From Dead End Kids to Bowery Boys with Several Other Monikers in Between

Posted on by E Curb Nottus
Cinema, Economic history, Memorabilia, Performing arts
Little Rascals (aka “Our Gang’), 1938 (photo: Silver Screen Collection /Getty)

As a kid I developed a liking for “Our Gang” comedies, a series of American short films about a gang of poor, mainly white (but including black) children. I enjoyed the good-natured tomfoolery and minor mischief perpetrated by the juvenile gang members, particularly Spanky, Alfalfa and Buckwheat. I’m thankful that I was exposed to the “Our Gang” shorts🅐 as it pointed me towards another cinema series about the same demographic that became part of my standard viewing fodder – the Dead End Kids series of movies and its successors.

The “53rd Street Gang” in their playground

While the antics of “Our Gang” were unadulterated if sentimentalised fun, I came to prefer the more serious tone and developed storylines of the “Dead End Kids” (DEK) movies. The early movies were starkly realistic, and this was realism of the grittiest kind, rooted in the unforgiving here and now of grim slum life in America’s depression era. These kids were dirt poor, locked into a daily struggle for survival, taking every opportunity, fair or foul, to fleece or steal from anyone or anything that presented itself. At the same time their brutal experience had made them rebels with a cause – the inequities of capitalist America…impoverished slum boys who never missed a chance to decry or one-up the “better-offs” in society.

Where it started: Dead End (1937)

The Kids from Dead End: The DEK phenomena had its genesis in a 1935 Broadway play, Dead End🅑, by Sidney Kingsley, featuring a cadre of young actors which would go on to form the nucleus of the gang in the movie series: Billy Halop, Bobby Jordan, Gabriel Dell, Huntz Hall, Bernard Punsley🅒 and the Gorcey brothers, Leo and David. The play was successful, running for two years, Hollywood mega-mogul Samuel Goldwyn saw the show and was immediately impressed. Goldwyn bought the film rights and made Dead End as a United Artists feature film in 1937, co-starring the Kids alongside Humphrey Bogart. The film was a hit but the boys caused havoc during the production, crashing a truck into a soundstage, prompting an annoyed Goldwyn to unload them to Warner Brothers.

Angels With Dirty Faces: the Dead Enders plus James Cagney in a gangster melodrama (source: alchetron.com)

Warners Bros’ crime school graduates: At Warner Brothers the Dead End Kids made six features, typically in supporting roles to big stars (Ronald Reagan, Jimmy Cagney, Pat O’Brien, Anne Sheridan, John Garfield and Bogart). In They Made me a Criminal (1939) starring Garfield, the Kids don’t make an appearance until 25 minutes into the film. The Warners’ series followed the studio’s formula of serious social crime dramas with the Kids heavily involved in the plot and also lending some comedy relief (‘Dead End Kids’, www.boweryboys.bobfinnan.com). Billy Halop was acknowledged as the leader of the gang and was purportedly paid more than the other boys, leading to some bad feelings within the group. Despite the DEK success at Warners the studio was disenchanted with the group’s off-camera antics (more impromptu hell–raising) and released them from their contracts after their sixth film.

Sea Raiders (1941): emphasising the interchangeable nature of the group’s various names, Universal tended to use the double-billing, “Dead End Kids” and “Little Tough Guys”, in their advertising

Little Tough Guys: Universal decided to get in on the act, cashing in on the DEK’s appeal with its own (B–movie) series. Billing the gang as the “Little Tough Guys”, Universal made 12 features in the late 1930s–early 40s, featuring at one time or other all of the original Kids except Leo Gorcey. Shemp Howard, one of the popular “Three Stooges”, appeared in two of the LTG movies, and was acknowledged by Huntz Hall as an influence on the slapstick style of comedy that the group later developed.

East Side Kids: The Dead End Kids morphed into a new incarnation called the “East Side Kids” in a series made by Monogram Pictures. These were 22 films made as low-budget imitations of the DEK movies, initially crime melodramas with comedic overtones, but as the series evolved, the comedy angle took greater emphasis. With Halop gone by this time, Leo Gorcey and Bobby Jordan were now the gang leaders. As the series progressed, the comedy duo of wise guy Leo Gorcey and zany but dim Huntz Hall became the focus in films like Million Dollar Kid and Spooks Run Wild (a horror comedy headlined by an ageing Bela Lugosi) (www.boweryboys.bobfinnan.com). As a variation on the usual criminals that the boys routinely cross swords with, in Let’s Get Tough (1942) they find themselves this time trying to foil Nazi and Japanese saboteurs in the US. A black former child actor of the original Our Gang movies “Sunshine Sammy” Morrison and William (“Billy”) Benedict were added to the ESK retinue of scruffy working class street kids.

