King of Gamblers was released on this day in 1937. The film is a stylish low-budget crime drama about a slot-machine racket and the crusading reporter who uncovers it. Though a “B” picture, this almost noir was given an “A” treatment by director Robert Florey. Louise Brooks’ role as Joyce Beaton, love interest of the reporter, was cut from the film’s final release. More about the film can be found on the Louise Brooks Society filmography page.
The film was part of an unofficial Paramount series based on crimes and criminals suggested by the J. Edgar Hoover book, Persons in Hiding. Despite its source material, the film’s gritty realism shocked some. The Christian Science Monitor stated “Sociological aspects of the theme are quite overshadowed by melodramatics which may prove too violent for the more sensitive.” Fox West Coast Bulletin said the film was “Not wholesome. Waste of time.” Motion Picture Review wrote “Such a picture as this has no constructive social value.” The Kansas City Star added “. . . the subject hardly can be recommended to the attention of the youth and future glory of the land.” While Mae Tinnie, the onomatopoeically named film critic of the Chicago Tribune, suggested “If you like a grisly little programmer, King of Gamblers is that.”
Though considered a B-movie (typically shown as part of a double bill), the film received very good notices from both exhibitors and the public alike. The manager of the Cory Theater in Winchester, Indiana stated, “I thought when I showed Night Key I had given my patrons the best picture ever made, but this King of Gamblers is even better than that. Played last two days of week to big business.” Other exhibitors agreed: comments published in Motion Picture Herald included “Excellent entertainment in any spot. Well liked by all,” and “Was afraid of this one, but found it packed with suspense and action.”
In reviewing the film’s New York City opening, Irene Thirer of the New York Post wrote
“Criterion goers are clutching their chairs these days, because this is
probably the most blood-thirsty picture in several seasons. . . .
Supporting the principals (and Lloyd Nolan’s job as the reporter in
corking), are Larry Crabbe, the late Helen Burgess (who strangely met
her untimely death immediately after she had died in this picture via
script requirements), Porter Hall, Harvey Stephens, a couple of
walloping shots of the capable Evelyn Brent, and others. Robert Florey
directed – which accounts for the picture’s unusual camera angles.”
The Washington Post had a similar sentiment. “The cold chills and icy thrills of King of Gamblers make the Metropolitan air-conditioning quite superfluous. If you are one for hard-boiled homicides mixed in with your entertainment, this show will give you a good time and a half.”
The film reunited Brooks with Evelyn Brent. The two actresses had first appeared together in Love ‘Em and Leave ‘Em (1926), when each were emerging stars. For the two faded stars, King of Gamblers was seen as a comeback opportunity. And indeed, studio publicity promoted their appearance as such. Around the time of the film’s release, the Los Angeles Times ran a picture of Brooks and Brent under the headline, “Two actresses resume screen career.” The caption noted their “return to the silver sheet.” Brooks’ scene and character were cut from the film before its release.
Under its American title, documented screenings of the film took place in Australia (including Tasmania), Bermuda, Canada, China, Dutch Guiana (Surinam), Hong Kong, India, Ireland, Japan, New Zealand, The Philippines, and the United Kingdom (including England, Isle of Man, Northern Ireland, and Scotland). On a few occasions, the film was shown in the United States under the title Czar of the Slot Machines. In the United States, the film was also promoted about under the title El Rey de los Jugadores (Spanish-language press).
Elsewhere, King of Gamblers was shown under the title L’homme qui terrorisait New-York (Algeria); O Amor é como Jogo (Brazil); El Rey de los jugadores (Cuba); Král hazardních hrácu (Czechoslovakia); Storbyens sjakaler (Denmark); El Rey de los Jugadores (Dominican Republic); L’homme qui terrorisait New-York (France); O tromokratis tis Neas Yorkis (Greece); Rándyr stórborgarinnar (Iceland); 犯罪王 or Hanzai-ō (Japan); L’homme qui terrorisait New-York (Morocco); Król graczy (Poland); El Rey de los jugadores (Spain); L’homme qui terrorisait New York and Der König der Spieler (Switzerland); NewYorku' Titreten Adam (Turkey); and El Rey de los jugadores (Uruguay).
SOME THINGS ABOUT THE FILM YOU MAY NOT KNOW:
— Director Robert Florey hoped to use Louise Brooks in an earlier film, Hollywood Boulevard (1936), but it didn’t work out.
— An opening sequence with “Jim Adams” (Lloyd Nolan) being jilted by “Joyce Beaton” (Louise Brooks) was shot but eliminated from the final cut. Prints of the film which include Brooks’ may have been sent overseas, as Brooks is included in advertisements for the film in at least two countries.— Helen Burgess, a promising 18 year old actress who had the second female lead in the film, died shortly after its completion on April 7, 1937 (and just five days before this film’s preview). Discovered by Cecil B. De Mille, the demure actress was cast by the famous director in his epic western The Plainsman (1936). While working on her fourth film, Night of Mystery (1937), Burgess caught a chill that resulted in a serious cold, which in turn developed into pneumonia. An article at the time of her death noted that the Hollywood High School graduate had recently been picked for stardom by a vote of the Paramount film editors.
— The film was previewed at the Alexander theater in Glendale, California. This first ever showing took place on April 12, 1937. King of Gamblers was paired with Swing High, Swing Low – a romantic drama starring Carole Lombard and Fred MacMurray. Advertisements in the local paper noted stars of the unnamed preview film would be in attendance. Motion Picture Herald reported “The audience, which had been watching Swing High, Swing Low, found in the added attraction a contrast that caused it to pay strict attention. Several times it broke into applause.”
— In Los Angeles, King of Gamblers played at the Orpheum Theater, a prominent downtown venue. The film was also shown at the neighborhood theaters like the Beverly (now owned by Quentin Tarantino), Egyptian, and Village, as well as the Figueroa and Larchmont, where the film was paired with Go-Getter, a Busby Berkeley film whose stars were coincidentally listed as Brent – Louise (George and Anita).
THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society (www.pandorasbox.com). Original contents copyright © 2023. Further unauthorized use prohibited.
