User reviews

Offbeat drama from Monogram and director Phil Rosen. Lionel Atwill stars as John Dawson, the charismatic head of a prosperous steel company. He's well-liked by his workers, but his board of directors are always looking for a quicker profit, and one member of the board has his sights set on Dawson's seat. After an "accident" at the steel mill destroys Dawson's legs, he is swindled out of his company and his fortune. He's soon after believed killed in a train accident, but in fact he sets out, with new blind friend Marchant (Henry B. Walthall), to organize the city's crippled and lame men and women into a corporation of beggars whose meager daily take is invested by Dawson, making them all millionaires, and allowing Dawson to have his revenge.

This plays like many of the Depression-era fantasies that envision sweeping change at the hands of righteous people against the corrupt and greedy who are destroying the nation and its institutions. The plot is honestly one that I haven't quite seen before, which alone is a rarity, and the odd cast pull off the roles. The settings are basic, as this is a Monogram picture, but that doesn't really hinder the storytelling.

Little known now, but pretty big stars for their day, Lionel Atwill and Betty Furness star in Beggars in Ermine. Atwill is "Dawson", owner of the mill, but is injured in an accident, caused by one of his own workers. then his own wife screws him over and takes all his money. now he's broke, and he organizes the homeless, and forms an organization to get the employees to try to save the company from complete destruction from his wife and the new owners. It's pretty good... similar to John Doe. Directed by Phil Rosen.. this one just one of TEN that he directed in 1934 ALONE! wow. Mr. "B" movie factory. It's not bad. Catch it if you can.

It starts out with Lionel Atwill the co-owner of a steel mill where he eats lunchbox meals with the puddlers. Partner Jameson Thomas steals his wife and tries to have Atwill killed, but 'only' cripples him. He wanders the country in a wheelchair, and with the help of blind accordionist Henry B. Walthall, organizes the handicapped beggars into a huge self-help organization, to take over his company and gain his revenge.

It's a fine performance by Atwill, and a beautiful print to watch it on. There are several peculiarities about the film that make me think that the novel it was based on, by Esther Lynd Day, was far more polemical than the movie, and that extensive swaths and subplots were trimmed by editor Jack Ogilvie. Instead, we have sequences of motionlessness centered around Atwill that made me stare.... but from which I could garner nothing.

Even so, the essentially bizarre story kept me interested through the end, as did Atwill's calm and thoughtful performance. Plus any chance to see Walthall in a significant role is a treat for me. With Betty Furness, Astrid Allwyn, and a clean-shaven Gabby Hayes with his teeth in.

"Beggars in Ermine" is a very melodramatic and rather uneven story of retribution. There are some moments that are uplifting or at least interesting, but there are other times when it is excruciatingly implausible.

John "Flint" Dawson (Lionel Atwill) is a steel mill owner who believes in old-fashioned virtues. He cares about his employees, and has a plan to ensure a bright future for them and the mill. But one of his executives, James Marley (Jameson Thomas), has a different and sinister plan. In one quick series of events at the beginning of the film, Marley leaves Dawson's life in ruins and takes over the mill. For the rest of the movie, Dawson assumes a new identity as a beggar, and organizes his fellow beggars with the goal of eventually getting revenge on Marley. Much of what happens next has little believability, but there are some good moments.

Most of the cast is adequate, and besides the melodrama there are some good shots of the steel mill. There is a pretty good opening sequence that effectively establishes the feel of being in the mill as steel is being made. It does, however, lead the viewer to expect a serious drama, rather than the exaggerated story that follows.

While not believable enough to be effective as social commentary, this film might still have enough to be of interest to viewers who really enjoy good-versus-evil melodramas.