Spooks Gone Wild (1941): East Side Kids v Dracula

Bowery Boys: Stoogesque slapstick and streetwise Abbott and Costello In 1945 the ESK series folded and was replaced by yet another name for the team of screen performers, the “Bowery Boys”🅓. Leo Gorcey this time had an enhanced stake in the enterprise, owning 40% of the production company🅔, acting as producer and contributing to the script. Gorcey also brought his father Bernard to the films’ players. Bobby Jordan left the series again and Gabriel Dell returned. The interaction of Leo Gorcey, with his malapropism-prone utterances as “Slip”, and Hunt as dim-witted sidekick “Sash”, continued to provide the central plank of the humour. The Bowery Boys series—made by Allied Artists, successor studio to Monogram—comprised 48 movies in all. The early efforts continued the standard fare of gangster melodrama, but after “Three Stooges” director Edward Bernds started directing Gorcey and Co, the films resorted more to slapstick comedy, Three Stooges-like wordplay and occasionally to fantasy themes (‘The Bowery Boys: Anything But Routine’, Ivan G. Shreve, Jr Classic Flix, 19-Sep-2013, www.classicflix.com). Abbott and Costello’s influence is also evident, there are obvious echoes of Africa Screams in the Bowery Boys’ Jungle Gents (1954) (‘Dead End Kids’ found new life as ‘Bowery Boys’, Jim Willard, Loveland Reporter-Herald, 07-July-2018, www.reporterherald.com).

Bowery Boys Meet the Monsters (1954): several movies in the series sought to capitalise on the public’s craze for horror/monster movies

By the time the final Bowery Boys film In the Money is made in 1958, the series is looking tired, stale and frayed…only Huntz Hall and David Gorcey remain of the originals (Leo’s ongoing bouts with the demon alcohol saw his forced departure in 1956, replaced by Stanley Clements), the “Kids” were now middle-aged, hardly juvenile delinquent material, and their screen work lacking the verve and punch of earlier days.

In the Money (1958): ageing juvenile delinquents
🅐  syndicated for television in the 1960s as The Little Rascals

🅑 the “Dead End” tag came from the inscription on the road sign at the river’s edge in the original, 1937 film

🅒 Punsly was the odd one out among the “young punk” band of actors, he stayed in the DEK/ESK series only till 1942 (notching up 19 films) before leaving show biz for good to become a successful physician (later chief of staff at a private hospital in LA)

🅓 the Bowery is a street and neighbourhood in Lower Manhattan, NYC

🅔 Huntz Hall held 10% himself

Werewolves in Folklore and on Screen: Full Moons, Supernatural Curses, Wolf Belts and Silver Bullets

Posted on by Sloane Snodgrasse
Cinema, Popular Culture, Social History, Society & Culture

When it comes to Hollywood horror cinema, zombies, vampires and Frankensteinish monsters seem to take pride of place in the Pantheon of celluloid supernatural “baddies”. The werewolf𝟙 on the other hand has tended to be find himself assigned to a backseat in the screen horror caper, often consigned to a secondary role, “second banana” to some other omnipotent monstrous brute, eg, as in Frankenstein Meets the Wolf Man (1943)𝟚.

Wolfmania ⌖ ⌖ ⌖ Cinema-goers got their first glimpse of werewolf horror in 1935 in a Universal film called Werewolf of London…storyline: an English botanist contracts lycanthropy after being bitten by a Tibetan werewolf, result, werewolf terror in London. But it was another Universal movie six years later, The Wolf Man𝟛, written by Curt Siodmak, that elevated the werewolf character to horror flick star status, making its star Lon Chaney Jr into an icon of the genre. The Wolf Man is a sympathetic “portrayal of a man who has no power over the raging beast within “ (Jim Vorel, ‘The 100 Best Horror Movies of All Time’, Paste, 5-Oct-2022, www.pastemagazine.com.

Chaney & Evelyn Akers in ‘The Wolf Man’

The premise in The Wolf Man and its various spin-offs is that the main character (Larry Talbot) is transformed into a therianthropic (hybrid) wolf-like creature, the result of either a curse or a bite or scratch. The film popularised many of the planks of werewolf mythology. The lycanthrope’s metamorphosis is triggered by a full moon; the werewolf is killed only by a silver bullet; the protagonist’s silver-headed walking cane, etc. Although there has been werewolves depicted on the silver screen before The Wolf Man, Chaney’s portrayal was “the incarnation that solidified much of the (werewolf) lore as we know it today” (‘The Werewolf Classic That Defined A Genre’, Stephanie Cole, Nightmare on Film Street, 28-Jan-2019, www.nofspodcast.com).

The Wolf Man formula was eminently copyable…Chaney reprised his Wolf man role in a sequel Frankenstein Meets the Wolf Man, described as Universal’s first “Monster Mash”𝟜 (‘Frankenstein Meets the Wolf Man’, TV Tropes, www.tvtropes.org), and then in 2010 there was a remake of Wolf Man with Benicio Del Toro in the title role. All three movies are serious flicks, straight-up pure horror movies. Many other Hollywood versions of the werewolf legend however have been out and out comedies or horror/comedies. Box office-topping comedy duo of the Forties and Fifties Abbott and Costello were unenthusiastic about a Monster Mash movie, however the producers wanted to exploit the emerging screen popularity of “Franky” and “Wolfie” – the result: Abbott and Costello Meet Frankenstein (1948) (with the Wolf Man thrown into the mix). The movie didn’t radiate much joy with the critics but proved a massive hit with fans, spawning a series of Abbott and Costello horror-themed comedies.

