After Police Captain Dan McLaren becomes police commissioner former detective Johnny Blake knocks him down convincing rackets boss Al Kruger that Blake is sincere in his effort to join the ... See full summary »
Edward G. Robinson,
Frank Taylor joins the "pro-American" Black Legion when he loses his chance at foremanship to a foreign-born man. The organization is a sort of Ku Klux Klan in the industrial sphere. Frank has troubles with his wife over this and causes serious trouble when he tells all to his best friend Ed Jackson. Written by
Ed Stephan <firstname.lastname@example.org>
The location used for the machine shop is actually the real Warner Brothers machine shop, which still exists and can be seen today on tours. See more »
A newspaper clipping names Clifford Soubier's character as Michael F. Grogan. However the letter earlier refers to him as Michael P. Grogan. See more »
[reading the Black Legion oath]
In the name of God and the Devil, one to reward and the other to punish, and by the powers of light and darkness, good and evil, here under the black arch of Heaven's avenging symbol, I pledge and consecrate my heart, my brain, my body, and my limbs and swear by all the powers of Heaven and Hell to devote my life to the obedience of my superiors and that no danger or peril shall deter me from executin' dere orders. That I will exert every possible means in ...
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Humphrey Bogart is first-rate in this thinly disguised story of the Ku Klux Klan and how it plays on the fears and prejudices of the poor and uneducated (and how it's run by the well-to-do and educated, a point often missed by reviewers). Bogart plays a factory worker who was expecting a promotion, only to see it go to a "foreigner" (in this case, a Pole--and, by implication, a Jew, which is where the Klan gets involved). Angry, resentful and worried about his future, Bogart gets caught up in a racist, Klan-like group called the Black Legion, which, in the manner of all fundamentalist right-wing terrorist groups, proclaims its patriotism and its "defense of God and country" against "dirty foreigners." The interesting thing about this film is that it really doesn't blame Bogart's character for what eventually happens; he's just a pawn in the political agenda of the right-wing business and political interests who actually control the group. Warner Bros. was known for its muckraking films, and this is one of its better ones. It took guts for Warners to make this type of picture during this particular period in American history; there was a strong resurgence of Ku Klux Klan activity all over the country--there was even a Klan parade, with thousands of hooded marchers, that passed directly in front of the White House in Washington, DC--and lynchings and racial murders were skyrocketing, especially in the South. While maybe not as strong as some would have liked, the picture still radiates the Warner Bros. passion for the underdog, and they did a good job here. Strong performances by the principals, tight direction by Archie Mayo and the usual Warner Bros. grit make for a first-rate film. Highly recommended.
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