A street kid has dreams of becoming a jockey. He gets his chance when he and his gang discover a poor old man who has a championship race horse. The man agrees to let the boy ride his horse... See full summary »
Danny helps to capture a wanted criminal and receives a $200 reward. However, he has a falling out with the gang when they believe he should share the money with them. Complications ensue ... See full summary »
EastSide boxing champion (Leo Gorcey) has been challenged to fight the West Side champ but is kidnapped before the match. Leo's friend (Bobby Jordan) takes his place and wins the fight only... See full summary »
The boys are sent to a mountain camp. Stranded in a small rural town, they hear about a "monster killer" roaming the countryside. At night, they sneak out. Peewee is shot by a grave-digger,... See full summary »
A street kid has dreams of becoming a jockey. He gets his chance when he and his gang discover a poor old man who has a championship race horse. The man agrees to let the boy ride his horse in a race, but first the gang must get enough money to pay for the race's entry fees. Written by
That Gang of Mine was the second Monogram East Side Kids movie and was the first to feature Leo Gorcey as Muggs, the archetypal character he would play uninterrupted for the next seventeen years. Thanks to his small stature, he gets roped into jockeying in this episode, and while the narrative is no more complex or interesting than in any of the other series entries, the film has points of interest. First and foremost is the direction of Joseph H. Lewis, the 'B' specialist who is remembered today for Gun Crazy and The Big Combo. Lewis does his best to create interesting moments in the film, notably during an opening sequence atop a swaying gangplank. Also of considerable interest is the third billed presence of Clarence Muse as Ben, the African-American trainer of the horse Muggs' is going to ride. Whilst his role isn't entirely free of the racial stereotyping of the period, Muse is such a fine actor that he inevitably rises above it, offering perhaps the finest acting performance of ANY of the post-Warners East Side Kids/Bowery Boys productions. It's also worth noting that Sam--the analogous character in the recent Hollywood production Seabiscuit--has virtually no dialogue and simply follows orders. Things really haven't changed as much as we'd like to think they have.
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