It is almost as if, about a month prior to production, director Phil Rosen and his scenarist, Tristram Tupper, (sounds like a character W. C. Fields would play, huh?), got together to confer on what would be the dullest way to tell this story. I mean, clearly the most intriguing element, as the title suggests, is the forming of a labor union of homeless mendicants. You would think, at the very least, the difficulties in creating such an association would be front and center, to mention nothing of the perils such a union would face from corporate America. But no. The union is formed and, literally five minutes later, is so successful that its creator, played by Lionel Atwill, is living in a friggin mansion! Meanwhile, the conflict and dramatic tension that should have been given to the rise of organized, disabled, poor, blind beggars is instead outsourced (to employ a capitalist/labor term) to really boring stuff involving Atwill's revenge on a moustache twirling corporate villain who, for some reason that is not explained, has murdered Atwill's unfaithful spouse. The result is lots of ennui and little interest beyond some nice, left wing, pro unionism, the usual good work of Atwill, playing a good guy for a welcome change, and a fine supporting bit from D. W. Griffith veteran Henry B. Walthall whose gentle ethereality both anticipates and supersedes Leslie Howard. Give it a C plus.

Unbelievable plot, Beggars that invest in hedge funds. But I enjoy the simplicity of the stock market, the characters are also simple but you don't care too much about that, because you're inside a story thats goes around different dramatics situations to finalize with a happy ending. Only for lovers of the 30's the golden age of hollywood.

A rare turn for Lionel Atwill as the hero. He plays a factory owner and friend of the working man who is crippled by a real piece of work (Jameson Thomas), who not only steals the guy's company but his wife as well. Years later Atwill plots to get even with the help of a blind homeless man.

Well this certainly sounds like a hoot, doesn't it? Unfortunately, it never quite hits the mark. I did like it, especially the first half, but it just kind of petered out after that. This is largely due to the static direction, a colorless villain, and a script that could use some punching up. Also the movie hits one of my pet peeves by skipping over some events and filling them in after the fact, largely through dialogue. "Show not tell" almost always works better, in my view.

Steel mill owner Lionel Atwill (as John "Flint" Dawson) is derailed by evil associate Jamieson Thomas (as James "Jim" Marley). After Mr. Thomas costs Mr. Atwell the loss of his legs, he seizes control of the business. Before Atwell is even out of the hospital, Thomas convinces Atwell's wife to take their daughter, and move to England. Now a pauper, Atwell moves from his private hospital room to recover with blind beggar Henry B. Walthall (as Marchant).

Mr. Walthall helps Atwell, who assumes the name "John Daniels", back on his feet (a figure of speech). With Walthall's help, Atwell organizes a "Union" for beggars. Their beggar "Union" makes Atwell wealthier than ever. After fifteen years, he decides to return to the old steel mill, and seek revenge against Thomas. But, Atwell doesn't know his pretty long lost daughter, Betty Furness (as Joyce Dawson), has returned to America, and is being romanced by his old enemy's son, James Bush (as Lee Marley)…

The cast is a treat, but the production and story become increasingly mediocre.

**** Beggars in Ermine (2/22/34) Phil Rosen ~ Lionel Atwell, Jamieson Thomas, Henry B. Walthall

Beggars in Ermine would seem to hold all the hallmarks of honest-to-goodness noir – Lionel Atwill in the lead, supported by vivacious Betty Furness and down-at-heels Henry B. Walthall, with darkly despicable Jameson Thomas as the well-spoken villain – but fails to come across, partly due to Phil Rosen's limp direction but mostly to an odd, yet dated script that is more concerned with making extremely naive social and money-market statements than advancing a potentially engaging plot (it does come to life once or twice). Even Atwill is defeated by all the soft-soap dialogue the script hands him (and he seems ill-at-ease playing the hero, a casting switch that forces him to forsake all his usual vocal and facial effects. True, he does revert to a shadow of his menacing self at the climax – but only for a good cause. For the rest of the movie he exerts himself as a smiling social worker – yes, social worker! – and half-baked philosopher). By Monogram standards, the movie was obviously lensed on a sizable budget, but frankly, on this script, it was money wasted.

I guess one of the reasons I liked this film so much was because my expectations were so incredibly low. After all, this film was made by a "Poverty Row" studio I'd never heard of and the movie has slipped into the public domain. Plus, while I like the star, Lionel Atwill, he had a habit of making films for crap studios. Fortunately, I was wrong and I thoroughly enjoyed the movie...even if the plot is a tiny bit tough to believe.

