By Don Miller
An unduly vague heritage of the minor studios, B movies gathers jointly histories of such factories as Monogram and PRC. The publication used to be cast from an essay that seemed in specialise in movie, and the booklet used to be intended to join a chain below the overall editorship of Leonard Maltin. It's doubtful what number if any of the proposed titles have been released. The index cites movie titles basically.
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“B” Movies: An Informal Survey of the American Low-Budget Film 1933–1945
An unduly imprecise historical past of the minor studios, B movies gathers jointly histories of such factories as Monogram and PRC. The e-book was once solid from an essay that seemed in specialize in movie, and the booklet was once intended to join a chain less than the final editorship of Leonard Maltin. It's uncertain what percentage if any of the proposed titles have been released.
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Additional info for “B” Movies: An Informal Survey of the American Low-Budget Film 1933–1945
Example text
Ls the word "art," or endeavors? At any rate, this was what was manufactured, and while nothing mentioned won any awards, at least the product helped keep the theaters open. There were other companies, such as Tower, Monarch, Progressive, Peerles. but to detail their activities would belabor the point. There was also Mascot, Nat Levine's tightly-run little company specializing in serials, but producing an occasional feature lm from 1932 onwards. Mascot will be dealt with in later pages, for they belong to another saga.
The lot abounded in seasoned comics. After the success of Mama Lover Papa in 1933, Charlie Ruggles and Mary Boland continued as a team. budgeted, their lms could be depended upon to do business, mpecially in the smaller situations. Therefore the team received scripts by some of the more adept Paramount writers, and worthy directors of the caliber of Norman McLeod and 43 Elliott Nugent. In truth, Paramount took its comedy seriously. Even a minor lm like Three Married Men (1936), with Lynne Overman, Roscoe Karns and William Frawley billed as leads, could boast of Arthur Homblow Jr.
That is all. Cameraman Andersen must have had the day off, for the lm had Ted McCord as photographer, doing his customary splendid job. An interesting l93S Chesterfield release is Condemned to Live, an out-and-out horror thriller with Ralph Morgan and Russell Gleason, far from the best of its kind but certainly not the worst. Saddled with a clumsy title, which smacks of a prison yam, the minor effort was generally overlooked by houses which could well have played it to advantage. Both Chestcreld and Invincible were still producing by the end of 1935, although their busy director, Richard Thorpe, had received a better offer and was by then an established MGM member, largely because of a semi-documentary he had made in the South Seas for the company, Last of the Pagans.