One werewolf comedy-horror flick emanating out of Hollywood that has scored some critical kudos is John Landis’ 1981 An American Werewolf in London 𝟝. The film’s successful blending of comedy and humour and its innovative if grisly makeup made it a cult classic and a box office triumph, returning over ten times its original outlay. More blandly prosaic is Teen Wolf (1985) with Michael J Fox as an average high school kid who shape-shifts into a werewolf. Described as a romantic, coming-of-age fantasy movie, it got mixed reviews but struck gold at the box office, taking in over $US80 million on a budget of just $US1.2 million.

Folklore: Werewolves in the popular psyche⌖ ⌖ ⌖ The werewolf may have been a subject for fun and even derision in the world of cinema, but in past times it has been viewed with total seriousness, especially in Europe. The genesis of the werewolf legend is nebulous, but the notion of a human taking a (malevolent) animal form is millennias old. Depictions of and references to men taking on a lupine appearance goes back to antiquity. From Medieval times folklore-driven fear of the werewolf was common in Europe and led to werewolf panics, especially in areas such as France and Germany which contained large populations of wild wolves (“A German Werewolf’s ‘Confessions’ horrified 1500s Europe”, Isabel Hernández, National Geographic, 13-Oct-2022, www.nationalgeographic.co.uk).

While Hollywood favoured the view that potent curses, wolf bites and full moons were the transformative agents for human to werewolf form, German folk tales from centuries ago reveal that all a man needs to do to turn into a ravaging lupine monster doing the Devil’s work is to don a belt or strap made from wolf’s fur (‘Werewolf Legends from Germany’, edited & translated by D.L. Asliman, www.sites.pitt.edu).

Lycanthropy/witchcraft nexus ⌖ ⌖ ⌖ In the Late Middle Ages and Early Modern era the hunting down and persecution of alleged werewolves and alleged witches to some extent went hand-in-hand. It was not uncommon for people accused of being witches by the church to be vilified for supposedly also being werewolves. The supposed ability of both to “shapeshift” seems to be at the nub of this guilt by association (‘Werewolves and Witchcraft’, Danny Sargent, Llewellyn, 13-Oct-2021, www.llewellyn.com).

London pamphlet (1590), primary source for Stumpf trial

Werewolf of Bedburg ⌖ ⌖ ⌖ If you were outed as a putative werewolf in this age of werewolf hysteria you could expect swift and savage, even barbaric, retribution from inquisitors, witchfinder-generals and other coercive control mechanisms of the state. One of the worst instances came from the Nordrhein-Westfalen region of Germany in the late 16th century. Peter Stumpf (or Peeter Stubbe), an alleged serial killer was accused and tried for werewolvery, witchcraft and cannibalism in 1589. Stumpf’s execution was one of the most brutal recorded – torn apart limb by limb on a wheel, beheaded and his body burned𝟞. Stumpf may or may not have been a serial killer𝟟, what he wasn’t is a werewolf. The wealthy farmer’s “confession” was extracted under torture and there is a suggestion that he might have the victim of political sectarianism. At a time of heightened Catholic/Protestant antagonisms, Stumpf is believed to have been a convert to Protestantism, so it may have been payback (‘Peter Stumpp: The Werewolf of Bedburg’, Darcie Nadel, Exemplore, 17-Aug-2022, www.exemplore.com; ‘Zum Fall Peter Stump’, www.elmar-lorry.de).

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𝟙 Old English: “wer” + “wulf”, literally man/wolf

𝟚 not to neglect a raft of others, minor supernatural fiends on the big screen, such as The Invisible Man, The Mummy and Gillman

𝟛 highly commended for its special effects by makeup artist maestro Jack Pierce who had provided FX for earlier classics of the horror genre, Frankenstein and The Mummy

𝟜 a coming together of monsters

𝟝 influential critic Roger Ebert was a dissenting voice on the movie’s merits

𝟞 it was believed that burning was another of the very few ways a werewolf could be killed

𝟟 some suspected werewolves were serial killers

Ma and Pa Kettle on the Farm Again: Hillbilly Stereotypes in Film and Television

Posted on by funambulator@live.com
Cinema, Media & Communications, Social History

Hillbilly (noun) informal, chiefly derogatory: an unsophisticated country person [Oxford Dictionary of English]. Etymology: unknown, however the explanation favoured by Anthony Harkins is persuasive if not definitive – coming from the melding of “hill-fort” with “billie” (friend or companion) by Scottish highlanders [‘Hillbillies’, Encyclopedia of Arkansas History and Culture,www.encyclopediaofarkansashistoryandculture.net✱]

