Idade Perigosa

This astonishing William Wellman film from mid 1933 is simply a masterpiece of neo realist cinema. Histroy raves about THE BICYCLE THIEVES and THE GRAPES OF WRATH but in 1933 years before those excellent struggle films of social decay and recovery came this absolutely riveting mini epic of hobo teens on freight trains battling every social and climate element to survive. the pristine DVD available now will truly amaze you. Crystal clear camera imagery akin to the magnificent black and white books from Ansell Adams, but as a 1933 film. Along with I WAS A FUGITIVE FROM A CHAIN GANG made a year or so earlier, you could not find a more heart-wrenching and emotionally stirring depiction of the brutal reality and its effect on the human spirit imaginable. These early 30s WB Vitaphone talkies should be hallowed as genuine social pop art of their time and rightly recognized as an irreplaceable depiction of an era and a humanity for film students and anyone studying the 20th century. The scenes aboard the roofs of the freight trains, the magnificent clear sharp black and white photography and the sheer bravery of the production let alone the lives depicted makes WILD BOYS OF THE ROAD one of the most rewarding films of any genre you could imagine discovering. And Frankie Darro! What a magnetic teen star he was.... All thru the 30s and 40s in films like BOY SLAVES and BOWERY BOY films and even ANGELS WITH DIRTY FACES the ideas here were recycled and exploited... but the absolute pinnacle of the genre is this 1933 film WILD BOYS OF THE ROAD.

`Wild Boys of the Road' is another fine example of the spare storytelling prevalent in the 1930's-- before egos, the demise of double features and the birth of multiplexes conspired to inflate movie running times to over two hours. Wearing its heart on its sleeve at times, Wellman nevertheless creates a story in true Warner Bros fashion--grim reality washed down with a dose of social commentary. One wonders if the rosy ending was considered necessary because of the age of the protagonists involved. Downbeat endings were certainly in evidence during that time from Warners: as the denouement of `Public Enemy' will bear witness. As the young tramps ride the rails, Wellman infuses the scenes with such energy and dynamism as to render them almost euphoric, despite the somber subject matter. As a veteran flyer from World War I, he seemed especially adept at combining humans we care about with dangerous, hurtling machines. And pre-code shocks abound-in addition to the implied rape and dismemberment, it seems apparent that young Sally's aunt, in Chicago, has established a business of dubious respectability in her own home, just before the kids fly the coop to avoid a police raid. Striking location photography.

"Wild Boys of the Road" released by First National/Warner Brothers Pictures in 1933, is a harrowing story of a group of teens who hit the road in Depression-ridden America. It is 1933, and the whole country is mired in poverty, with millions losing their jobs. There was no social safety net just yet -- no unemployment insurance, no food stamps, etc. When you lost your job, you had nothing. Actors Frankie Darro and Edwin Phillips shine in this story of two teens who are forced to hit the road when both their families lose their jobs. They feel with one less mouth to feed, their families will be better off. Both of them hop the railroad cars, seemingly to nowhere, and soon are joined by many others doing the same thing. There is a charming girl (Dorothy Coonan) disguising herself as a boy. She is tough because she has to be to survive. Soon they are joined by hundreds of others. They live in squalid camps, fight the police, and scrounge daily just to feed themselves. All of the actors are good ones, and the living conditions are not prettied up. This is where Warner Brothers as a studio showed realism where other studios felt most Americans just wanted glamor to escape their troubles. The ending of the film is a bit unrealistic, as a sympathetic judge decides not to incarcerate the teens after they ran from the police and racked up charges (not likely!). But, this is still a gem of a film, and it never really seemed to get the recognition it deserved. William A. Wellman, the master director, gave us this and many other wonderful films.

Wild Boys of the Road (1933)

*** 1/2 (out of 4)

William A. Wellman directs this Depression era drama about two boys (Frankie Darro, Edwin Phillips) who run away from home and jump on the railroad route in hopes of finding a job so that they can help their families back home. Once again there must have been something inside of Wellman because there's a lot of passion in this film aimed at the poor who must do what they can to try and survive. This is a very hard hitting film that looks at this kids in a very serious light and it makes for a terrific little gem that deserves more attention than it's gotten within film history. Both Darro and Phillips are terrific in their roles and the chemistry they offer is great. Wellman's future wife, Dorothy Coonan, is also very good in her role as the boys buddy. The first twenty-minutes of the film shows the boys as normal teenagers but then we see their parents lose their jobs and thus forcing them to hit the road. This set up really sells the rest of the film and it also helps us see the suffering they're going to go through for the rest of the film. Wellman does a great job with the tender side of the story as well as a couple great fight sequences where they boys attack some railroad police as well as a rapist. Darro has a bit of Cagney in him and his performance here seems to have had a major influence on what we'd eventually see from The Dead End Kids.

The only studio in Hollywood that acknowledged that there was a Depression out there for the most part was Warner Brothers. It was only from this studio that Wild Boys Of The Road could have been made and done as well as it was.

The story and the situation is what puts this film over. There are no stars in Wild Boys Of The Road although some of the players eventually got reputations as competent character actors. The most well known person in this film would have to be Ward Bond playing the part of the train brakeman who sees that one of the Wild Boys is actually a girl and rapes her. Bond in his early days did play thugs like these for the most part.

The generation that proceeded me lived through the Great Depression. My uncles were in their teens at the time this film was made. In fact one of my uncles before he died told me how he left school and went to work on a farm in Brockport owned by the husband of my grandmother's cousin. He considered himself incredibly lucky to even get that kind of work even from family. Both of them could easily have been part of the gang of homeless youth.

The film centers on three of them, Frankie Darro and Edwin Phillips, a pair of kids from small town USA in the west somewhere are both up against it. Darro's father is laid off and Phillips's has died, leaving both families right on the poverty line as they would be described today. Darro and Phillips take off for the east and along the way meet up with Dorothy Coonan who is in drag for her own protection, rightly so as she finds out later. The film concerns their adventures on the road, the railroad to be precise as they catch rides aboard freight trains with an eye out for the railroad police.

Curiously enough one Hollywood star was living just this kind of life at this point. Robert Mitchum and his brother John would have been teens at this time and also left home to find any kind of work. His memories, should his widow Dorothy ever divulge them, could make the basis for another Wild Boys Of The Road.

Note in the climax scene in the courtroom where Darro, Coonan, and Phillips are before Judge Robert Barrat who usually was a bad guy in films, but is a sympathetic judge here, the Blue Eagle symbolizing the National Recovery Administration. It was one of the first initiatives of the New Deal and its presence in the film is a symbol of hope for these kids. But later on a more substantial program directly aimed at these youths was passed right around the time Wild Boys Of The Road would have been in theaters.

The Civilian Conservations Corps which took homeless kids off the streets and put them to work beautifying America's National Parks and a lot of other rural area would have been home to Darro, Phillips and the whole rest of the railroad freight hoppers. Back then liberal was not a dirty word and it was all right for government to care about the welfare of its citizens. The CCC was one of the best of the New Deal programs and it lasted all the way until World War II was declared.

And it's to the CCC which provided real salvation for so many youths of the time like Darro, Phillips and the rest that this review is respectfully dedicated to.