It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Clever and entertaining enough to recommend even to members of the 1%

This movie feels like it was made purely to piss off people who want good shows

Close shines in drama with strong language, adult themes.

I did not expect much at all, but I was pleasantly surprised by "Prison Train" (1938) in which director Gordon Wiles, of all people, makes such an ingenious use of his real locations, stock footage and second- string cast that the result is quite a thrilling film noir which can be favorably compared with "The Narrow Margin", despite the minuscule budget allotted to "Prison Train". Dorothy Comingore comes across as a pleasing heroine, while Peter Potter does okay as the obliging hero, but the movie's stand-out performance is delivered by Clarence Muse who makes the most of his best role ever as one of the villain's heavies on the train.Photographer Marcel Le Picard, who worked on nearly two hundred motion pictures (despite a four year break in the middle of his career, 1934-1937) also does some mightily impressive noirish work here.The film editing of Edward Schroeder is likewise a stand-out. Train buffs, of course, will need no encouragement to watch this movie, but they too will be thrilled far beyond their modest expectations. (Available on a quite presentable Alpha DVD).

Frankie is a big-shot mobster who is in charge of the numbers racket. Another big hood, Manny, works for Frankie. Frankie has a sister who is unaware of his career choice and Manny's boy won't take no for an answer and paws the lady--unaware of how mean and tough her brother is. Frankie naturally takes offensive and roughs up the guy--and accidentally kills him in the process. During the trial, Manny tries to kill Frankie and both end up being sentenced to Alcatraz. Manny vows that Frankie will die--sooner than later! Much of the movie is set aboard the train and there is a lot of tension as you know SOMETHING wrong is going to occur aboard this death train.Despite being made up of a no-name cast by a no-name studio, most of the film pretty good job. However, one guy plays a real smart-aleck and wow is he annoying--too annoying to be real. But apart from him, the film is loaded with tension and is well worth seeing--and a bit like the later film noir classic, "The Narrow Margin".

I was pleasantly surprised by Prison Train (1938) in which director Gordon Wiles, of all people, makes such an ingenious use of his real locations, stock footage and second-string cast that the result is quite a thrilling film noir which can be favorably compared with The Narrow Margin, despite its muscle budget. Dorothy Comingore comes across well as the pleasing heroine, while Peter Potter does okay as the obliging hero, but the movie's stand-out performance is delivered by Clarence Muse who makes the most of his best role ever as one of the villain's heavies on the train. Photographer Marcel Le Picard who worked on nearly 200 movies (despite a four year break in the middle of his career, 1934-1937) also does some mightily impressive noirish work here, and the film editing of Edward Schroeder likewise rates as a stand-out. Train buffs, of course, will need no encouragement to watch this movie and they too will be thrilled far more than their modest expectations.

Considering its lowly production origins (Equity Pictures), this is a surprisingly tight, absorbing action picture with some good comic asides. Director Wiles, who also helmed several other fine B-pics (like The Gangster) keeps the film moving at a rapid pace without sacrificing character nuances and unexpected camera angles. The ending is a little abrupt, but still nifty. As always, Clarence Muse does an excellent turn with the little material provided in his pivotal part, and the comic relief gets off some good lines. Would make a fine double bill with The Narrow Margin or The Tall Target.