☋☊☋☊☋☊ ☋☊☋☊☋☊

The title of this blog references a popular 1950s movie series which neatly encapsulates the essence of the negative  stereotypes of the ‘hillbilly’ conveyed through cinema and television that the jaundiced eye of Hollywood has delighted in perpetuating over the decades – in the name of humour. “Ma and Pa Kettle” are two impoverished and uneducated but headstrong back-country bumpkins on a dilapidated wreck of a farm with 16 mostly out-of-control children (“Hen-pecked” ‘Pa’ is slow-thinking and pathologically indolent, singularly dedicated to the pursuit of the avoidance of any work; ‘Ma’ is a large and loudly haranguing woman and only one cog brighter than her not-intellectually-overburdened husband!). The characters made their visual debut in a 1949 movie The Egg and I (based on a novel by Betty McDonald) in supporting parts but proved so popular that Universal Studios elevated them to leads which segued into nine more films with titles like Ma and Pa Kettle Go to Town, Ma and Pa Kettle at the Fair and Ma and Pa Kettle at Waikiki ⌑
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In popular currency the notion of the hillbilly has an overwhelmingly pejorative connotation anywhere within the reach of American culture (ie, everywhere!), especially as a topic of discussion or comment outside the American South. The stereotype is deeply embedded in and has been perpetuated through the agency of American popular culture – in literature, there have been long-running hillbilly comic strips ridiculing country folk as basically “dumber than dumb”, especially seen in ‘Li’l Abner’ and ‘Snuffy Smith’ (at left). But the idea of hillbillies as backward, ornery and all the other negative connotations associated with them, has been nowhere more pervasive than on the celluloid screen, both big and small.

The Southern Appalachians ⬇️ ️️
The perception given by popular cinema and television comedy is that hillbillies can be found in a loosely defined geographical region somewhere in the American South. If need arises in a storyline to pinpoint their location more precisely, screenwriters will tend to locate them in mountainous areas, and if named it will usually be in one of two southern physiographic regions, either the Ozarks (extending over parts of Arkansas, Mississippi, Oklahoma and Kansas) or the massive Appalachians (several systems of mountains but usually “Appalachian hillbillies” are depicted as coming from Kentucky, Tennessee, Virginia and West Virginia, and (parts of) Ohio)✥.
The Ozarks (“Hillibilly haven”) ⬆️

The hillbilly trope
Hollywood, from the pioneering days of the film industry, has been happy to resort to negative stereotypes of the hillbilly. The early film emphasis was on showing the hillbilly as an agent of violence and social menace, as degenerates and outcasts, only after WWII do we start to see hillbillies as a screen vehicle for innocuous farce and comic effect with the advent of Ma and Pa Kettle and the TV comedies that followed in the Sixties [A Harkins, Hillbilly: A Cultural History of an American Icon, (2005)]. The motion pictures’ use of a hillbilly trope can be seen in films as far back as the 1904 silent The Moonshiner…in fact the story of the hillbilly clandestinely making ‘moonshine’ in the backwaters while evading the law has been a much-used trope in movies, recurring for example recently in the Prohibition-era ‘bootlegging’ flick Lawless (2012) [‘Portraying Appalachia: How the Movies Can Get it Wrong’, (Tom Porter), Bowdoin News Archive, 09-Jun-2017, www.community.bowdoin.edu

The South is “a different country”: More audience fodder for Hollywood
In the television age Hollywood’s “go-to” take on hillbillies typically utilises the persona for pure comic intent, mercilessly exposing and ridiculing the (usually) working class hillbilly for his or her wilful ignorance, lack of education and sophistication, depicting him or her as “pre-modern and ignorant hillbillies” (in Anthony Harkins’ words) to create, “one of the more lasting and pervasive images in American popular iconography” [Harkins, op.cit.]. Given that areas like Appalachia with its coal-dependent economy are cyclically prone to recurrent “booms and busts”, poverty is a familiar reality for very many of those residing in such places, accordingly Hollywood has traditionally seen hillbillies as soft targets, comfortable in showing up their unworldliness and illiteracy for a laugh…the Beverly Hillbillies of that popular American TV comedy of the same name are “dirt-poor” until Jed makes a fortuitous discovery on their ‘worthless’ land which transforms the ‘Hicksville’ family into “oil-rich tycoons”.

‘Monstrous mountaineers’ and other ‘psychopaths’
The comedic hillbilly has proved a rich source of material for movies and television, but as a variant from time to time Hollywood has also presented a very different, menacing on-screen hillbilly persona – the classic cinematic example of this is perhaps the 1972 Deliverance movie. Deliverance portrays hillbillies as sadistic, lawless types bereft of any semblance of moral compass, ‘inbred’✪ nefarious individuals who commit acts which are both morally and sexually depraved⍍. In hillbilly movies of this type, in place of the benign and fun-loving “Good Ol’ Boys”, are more brooding and sinister Southerners, sometimes isolated loners, psychotic serial-killers and even corrupt sheriffs. Meredith McCarroll, in a study focusing on the Appalachians [Unwhite: Appalachia, Race and Film, (2018)], has identified several distinct tropes of hillbilly movies. McCarroll’s typology includes Monstrous Mountaineer [Deliverance, Wrong Turn (2003), Timber Halls (2007)]; Heroic Highlander [Next of Kin (1982)], Killing Season (2013); Lazy Hillbilly [Our Hospitality (1923), Kentucky Moonshine (1938)]✜.

