce Loeb at the piano
Saturday August 18 at 7:30 pm


Love to laugh? Then don't miss this  monthly program which features some of the most famous comedians of the silent era. On the bill are The Adventurer (1917, Lone Star) with Charlie Chaplin and Edna Purviance, Cops (1922, Buster Keaton) with Buster Keaton, Number Please (1920, Rolin) with Harold Lloyd, and Bacon Grabbers (1929, Hal Roach) with Stan Laurel and Oliver Hardy. 

"Saturday Night at the Movies" with Frederick Hodges at the piano
Saturday August 25 at 7:30 pm 

One of the surprise hits of the recently concluded San Francisco Silent Film Festival was Josef von Sternberg's The Docks of New York (1928). The director's atmospheric story of hapless souls straight out of a police line-up was downbeat, but moody and appealing. Add a dash of danger, and the same can be said for Underworld (1927, Paramount). Solid performances by George Bancroft, Clive Brook and sultry Evelyn Brent along with the sure directing hand of von Sternberg makes this gangster melodrama a classic. Preceding the feature are two shorts, the animated Cartoon Factory (1924, Out of the Inkwell) with Koko the Clown, and Limousine Love (1928, Roach) with Charley Chase.


For more info: The Niles Essanay Silent Film Museum is located at 37417 Niles Blvd. in Fremont, California. For further information, call (510) 494-1411 or visit the Museum's website at www.nilesfilmmuseum.org/.

Friday, February 5, 2010

Considering Evelyn Brent

Of all the actors and actresses with which Louise Brooks worked, only a few appeared in more than one film with the Kansas-born star. They include Adolphe Menjou in A Social Celebrity (1926) and Evening Clothes (1927), Wallace Beery in Now We're in the Air (1927) and Beggars of Life (1928), Richard Arlen in Rolled Stockings (1927) and Beggars of Life (1928), and Evelyn Brent in Love Em and Leave Em (1926) and King of Gamblers (1937).

Based on a popular stage play of the time, Love Em and Leave Em is an entertaining film which proved equally popular with movie goers. It's quite good, as is each actress in their roles as sisters. The proto-noir King of Gamblers (alternately known as Czar of the Slot Machines) is also recommended, though Brooks' role was cut from this Robert Florey-directed crime drama and Brent only appears briefly. [The image of the two actress pictured here dates from 1937. It was a publicity still taken at the time each were working on King of Gamblers.]

If you ever have the chance to see either of these Brooks-Brent pairings, don't miss out.  Evidently, Brooks herself felt there was something special about Brent. In 1975, Brooks penned a brief, little known essay titled "Stardom and Evelyn Brent" for the Toronto Film Society. The essay has yet to be published in a book.

Recently, the McFarland publishing company issued Evelyn Brent: The Life and Films of Hollywood's Lady Crook, by Lynn Kear and James King. This 300-page work - which includes a forward by Kevin Brownlow, tells the remarkable story of a remarkable actress whose personal life and professional career paralleled that of Brooks' own.

In his review of this new book, film historian Anthony Slide (whose work I appreciate) evokes Brooks' reputation in relation to Brent's. In reviewing the book, Slide states that this new book ". . . . looks at the career of one of the most coldly beautiful and very up-to-date in terms of her good looks and restrained performances of silent actresses. No, I am not talking about Louise Brooks. The latter is not quite frankly as talented an actress, and certainly does not boast a career as long as that of the lady to whom I refer."

Anyone familiar with the up and down trajectory of Brooks' life and career will feel on familiar ground in reading Lynn Kear's new book. 

The publisher encapsulates this new book this way: "Evelyn Brent's life and career were going quite well in 1928. She was happily living with writer Dorothy Herzog following her divorce from producer Bernard Fineman, and the tiny brunette had wowed fans and critics in the silent films The Underworld and The Last Command. She'd also been a sensation in Paramount's first dialogue film, Interference. But by the end of that year Brent was headed for a quick, downward spiral ending in bankruptcy and occasional work as an extra. What happened is a complicated story laced with bad luck, poor decisions, and treachery detailed in the first and only full-length biography." Like I said, anyone familiar with the up and down trajectory of Brooks' life and career . . . .

Evelyn Brent: The Life and Films of Hollywood's Lady Crook is half biographical study and half filmography. It's packed with details, and a few images. Any fan of Louise Brooks will want to check it out - as it does contain a good number of references to Brooks and the two films Brooks and Brent made together. Kear, who authored an earlier book on Kay Francis, has done a more than worthwhile job in telling Brent's remarkable story. Evelyn Brent is available on-line and through the publisher.
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