The East Side Kids find a young girl in the apartment of a man who has just been murdered. Believing her to be innocent, they hide her in their clubhouse while they try to find the real ... 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 »
East Side Kids: Fighters Danny Breslin and Muggs McGinnis, once boyhood chums, have drifted apart. Policeman Tom Brady - because his own former friend fell into a life of crime and got the electric chair - takes rough and tumble Muggs under his wing to turn the lad's life around, but Danny, brother of Mary Breslin (whom Tom plans to marry), is also at risk. Everyone believes studious Danny is on his way to being president someday, but while Tom's focus goes toward putting Muggs on the straight and narrow, ambitious petty criminal Monk Martin's been working slyly on steering Danny into a life of crime. Adding a little complication, racketeers get involved, trying to set up a fixed fight with Muggs. Written by
The failure of the original copyright holder to renew the film's copyright resulted in it falling into public domain, meaning that virtually anyone could duplicate and sell a VHS/DVD copy of the film. Therefore, many of the versions of this film available on the market are either severely (and usually badly) edited and/or of extremely poor quality, having been duped from second- or third-generation (or more) copies of the film. See more »
[praising Muggs' fighting ability]
You're gettin' so good, you even got your shadow scared.
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This East Side Kids melodrama introduces Huntz Hall, one of the original Dead End boys, to this series, and quaintly casts Keye Luke, Charlie Chan's "Number One Son" as a pool hall manager (named Clancy!), but each performer plays only a small role in this story of Muggs McGinnis (Leo Gorcey) and his gang. Released before the U.S. entry into WWII (ergo the Teutonic title), the film is devoid of the customary wartime propaganda that the series featured, but it is also shorn of the snappy ad libbing that caught the Gotham flavour of most of these affairs, and we must settle for a rapidly moving but largely uninvolving account of Muggs' decision to go straight amidst the usual background of the fight game and gangsters.
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