Where are the “black hillbillies?” “Honorary non-whites?”
McCarroll in her just published book focussed on the fact that the hillbillies portrayed in Hollywood movies and television are phenotypically white…the towns of Hillbilly films and TV comedies typically, are uniformly devoid of black people, eg, The Andy Griffith Show/Mayberry, R.F.D. (despite the reality, a concentration of large numbers of African-Americans in the South!?!). Leaving aside the anomalous element of that scenario for a moment, in Unwhite McCarroll argues that the depiction of white hillbillies on the screen – characteristically disparaging – signifies that the TV and film-makers are applying the same kind of negative trope traditionally employed by Hollywood to vilify non-white minority groups (native Americans, Black and Hispanic peoples), as part of the ‘other’ in society [McCarroll, cited in ‘McCarroll’s book debunks myths about Appalachia’, (Lucas Weitzenberg), Bowdoin Orient, 28-Sep-2018, www.bowdoinorient.com].

The 2018 independent documentary Hillbilly (Sarah Rubin and Ashley York) offers a similar critique on the vilification of specifically Appalachian, but of Southern culture generally. Decrying the screen prevalence of negative hillbilly stereotypes (represented as promiscuous, “buffoonish alcoholics” and “trailer trash”), at the same time York and Rubin make a link between those stereotypes and the corporate exploitation of the Appalachian Mountains’ natural resources [‘”Hillbilly” Reclaims Appalachia’s Identity Against Lasting Insidious Stereotypes’, Pop Matters, (Argun Ulgen), 21-Nov-2018, www.popmatters.com; ‘”Hillbilly” explores stereotypes of Appalachia’, Times-Tribune, (Brad Hall), 19-Sep-2018, www.thetimestribune.com].

Escaping to an imagined and idealised South
Hollywood’s hillbilly stereotypes extend to a romanticisation of the hillbilly, often their lives are romanticised as simple and uncomplicated (much as native and Black Americans and Mexicans are!). The hillbilly is shown as backward and quaintly pre-industrial, embodied in the famous river bank scene in Deliverance of hillbillies lazing about with nothing better to do than mindlessly pluck banjos [McCarroll, op.cit.]. Allied to this perception, Hollywood’s hillbilly tropes are a component of “using the South as a foil for modern life”…for Americans living in the Sixties and Seventies it was a confrontational time, full of harsh realities and worrying big issues such as the conflict over the Vietnam War, race riots, poverty and the Cold War. Feeding the viewing public a diet of idyllic and irenic images of Southern harmony, a distorted sense of life not being too serious, provided a palatable form of escapism for Americans in the big cities. So we got shows like The Andy Griffith Show, Petticoat Junction, Green Acres and The Dukes of Hazzard, presenting fictional Southern ‘Hicksville’ towns with names like ‘Mayberry’ and ‘Hooterville’, peopled by harmless hayseed sheriffs and shopkeepers [‘The Weird History of Hillbilly TV’, (Gabe Bullard), www.bittersoutherner.com].

‘Hicksploitation’ reality obsession
In the age of reality TV saturating our screens, the subject matter of hillbillies has far from abated. The trope has perpetuated itself within this sub-genre of television with a string of titles pitched fairly and squarely at the LCD in society…Swamp People, Moonshiners, Bayou Billionaires, Hillbilly Handfishin’, American Hoggers, and even Lady Hoggers, as well primus inter pares, the much-hyped docu-drama Duck Dynasty. Reality hillbilly shows keep faith with the standard formula, peopled with folk who are not exactly what you’d call cerebral, rather they are raucous, profane, intolerant, “anything goes” ‘rednecks’…so lots of guns around, wild animals of various kinds, ‘Down-South” stills producing copious amounts of “sly grog”, “hunting-and-a-fishing”, excessive facial hair, Confederate flags, lack of respect for authority, etc. Despite the often appalling and sometimes degrading behaviour exhibited in “redneck reality TV”, viewers continue to subscribe in meaningful numbers to this brand of “televisional fare”. Testimony perhaps to the fact that “people will (always) tune in to see themselves on screen or the extremes of another culture” [“‘Redneck’ reality TV is one big ‘Party'”, (Patrick Ryan), USA Today, 09-Dec-2014, www.usatoday.com].

PostScript: “Warring Hillbillies” folklore
One of the well-trawled narrative sources for hillbilly films and TV programs has been the historical feud between the Hatfield and the McCoy clans (1860s-1890s). The protracted conflict between the two neighbouring mountaineering families, stretching from West Virginia to Kentucky, a part of Appalachian folklore, caught the imagination of Hollywood, providing it with ample material for screen productions over the years. This has included both comedies and dramas, ranging from Abbott and Costello’s farcical Comin’ Round the Mountain to the more recent (2012) Hatfields and McCoy miniseries.[see also the following article – ‘The Much Mooted ‘Hillbilly Wars’ of Appalachia : The McCoy v. Hatfield Feud’]

