I watched this in preparation for "Europa." Both are essentially railroad movies.This is about a gangster who has come out of hiding to take a train trip to from Los Angeles to Chicago to collect on a sweepstakes ticket. On the train, several disguises become apparent among other passengers as well. It is not remotely interesting except for one actor, the Pullman Porter. He is Stepin Fetchit, a man who in later years became reviled for his scraping and bowing, his complete acceptance and deserving of the bottom class. I've seen him and his cohorts before. There was one in almost every movie of this era. They make me squirm, not so much for what they are but because it makes me wonder what I easily accept now that my grandchildren will revile.But here, my god, he is a blast. He had me rolling on the floor and I have to actually send you to this for a masterful performance.Yes, he plays a stereotype. But it has a few mitigating factors. First, every soul in the thing is a comic stereotype, from the pug, the palooka, moll, Irish copper, German sanatorium doctor and so on. The big thing is that Fetchit's acting is what I call folded. He plays a moron, with a vocal rhythm that bests today's rappers. Sure he plays a moron. But the character is constantly talking to himself about what morons the other characters are. And the fold — he knows he is playing a fake being and opens a separate channel with the audience, winking at himself and you for going along.The US has a strange racial history, and there is much to be ashamed of. But talent is talent and this guy is good.Ted's Evaluation -- 2 of 3: Has some interesting elements.

Eugene Forde directs this low budget "gangster" gem which proceeds predictably enough until we get to the climax which has sufficient twists & turns to separate it from the norm & maybe even satisfy a Hitchcock fan or two. But what really separates this film from not only the B film but any film is the abundant use of humor. In addition to some pretty corny but ofttimes amusing gags involving Warren Hymer as Hazy (aka Mr Metropolitan to the little girl who wants to be read to) we have what I would call a runaway Stepin Fetchit. Mr Forde lets him have his way as the Pullman porter mumbling through scene after scene trying to accomplish his job while others have different ideas of what he should be doing. In fact, I would recommend this film to anyone who has not seen Stepin Fetchit or anyone who enjoys a laugh or two while digesting their gangster/romance/drama film appetite.

This long forgotten B movie from 20th Century Fox magically popped up on the Fox Movie Channel this morning. The fact that among its cast members was Stepin Fetchit, naturally drew my curiosity. The only previous film I'd seen with Fetchit was John Ford's "Steamboat Round the Bend", which was without a doubt the worst portrayal I had ever seen of an African-American on the big screen (except perhaps "Birth of a Nation"). Fetchit, along with Willie Best, were the two most well-known of the Coon stereotype. The coon is a lazy, worthless, unreliable, clumsy, slow-witted, big bulgy-eyed (looks like they're stoned), butchers the English language, making his speech incoherent. His sole purpose is for comic relief. While Best's portrayals are pretty awful too, they're nowhere near as bad as Fetchit's. (If you're interested in learning more about this and the four other major stereotypes, I highly recommend reading Donald Bogle's "Toms, Coons, Mulattoes, Mammies, & Bucks", an excellent read). The film also features very briefly a well spoken, intelligent Tom in two separate scenes.This film centers on a gangster hiding in a small town in California, now number one on the FBI's wish list. Realizing he won a small fortune in a sweepstakes, he hops on a train to Kansas City to collect it, convinced nobody will catch onto him. On board, he meets an undercover agent disguised as a reporter and an actual reporter (played by a very young and beautiful Gloria Stuart, who by far and away shines brighter than everyone else in this movie) disguised as a runaway witness to a political crime. The entire 2nd act takes place on a train where we are introduced to the porter, played by Fetchit. Here, Fetchit is no exception to the above-mentioned characteristics, except even worse. Here, he appears to be downright mentally retarded. No joke. The one small positive is that the film counters Fetchit's comic relief with the white gangster's side kick (unintentional I'm sure). He's more of the big oaf, moron type. However, he's also lazy, worthless, slow-witted, unreliable and clumsy.Aside from the offensive portrayal of Fetchit, the rest of the film isn't too bad. None of the other studios could match Warner Bros. back in the 1930s with the gangster picture, but this is a reasonably well done picture that will keep you entertained. Well worth watching as a time capsule and if you're interested in seeing Fetchit for yourself.

One of the movies I've previously reviewed for IMDb is 'Sleepers West', a taut low-budget thriller. '36 Hours to Kill' has a set-up so similar to 'Sleepers West' that at first I thought they were both based on the same novel. They aren't, and the films go in different directions after that initial set-up. Both films feature the same three archetypes as main characters: a tough cynical lawman, a young woman reporter of the 'news hen' Lois Lane type, and a gangster who won't hesitate to murder anybody who gets in his way. Also, both films set most of their action aboard a cross-country train.And that's part of the excitement. Movies set aboard a moving vehicle (especially a train) are pretty much boredom-proof.'Duke' Benson has always prospered from his illegal activities as a mid-level gangster, secure in the knowledge that the Feds are more interested in going after bigger gangsters. But somehow Benson has been promoted to public enemy #1, and he doesn't fancy the attention. Now, Benson has attracted even more attention for an unexpected reason: he's just won the sweepstakes! As he notes, this is the first *honest* money he ever made. (I recall a real-life case from the 1980s, when a mid-list Mafiosa won a big lottery prize. After some investigation, the lottery officials conceded that this career criminal had won the lottery drawing honestly.)Benson and his cheap moll wife Jeanie are aboard the same train as G-man Evers and news hen Marvis, and that's no coincidence. Marvis is trying to get a big scoop on Benson, while Evers hopes to arrest him. Big macho hero Evers is played by Brian Donlevy, who should have played gangster Benson instead. Donlevy has a cold personality that made him miscast in sympathetic roles (including Professor Quatermass), but which worked well whenever he played a villain.'36 Hours to Kill' starts out like a semi-comedy in tone, then plunges us into a borderline-noir action thriller, climaxing in a gun battle in Benson's hideout. Speaking of comedy: one unfortunate resemblance between this film and 'Sleepers West' is that both films feature a 'comedy' performance by a black actor in a stereotypical role as a Negro porter. Here, the role is given to Stepin Fetchit ... no further comment is necessary, surely. Fetchit's character is named Flash, so you know he's a slowpoke.There are good performances by Warren Hymer (one of my favourite character actors) as Benson's goon, and by reliable stalwarts Jonathan Hale, Charles Lane and Julius Tannen. Speaking of which: it was Tannen who invented the catchphrase that has been attributed to George M Cohan. When Cohan was still performing in vaudeville with his parents and his sister as the Four Cohans, he attended a Friars Club dinner at which comedian Tannen did imitations of several vaudeville headliners. Tannen attempted to do an imitation of all Four Cohans at the same go: a turn which ended with Tannen imitating George M Cohan and saying to the audience 'My mother thanks you, my father thanks you, my sister thanks you and I thank you.' Knowing a good line when he stole one, the real Cohan appropriated the fake Cohan's curtain line.In a rare leading role as the news hen, Gloria Stuart shows considerable beauty and talent: I'm disappointed that this fine actress walked away from the stardom she could have had, decades before her splendid comeback in 'Titanic'. '36 Hours to Kill' isn't quite as good as 'Sleepers West', largely due to the miscasting of Donlevy and a bad performance by Douglas Fowley, who was more effective in smaller roles. But this is a highly enjoyable and fast-paced film, and I'll rate it 8 points out of 10.