The film starts off with Atwill playing a tycoon who owns a very successful steel mill. He's an interesting boss, as he often goes to work with the men in the mill! I thought this was an interesting idea but it didn't work all that well for one major reason--Atwill's erudite presence just made it very, very hard to believe him working in a steel mill! But, despite this, the plot became very interesting very quickly. It seems that a corporation wanted to buy up his mill but Atwill had no interest in selling. So, to force the sale, the leader of some horrible schemers did some outrageously evil things. First, he instigated an accident in the mill where Atwill was almost killed. In fact, his legs were burned off by molten steel deliberately poured on him!! He spent the next several months in the hospital--during which time, the evil plan grew. First, they convinced him to give his power of attorney to his "loving wife"--who then sold the mill! Then, she ran off to Europe with all the funds--leaving Atwill poor and without the business! Later, however, Atwill is able to recreate his fortune in a very unique way--he forms a union, of sorts, with the handicapped beggars on the street (much more common in the 1930s than today, thank God). He helped them find gainful employment, invested their earnings, got them health and retirement plans--and made a wonderful life for these marginally employable men. Why he did this was partly because he was a nice person and part of this was so that he could rebuild his fortune and regain his old factory. The plan would take many, many years and there were some nice twists along the way, but by the end of the film, he has his confrontation with his arch-enemy--the man who did so much to orchestrate his ruin.

Overall, the film has a truly unique plot that kept me guessing. While you'd think it would simply be a tale of betrayal and revenge, it was so much more. It also is one of the better early depictions of the handicapped as having so much more to offer society and themselves. And, to top it all off, the acting was very good--especially Atwill and his friend, played by Henry Walthall. A nice little hidden gem.

By the way, a 9 seems like a high score, but I am comparing it to other B-films. Compared to the rest, this is definitely a standout--one that got me thinking well after the film ended.

John 'Flint' Dawson (Lionel Atwill) was delivered one of the worst two-piece combinations you could possibly get. He lost his legs in an industrial accident, then while he was in recovery he lost his wife, his daughter, and all of his money to the same guy! That would make me want to do one of two things: commit suicide or go on a killing spree.

John was a better man than me.

John Dawson was the general manager of a steel mill and he also had a controlling interest in it. The man who ruined his life was James 'Jim' Marley (Jameson Thomas). He wanted Flint Dawson's company, and his wife was a necessary tool to get it.

Dawson never knew what hit him. He was crippled and broke within the blink of an eye. He resorted to panhandling like so many other disabled men. But, being the resourceful man he was, Dawson united thousands of unemployed cripple men to make a consortium to benefit all of them. It was either the new chapter in his life or his attempts to close an old chapter.

"Beggars in Ermine" was decent. It had enough going on to keep me attentive and invested in the ending. Based upon some of the things that occurred in the movie, If this same movie was made today, it would be about meme stocks. And who wasn't at least curious about the success of meme stocks?

Free on Odnoklassniki.

the reviews of this film unfairly marginalize it for lack of realism. Did they scoff at, say, "Fight Club" for such reasons? It's far more unique and interesting for its cache of Depression-era lore and its assumptions about the dispossessed. Highly recommended for its bizarre mix of creepiness and homiletic. Obviously allegorical, it nevertheless fails -i think somehow deliberately - in being uplifting and points instead to something sinister in the crippled, maimed and poverty-stricken denizens of the city. The blind accordionist who attaches himself to Atwill wears glasses which are half black, half clear. His speeches are absurdly virtuous cliché, which belie his mendacious appearance in a very unconvincing way. I also noticed the back of the envelope calculations Atwill makes when pitching his stock market club for beggars only involved impossible amounts: millions in months. A lot of ticker tape shenanigans go on in the second half of the film, all of which are so exaggerated, I ended up thinking public anxiety about the market was also being channeled here quite volubly, along with fear of the disabled and wretched poor. In a word, peculiar.