∇ Ma minus Pa – the Kettles’ swan-song


✱ the Encyclopedia of Arkansas History and Culture points out that the word ‘hillbilly’ is often used interchangeably with several other derogatory epithets – eg, ‘redneck’, ‘white trash’ and ‘cracker’
⌑ despite being depicted as quintessential ‘hillbillies’ (as defined by popular culture), Ma and Pa Kettle, both in the original book and in the films live in a rural locale somewhere in Washington state…not Appalachia or the Ozarks or anywhere in the South (although one of the series entries is The Kettles in the Ozarks). Not confining itself to the negative profiling of hillbillies, the Kettle movies delve even deeper into stereotypes with a thorough “hatchet job” on the series’ two dim American ‘Indian’ characters – ‘Crowbar’ and ‘Geoduck’
✥ although people labelled as ‘hillbillies’ don’t necessarily have to live in the mountains per se to be thus categorised
✪ remember, Elvis made a ‘hillbilly’ movie called Kissin’ Cousins
⍍ we see through Hollywood’s lens suggestions of promiscuity, of inbreeding, bestiality, all manner of sexual deviance, attributed to the on-screen hillbilly [Hall, loc.cit]. To balance the negative slant slightly, as Tom Porter notes, on rarer occasions screen depictions do exist which present mountaineers more positively – as rugged and even heroic folk living outside societal norms living independently on their wits (somewhat akin to filmic representations of the “Wild West” prior to the 1970s), Porter, loc.cit.]
✜ McCarroll also nominates an infinitely smaller list of “hillbilly movies” which manage, to greater or lesser degree, to avoid the standard stereotypes [eg, Winter’s Bone (2010), Norma Rae (1979), Matewan (1987)]

The “Arabian Nights” Film in the West: Hollywood’s Inconsequential Oriental Adventureland

Posted on by Sloane Snodgrasse
Cinema, Literary & Linguistics, Popular Culture
1001 Nights archetype city

The earliest tales of traditional Middle Eastern folk tales, commonly subsumed under the umbrella title of One Thousand and One Nights or The Arabian Nights are thought to have have come from the Indian Sub-continent and Persia. The collection was built upon in piecemeal fashion in other Islamic lands throughout the Ottoman Empire, then at some point the compiled stories were translated into Arabic under the title Alf Layla wa-layla (or The Thousand Nights) [‘One Thousand and One Nights’, Wikipedia, http://en.m.wikipedia.org].

The Arabian tales reached Western audiences in book form and ultimately the (English language) cinema courtesy of the work of many western scholars over many years – of which British explorer and orientalist Sir Richard Burton was but one important contributor, not to overlook the work of Henry Torrens the first translator of the 1001 Nights from Arabic to English⊙.

Hollywood first visited the “Arabian Nights” world for subject matter early on during the silent era…including the related fascination with Rudolph Valentino’s The Sheik character, but it wasn’t until the 1940s that it became a regular feature of Hollywood cinema✳. By the early 1950s the popularity of the sub-genre had passed its high-water mark and pretty much tapered off after that point. Subsequently Hollywood has shown only sporadic interest in the sub-genre.

‘Sword of Ali Baba’ (1965): Robin Hoodesque Ali

Cinema’s (especially Hollywood’s) harvesting of the “1001 Nights” for script material has been restricted to a handful of the better known stories, predominantly Ali Baba and the Forty Thieves, Seven Voyages of Sinbad the Sailor, Aladdin’s Magic Lamp and the frame narrative of the storyteller Shahryar and Scheherazade. In typical eclectic Hollywood style, filmmakers have “cherry-picked”, incorporating several of the Arabian Nights story narratives into the same film…with the character of Ali Baba generally given the predictable “Robin Hood” treatment, depicted as a liberator redistributing wealth from the rich to the poor!

1940 British production values

1940, The Thief of Bagdad: The spark for a steady stream of American “Arabian Nights” films♤
The 1940 version of The Thief of Bagdad (made in the UK but distributed internationally by American company United Artists) seemed to be a catalyst for the “Arabian Sands of the Desert” film. Itself a remake the 1924 silent flick with the same title starring Douglas Fairbanks Snr, the 1940 Thief of Bagdad was British made but completed in California because of the disruption of Hitler’s War in Europe. The British Thief of Bagdad had high production values, a big budget and technical innovations…Technicolour and the first significant use of bluescreening in films; elaborate sets and costumes; high calibre acting and top-notch British filmmakers Alexander Korda and Michael Powell.

Low-budget Arabian adventure flicks with a cast of exotics
The box-office and critical success of The Thief of Bagdad provided an impetus to Hollywood studios to try to cash in on its success. Columbia eventually responded with its own Arabian A-picture 1001 Nights (1945) [‘A Thousand and One Nights/1001 Nights’ (1945), www.1000misspenthours.com], but the Forties through to the early Fifties saw a spate of mainly B-flicks on the Arabian Nights theme. In essence these were blatantly escapist romantic/adventures which rehashed Arabian stereotypes through mainstream American eyes (see PostScript). These Middle Eastern adventures provided a new (exotic) setting and new material for studios to feed a public perhaps feeling a bit jaded from a surfeit of Westerns (“cowboys and indians” films). They were also a fresh alternative to the string of World War 2 pictures and historical costume dramas being churned out of Hollywood.

