Heroes in Blue

You readers know the plot already from the previous reviews, but you will enjoy this if you take it for what it is. If you are inside due to the pandemic, cuddle up on the couch with the lights off with your girlfriend and some Orville Redenbacher's and your favorite soft drink and enjoy. The round faced, well-fed Purcell was always unspectacular and workmanlike (including being the fattest superhero ever in Captain America) but he was always just there and delivered solid performances as in "King Of The Zombies" and he does his job here.

Heroes in Blue is a heartfelt and compact slice of Americana from Hollywood's golden age, delivering an earnest portrait of law enforcement and family ties during a time when cinema leaned heavily into moral clarity.

With a runtime that respects your time, this film centers around integrity, tradition, and the pressures of upholding both in a rapidly changing world. The central characters - anchored by a family legacy in blue - are portrayed with sincerity, and the script wastes no time getting to the emotional stakes.

While the production is modest, it carries a surprising emotional weight. The film doesn't rely on action spectacle, but rather on human dilemmas and quiet moments of tension. Its black-and-white visuals, paired with a stirring score, give the film an air of solemn dignity.

It may not be well-known today, but Heroes in Blue holds its own as a respectful, grounded drama. Fans of pre-war police stories and classic studio-era morality tales will find something genuine here.

HEROES IN BLUE is a standard Monogram programmer about a cop and his criminal brother. The plot sees the brother accused of murder thanks to the wiles of an evil gangland boss who seems to have his claws into most of the family. The cop strives to right these injustices but of course the cards are stacked against him.

There's little of interest in this production. The plot plays out in a familiar way and the characters are quite dull and uninteresting, failing to gain the viewer's interest at any point. Sure, the genre trappings are always fun, but HEROES IN BLUE is so cheap and lacking in thought that you won't remember it a day after watching.

The Murphys of Heroes In Blue are closer to the old sod than the Reagans of Blue Blood. But I think these two Irish American police families probably have a lot in common though God knows the Murphys haven't disregarded the brogue.

One episode of Blue Bloods probably costs twice as much as this no frills programmer from Monogram did back in 1939. Frank Sheridan is retired and doing private security work in the warehouse district in Hell's Kitchen and he and Lillian Elliott raised two sons, Dick Purcell who's on the police force and Charles Quigley who works for a trucking company headed by Edward Keane.

But the company is a blind for a man with his fingers in a lot of rackets. One of them is fixing horse races and when Quigley fails to get down a bet for Keane that sets in motion a series of events that leads to tragedy for the Murphys.

This is Monogram from Sam Katzman so don't expect much. But between the bad editing and lack of direction this is not too bad a film coming out of that poverty schlock factory. It's a decent story and even Sheridan's brogue rings true.

Worse has come from Monogram.

The plot's familiar but pretty well done. Dad and one son Terry are cops, while the other son Joe is drifting into crime. Naturally, this sets up not only legal conflicts but family ones as well. I like that early scene around the breakfast table where the badinage flies thick and fast giving us a sense of the colorful Murphy family. From there, loyalties are strained as Joe, and Dad, get more involved with gangster Moran.

The acting is pretty good. As Terry, Purcell gets top billing, but it's really Quigley's Joe who gets more camera time and chance to emote. But then it's the old Murphy folks, actors Sheridan and Elliott, who steal the show in subdued fashion. Low-budget Monogram's cost cutting shows up in the many darkened scenes, especially the shortened city street where no cars pass. Nonetheless, it's a decent, if unexceptional, time-passer.