Bad Boy (1949)

Introducing Audie Murphy as the wayward seventeen year old “Danny”, we find that he has luckily found himself being taken under the wing of the kindly “Brown” (Lloyd Nolan) and his wife “Maud” (Jane Wyatt) who run a Variety Club ranch for other young men who have strayed to the wrong side of the tracks. Now the stroppy adolescent in this case is proving quite recalcitrant and resistant to their charms; is perfectly happy to remain obnoxious and to talk with his fists at the drop of an hat. His army-trained enforcer (James Gleason) is inclined to consign him to the compost heap, but “Brown” is determined to get to the bottom of his new charge’s behaviour and quickly discovers a family history that goes some way to explaining just why “Danny” is the pain in the neck that he is. Question is, though, can “Brown” manage to rein in the man before he falls back into his naughty ways and this time finds the judge (Selena Royle) inclined to reinstate her original sentence of 20 years in chokey. This has something of the Good Samaritan about it extolling the virtues of a scenario when the system co-operates with some good will to save a man from himself, and along those lines we safely travel with little jeopardy for ninety minutes. Murphy is handsome enough - in a central casting sort of fashion - and he does enough, but he doesn’t really impose him in any way that might make you think a start is born here. Nolan hasn’t really enough to work with from the script to enable his normally quite pithy and characterful delivery and some of the sub-plots seem designed drip roast facts for us in all too convenient a fashion. It’s all watchable enough but it’s not really anything special.

Introducing Audie Murphy as the wayward seventeen year old “Danny”, we find that he has luckily found himself being taken under the wing of the kindly “Brown” (Lloyd Nolan) and his wife “Maud” (Jane Wyatt) who run a Variety Club ranch for other young men who have strayed to the wrong side of the tracks. Now the stroppy adolescent in this case is proving quite recalcitrant and resistant to their charms; is perfectly happy to remain obnoxious and to talk with his fists at the drop of an hat. The army-trained enforcer (James Gleason) is inclined to consign him to the compost heap, but “Brown” is determined to get to the bottom of his new charge’s behaviour and quickly discovers a family history that goes some way to explaining just why “Danny” is the pain in the neck that he is. Question is, though, can “Brown” manage to rein in the man before he falls back into his naughty ways and this time finds the judge (Selena Royle) inclined to reinstate her original sentence of 20 years in chokey? This has something of the Good Samaritan about it extolling the virtues of a scenario when the system co-operates with some good will to save a man from himself, and along those lines we safely travel with little jeopardy for ninety minutes. Murphy is handsome enough - in a central casting sort of fashion - and he does enough, but he doesn’t really impose himself in any way that might make you think a star is born here. Nolan hasn’t really enough to work with from the script to enable his normally quite pithy and characterful delivery and some of the sub-plots seem designed to drip roast facts for us in all too convenient a fashion. It’s all watchable enough but it’s not really anything special.