‘Arabian Nights’ (1942)

Universal Pictures in particular took to the sub-genre with gusto, casting exotic types of players to headline these movies, eg, using and re-using the likes of Dominican Republic born Maria Montez, Mysore born Sabu and Vienna born (of Turkish and Czech Jewish origins) Turhen Bey in US Arabian B-pics, starting with Arabian Nights (1942). This three-piece ensemble was always accompanied by the distinctly un-exotic, “All-American hero” Jon Hall! Universal’s approach was usually to alternate their adventure locales – a standard Arabian Nights pic would typically be followed by a “South Seas island adventure” (almost invariably with the same “front four” and with titles such as White Savage and Cobra Woman) – just in case the punters were getting tired of the studio’s fixation on all those dudes in flowing robes and endless sand hills!

‘Sinbad the Sailor’ (1947): D Fairbanks Jnr doing his best “Errol Flynn impersonation” – Sinbad as romantic swashbuckler!

Many of the top male stars in Hollywood had a stab at playing the swarthy Arabian hero role during the sub-genre’s heyday…Ronald Colman in Kismet (1944); Douglas Fairbanks Jnr, following in his illustrious father’s swashbuckling footsteps in RKO’s Sinbad the Sailor (1947); Rock Hudson in The Golden Blade (1953); Jeff Chandler in Flame of Araby (1951); Tony Curtis (teaming up with Piper Laurie always outfitted as a harem girl) in The Prince who was a Thief (1951) and The Son of Ali Baba (1952). On the female lead side, Universal and United Artists gradually moved from using Dominican Montez to Canadian brunette Yvonne De Carlo as its main Arabian princess/heroine in films like The Desert Hawk (1950) and Fort Algiers (1953)◈.

Columbia’s foray into the “Arabian Adventureland”
Columbia Pictures maintained a sporadic interest in the sub-genre. It made three adventure features over a 19 year span around the heroic character of Sinbad, each heavily imbued with fantasy elements. In this series comprising The 7th Voyage of Sinbad (1958), The Golden Voyage of Sinbad (1973) and Sinbad and the Eye of the Tiger(1977), Sinbad, played by three different actors, all have to confront and triumph over all manner of malevolent mythical creatures (dragons, gigantic birds, supernatural monsters, etc) with the odd, nefarious wizard or grand vizier thrown in along the hero’s journey.

“Arabian Nights” meets “Sword-and-Sandals”
By around 1960 sword-and-sandal epic films (sometimes called Peplum) films were in vogue especially in Europe (see article ‘Review of The Epic Film’, March 2015 blog). At the centre of the “Sword-and-Sandal” flick was the invincible strongman-hero who would typically flex his massive muscles and battle Greek, Persian, Egyptian, Assyrian or some other despot from a mythical land. In a merging of Classical and Arabian adventure motifs, studios would occasionally reassign their contracted stars of “Peplums” to “1001 Nights” pics…so in the 1961 Italian made Il Ladro Di Bagdad) bodybuilder Steve Reeves trades his Classical Greek white tunic for some robes, a turban and a scimitar!

X-rated ‘Arabian Nights’, the Pasolini Arabesque

Continental “Arabian Nights”
Enthusiasm for Arabian “desert and minaret” films was by no means restricted to Hollywood film sets and the US, nor did the sub-genre entirely disappear after the 1950s. Among the subsequent efforts there was The Conqueror of the Orient, a 1960 Italian adventure flick shot in the De Laurentiis Studios in Rome; Shéhérazade, a 1963 French production with Anna Karina; Captain Sindbad (1963) an independent production starring Guy William’s (better known as TV’s Zorro) was made in Munich. And of course there was the sexed-up, X-rated Continental version of The Arabian Nights (1974) by the always different, always polemical and confronting Italian director Pier Paolo Pasolini – the third in his trilogy of takes on the greats books of the world literary canon (following The Decameron and The Canterbury Tales).

Sub-continent Hindi, Bengali and Tamil “Arabian Nights”
Considering that the South Asian Sub-continent played a formative part as an early contributor to the compilation of Arabian folktales, it wouldn’t come as a surprise to learn that Indian cinema had embraced the Arabian Nights sub-genre. The Wadia brothers made Alibaba Aur 40 Chor in Hindi/Urdu in 1954 (remade in 1966 by Homi Wadia). Additional entries from India include Alibabavum 40 Thirudargalum (‘Alibaba and the Forty Thieves’), a 1956 Tamil-language “fantasy-swashbuckler” and a Bengali version of the Ali Baba story, Ali Baba and his Wonderful Lamp (1957).

Mr Magoo’s ‘1001 Arabian Nights’ animated feature

“1001 Nights”, longevity in animation
The one movie genre where the Arabian Nights movie has achieved real staying power and ongoing popularity has been in animated feature films. There has been numerous attempts at telling the Arabian tales through animation on the big screen. In the US, Columbia led the way with its 1959 1001 Arabian Nights, very loosely based on the Arab folktale of Aladdin, but essentially a vehicle for the popular, myopic TV cartoon character Mr Magoo. The big box-office inroads in Arabian Nights animations were made by those that came later… especially the Disney classic, eg, Aladdin (1992), which spawned successful sequels, Aladdin 2: The Return of Jafar (1994) and Aladdin and the King of Thieves (1996). Hanna-Barbera also produced its comic cartoon critters take on “The Book of the 1001 Nights” with Scooby-Doo! in Arabian Nights (1994, made-for-television). Another in the animated category was the Indian/US co-production, Sinbad: Beyond the Veil of Mists (2000).

