Two mischievous schoolboys, Penrod and Sam, are constantly in trouble at school. They start their own club, the In-Or-In club, of which they are the only members. Two of their schoolmates, ...
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Two mischievous schoolboys, Penrod and Sam, are constantly in trouble at school. They start their own club, the In-Or-In club, of which they are the only members. Two of their schoolmates, Georgie and Rodney, want to get into the club but are not allowed because they're always ratting out Penrod and Sam to the adults, and getting them in trouble. However, George's father complains to Penrod's father about it, who tells Penrod that they must admit the two boys. Penrod and Sam decide that if they're being forced to accept the two stool pigeons, they'll make them pay for it. Written by
In September 1928, Warner Bros. Pictures purchased a majority interest in First National Pictures and from that point on, all "First National" productions were actually made under Warner Bros. control, even though the two companies continued to retain separate identities until the mid-1930's, after which time "A Warner Bros.-First National Picture" was often used. See more »
Some fine acting, by adults and children alike enliven this screen version of Booth Tarkington's novel in his Penrod series about ordinary kids living ordinary lives. The humor is nicely done and low-key, in the style of Roach's OUR GANG series and features some excellent comedy performances by such adult actors as Johnny Arthur and the great Zasu Pitts and, interestingly, the director's daughter as Penrod's older sister, Marjorie -- the serial numbers were rubbed off a couple of decades later for a couple of Doris Day movies, BY THE LIGHT OF THE SILVERY MOON and ON MOONLIGHT BAY.
The time of the story is advanced from the 19th century milieu of the stories to a contemporary setting. It might be interesting to see a version of the stories set in the era they were intended to represent, but the people involve have a certain timelessness about them.
Of more interest is the director, William Beaudine, whose career would go from directing Mary Pickford in the 1920s, to slide in the 1930s, until he wound up directing Bowery Boys features and ended his career in the 1960s directing such films as JESSE JAMES VERSUS DRACULA'S DAUGHTER. Like Alan Dwan, he was one of the leading silent film directors who kept their heads down in the sound era and worked forever. Here, equipped with a decent budget, script and actors, he turns out a fine little movie. It is on the tame side for modern tastes, but it has its charms. Give it a try.
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