When this film begins, the audience is taken for a real ride. The usually nice Edward Arnold turns out to be playing an amazingly cold and heartless guy. Surprisingly, this evil crook turns out to have a son (Gene Reynolds)--a teenager who idolizes him. So, even when Dad robs banks and kills people, the boy STILL thinks his father is great. When the boy is captured by the police, the kid naturally turns out to be incorrigible and gets himself thrown out of reform school. In an odd twist, however, instead of sending him to a worse facility, they parole him to a farmer (Robert Sterling). What the kid doesn't know is that the authorities expect the father to try to come back for him eventually--and then they'll spring the trap. But in the meantime, the boy is stuck on the place for some time--weeks or months. And in the process, for the first time, the boy ends up making connections with folks other than his Dad. What's next? See the film.While the plot is a bit moralistic and predictable at times, this still is a dandy movie mostly because of the great dialog and acting. Arnold is great as a Dillinger-type crook but the supporting actors and the writing really make the picture. Reynolds is great--mostly because he has some of the snappiest and most sarcastic comments I've ever heard from a kid! And, Lionel Barrymore, though he's only in the movie a bit, is terrific. The bottom line is that this film, though pretty much a B-movie, has the full MGM treatment--and is a fine and enjoyable picture throughout.

When selecting old movies to record, the number of stars listed by the cable company often has a bearing on these choices. However, even though "The Penalty" was showing only two stars, the entire film belies this underestimated rating.Beyond the natural ambiance of a black-and-white flick from 1941, this movie unfolds gradually, and culminates with a somewhat riveting climax, so it's certainly worth more than a mere two stars.Edward Arnold, an often overlooked actor from film's early days, portrays a superb sampling of the ultimate bad guy. The one aspect of his character that makes him human is his relationship with his teenage son, a role brilliantly played by Gene Reynolds.Add a dash of Lionel Barrymore as a crusty old farmer, and a smattering of sizzling young Robert Sterling, and you have created the recipe for a delicious old flick that will hold your attention and dangle in your thoughts like the aftertaste of a delectable dessert.This film is definitely worth the investment of 80 minutes of viewing time.

"The Penalty" is really about the character played by Gene Reynolds. It's a role similar to the one he had in "The Get-Away," another excellent film. He was a fascinating, intense young actor. He was sort of a teen-aged John Garfield. (I understand that the actor went on to win numerous Emmys producing for television. That's fine. Who knows how he would have matured and what sort of roles, if any, he would have got had he remained with acting.) The movie begins with the fine Edward Arnold in his usual genial manner. He is hiring men for a job, assuring them in a fatherly manner that they'll be paid well. But quickly we see that they are being hired as his stooges for a bank robbery. And that he yes, is fatherly: He is the father of the Reynolds character, who worships him.Arnold plays one bitter, nasty guy. And he's teaching his son to be as cold and cynical as he is. His girl friend, played by the entertaining Veda Ann Borg, may not worship him. But she worships the furs and other finery his ill-gotten money buys her.The bulk of "The Penalty" takes place on a farm where Reynolds is sent while dad is on the lam. No more about the plot other than to mention the people in this new home: Robert Sterling is excellent as the farmer. Marsha Hunt is appealing as his lady friend, the local schoolteacher. Lionel Barrymore is her father. As he often did, he plays variations on his standard persona: When he's talking about young Reynolds or young Sterling, he could as easily be speaking of young Dr. Kildaire.The movie has a little of everything: It's exciting and suspenseful. It's funny at times. And it's sad. I recommend it very highly.

But all his acting abilities are given short shrift by a tale that purports to be a crime melodrama with EDWARD ARNOLD as his father, a bank robber who's always one step ahead of the police. RICHARD LANE is the detective on his trail, VEDA ANN BORG is Arnold's moll girlfriend, GENE REYNOLDS is his street smart son, and RALPH BYRD is an unfortunate police officer.Trouble is, none of the story rings true. It all his a very fabricated MGM look, the kind of programmer they turned out to fill a double feature program without any headliners in starring roles. I never bought jovial EDWARD ARNOLD as the criminal type and this bit of miscasting prevents the story from any real sense of credibility.It's a good forty minutes before ROBERT STERLING and MARSHA HUNT show up as a farm couple willing to take reform school reject GENE REYNOLDS under their wing. He's a fallen sparrow who needs all the nurturing they can give.Fifty minutes into the story, LIONEL BARRYMORE and GLORIA DE HAVEN show up, with Barrymore as a Grandpa who smokes a pipe and talks like Dr. Gillespie except that he's full of kindly sentiments instead of bitter complaints about mankind.Did I say the story was dated? Marsha Hunt talks about a schoolteacher making $85 a month.Summing up: Unpredictable at the start, the story soon turns into a conventional "crime doesn't pay" drama with Reynolds doing a complete reformation in time for a happy ending. The only saving grace is that it's not as preachy as it might have been. Summing up: The faults far outweigh the virtues.Trivia note: Watch for PHIL SILVERS (without specs) in a one minute bit as a hobo.