Aladdin, he of the lamp with remarkable transformative powers, has been well served cinematically in animation features, viz a Soviet (Russian) fantasy version of Volshebnaya lampa Aladdina/Aladdin’s Magic Lamp in 1966; a French version, Aladin et la Lampe Merveilleuse/Aladdin and His Magic Lamp in 1970. There has even been a Japanese manga anime feature on the 1001 Nights theme, Doraemon: Nobita’s Dorarabian Nights (1991).

PostScript: Hollywood’s stereotypical representation of Middle Eastern Muslims

❝(Aladdin) from a faraway place, where the caravan camels roam, where they cut off your ear if they don’t like your face. It’s barbaric, but hey, it’s home.❞
~ opening song from the original theatrical release of Disney’s 1992 Aladdin (due to protests Disney subsequently modified the offending lyrics but kept the ‘barbaric’ reference✤)

The bulk of Hollywood movies like those above have resorted to over-simplified, usually demeaning, representations of Arabs and of the Arab world回. Lebanese-American academic Jack Shaheen pioneered research in this area, unearthing the extent to which Hollywood filmmakers manipulated the images and perpetuated orientalist stereotypes on the screen¤. So, in the typical 1001 Nights movie, we get totally formulaic story-lines which have become an established trope in the trade…the (often eponymous) hero suffers an injustice (imprisonment, exile, etc) at the hands of an evil cabal of usurper sheiks/caliphs (aided and abetted by greedy merchants who covet all the wealth and power for themselves). The princely hero recovers and ultimately overthrow the tyrant/regime, and in the process of course wins the beautiful, entrapped princess!

The Harem Girls’ pool shot in the 1942 film

The films are usually decorated with an obligatory harem of young, gorgeous and seemingly empty-headed girls lounging round doing nothing, occasionally belly-dancing or reclining in a pool (kind of your Arabian equivalent of the bikini girls in the 1960s beach movies). Universal’s Arabian Nights for example is full of sexy, seductive veiled dancers. Not exactly Islamic orthodoxy here! Sightings of the Taj Mahal in the 1942 film also illustrates how Hollywood mangles geography in the Arab World…the same goes for history, many plots involve ahistorical scenarios, eg, in the 2000 Arabian Nights miniseries the 8th century AD narrator recounts stories in which 17th-18th century muskets are in use [Arabian Nights (miniseries), Wikipedia, http://en.m.wiki.org; ‘Veils, Harems and Belly Dancers’, Reclaiming Identity: Dismantling Arab Stereotypes, (Arab American National Museum) www.arabstereotypes.org].The settings for the movies are equally formulaic – bustling bazaars with narrow, crowded alleys full of pickpockets, cardboard palaces that look like flimsy, fake Alhambras. Genies, flying carpets, robotic guards – a scene of frivolous adventure and fantasy. Outside of the city everything is amorphous desert, endless sand hills punctuated by outposts of tents and a caravan of camels❦ [‘Ancient Egypt and Desert Landscapes’, Reclaiming Identity: Dismantling Arab Stereotypes, (Arab American National Museum) www.arabstereotypes.org].

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⊙ the most popular of the 1001 Nights tales, and the most utilised by movie-makers – the Voyages of Sinbad, Aladdin and his lamp, Ali Baba and the 40 Thieves – were not part of the original collection of stories but were added by the French translator Antoine Galland in the 18th century
✳ I would hesitate to describe the “Arabian Nights” movie as a genre in itself, it would be more correct to call it a sub-genre, in the same way that road films and biopics are sub-genre films. Arabian Nights films are sub-genres, usually of the genre of Adventure or Adventure/Fantasy (occasionally Adventure/Comedy)
♤ Americans insist on the spelling ‘Bagdad’, rather than the traditional Anglo/Commonwealth preference for ‘Baghdad’…just as they prefer ‘Sinbad’ rather than ‘Sindbad’, as it is sometimes rendered
◈ movies such as Fort Algiers also cross-over into related-type territory, the North African Bedouin/French Foreign Legion desert film
✤ the Disney animated version makes a further sin of omission common to cinematic portrayals of the character Aladdin – making him a boy of Arab appearance. One of the few screen adaptations to heed the textual evidence which indicates that Aladdin is a Chinese boy is the 2000 Arabian Nights miniseries, casting a Chinese-American in the role
回 Hollywood has shown itself to be notorious at marginalising “the Other” on-screen, note the very strong parallels between its characterisations of Arabs/Muslims and of Native American ‘Indians’ and Mexicans
¤ Shaheen spent decades scrutinising not just the Arabian Nights movies but all Hollywood films and television that dealt with Arabs and Muslims, concluding that Hollywood depicted Arabs in overwhelmingly negative terms – as bandits, as duplicitous, naive, rapacious and malevolent people of a savage, nomadic race (and after 9/11 in particular, as one-dimensional terrorists) [JG Shaheen, Reel Bad Arabs: How Hollywood Vilified a People (2001)]
❦ Hollywood productions reinforce the European orientalist construct, as identified by Palestinian scholar Edward Said, reducing the Orient to no more than “a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences”