Union Depot


1h 15m 1932
Union Depot

Brief Synopsis

An out-of-luck con artist discovers a suitcase full of money at a train station.

Film Details

Genre
Comedy
Drama
Adaptation
Release Date
Jan 30, 1932
Premiere Information
New York premiere: 14 Jan 1932
Production Company
First National Pictures, Inc.
Distribution Company
First National Pictures, Inc.
Country
United States
Screenplay Information
Based on the unpublished play Union Depot by Joe Laurie, Jr., Gene Fowler and Douglas Durkin (copyrighted 3 Dec 1929).

Technical Specs

Duration
1h 15m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1
Film Length
7 reels

Synopsis

People come and go at Union Depot. Two of them are hobo Chic and his buddy Scrap Iron Scratch. When Chic picks up a suitcase left behind by a traveler, he finds a perfectly fitting suit and a bankroll in the pocket. Not believing his luck, he buys himself a good meal. On the way out, he meets Ruth, a chorus girl who tells him she must be in Salt Lake City by tomorrow, but doesn't have the money for a ticket. He misunderstands her intentions, but when she tells him she is being chased by a madman, Dr. Bernardi, he decides to help her. Meanwhile, Scratch has found a claim check, which Chic uses to redeem a violin case that turns out to be filled with money. He gives Ruth some money for a new dress and goes off to buy her a drawing room ticket so she can go to Salt Lake City in style. Lurking in the shadows, Dr. Bernardi overhears their plans and sends Ruth a message in Chic's name, asking her to meet him on the train. Ruth pays for the dress, and after she leaves, the shopkeeper realizes that the money Ruth gave her is counterfeit. Chic hears Ruth's screams from the train and rescues her from the clutches of Dr. Bernardi, who jumps out the train window to his death. Just then the police arrest Chic for passing counterfeit money. The real counterfeiter, Bushy Sloan, overhears the arrest. He follows Chic and the police to the shack where the case is hidden, shoots a federal agent and grabs the case. Naturally, the police believe Chic is guilty, but before they can take him to jail, Scratch explains everything. They arrest Sloan and Chic and Ruth are free. After Chic puts Ruth on the train, they vow never to forget each other, and Chic and Scratch go off together.

Film Details

Genre
Comedy
Drama
Adaptation
Release Date
Jan 30, 1932
Premiere Information
New York premiere: 14 Jan 1932
Production Company
First National Pictures, Inc.
Distribution Company
First National Pictures, Inc.
Country
United States
Screenplay Information
Based on the unpublished play Union Depot by Joe Laurie, Jr., Gene Fowler and Douglas Durkin (copyrighted 3 Dec 1929).

Technical Specs

Duration
1h 15m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1
Film Length
7 reels

Articles

Union Depot


If timing is everything in show business, then Union Depot, a 1932 drama from Warner Bros., certainly had some of the worst timing in history. Its tale of criss-crossing fates in a big-city train terminal could have been another Grand Hotel (1932), which it beat to the screen by three months. Ultimately, however, MGM's all-star drama would overshadow Warners' more modest, if no less thrilling release. With its no-holds-barred story-telling, a quality common to films released in the years before strict Production Code enforcement, Union Depot remains a fascinating glimpse of how the studios handled the permissiveness of the early sound years.

Douglas Fairbanks, Jr., then one of the studio's top male stars, delivered one of his best performances as a homeless man who profits not once, but twice from stumbling upon lost money. No mere thief, however, he gives in to his innate nobility to help showgirl on the run (Joan Blondell) and fellow hobo Guy Kibbee, a plot turn that explains the film's British title, Gentleman for a Day.

Blondell's scenes give the film a sexual edge rarely seen after censorship reared its ugly head in 1934. On the run from a sexual predator who very clearly intends to rape her, she tries to earn train fare to a promised job in Salt Lake City by coming on to Fairbanks. Audiences used to Blondell's later work as a character actress are often surprised by the blatant sexuality of her early performances. In many ways, she was Warners' resident hooker with a heart of gold, even when she stopped short of turning tricks, as in Union Depot. She also was one of the studio's most generously endowed leading ladies. Her more sensual appearances were often cut by film censors and generated memos from production chief Darryl F. Zanuck about keeping her breasts covered so the studio could actually release her movies.

Despite the film's hints of sexual perversion and Blondell's clear attempts to sell herself for $64, the picture got past the admittedly weak Production Code Administration (PCA) with few problems. At the time, the PCA and local censors were more concerned about gangster films like Warners' Little Caesar (1931), also starring Fairbanks, and The Public Enemy (1931), which co-starred Blondell. Censors and law-enforcement officials were convinced that these films were teaching young people how to commit crimes. When a researcher took a young boy to see Union Depot to find out if the film would have a bad effect on him, the only thing of note he reported was the boy's disappointment when Fairbanks opened a lost violin case to discover it was filled with money, a scene that apparently brought gasps from contemporary audiences. The child had hoped the case would contain a machine gun.

Censorship issues aside, Union Depot was, like so many Warner Bros. films of the '30s, a showcase for the studio's roster of contract players. In addition to Fairbanks and Blondell, the picture offered meaty roles to Kibbee as Fairbanks' fellow hobo, Alan Hale as a crooked businessman and Frank McHugh as a local drunk. Other studio stalwarts working on the film included director Alfred E. Green -- whose 109 films would include Mary Pickford's Little Lord Fauntleroy (1921), Bette Davis' Dangerous (1935) and The Jolson Story (1946) -- cinematographer Sol Polito, a favorite of many of the studio's leading ladies, and writer George Rosener, here taking a turn as an actor to play the sex fiend on Blondell's trail.

Along with its Grand Hotel like plot, Union Depot has two other elements that anticipate later hits. Two decades before High Noon (1952) won praise for taking place in real time -- the film's action unfolding in the same time it takes to view it -- Union Depot did the same thing, tracing the characters' tangled destinies through a trim 67 minutes of their time and the audience's. And Warners, always on the hunt for inexpensive story properties (one reason so many of their films were "torn from the headlines"), got their story here from an unproduced play, a move that would pay off ten years later when they turned Everybody Comes to Ricks, often called the worst play ever written, into the timeless classic Casablanca (1942). It's highly doubtful, of course, that Union Depot was the inspiration for taking a chance on more unproduced plays, but the film did leave one legacy at the studio. The impressive train station set built for this picture would resurface in Warners' films for years to come, helping keep production costs down in the time-honored Warner Bros. fashion.

Director: Alfred E. Green
Screenplay: Kenyon Nicholson, Walter DeLeon, Kubec Glasmon, John Bright
Cinematography: Sol Polito
Film Editing: Jack Killifier
Art Direction: Jack Okey
Music:
Cast: Douglas Fairbanks, Jr. (Charles Miller), Joan Blondell (Ruth Collins), Guy Kibbee (Scrap Iron Scratch), Alan Hale (The Baron), David Landau (Kendall), George Rosener (Dr. Bernardi).
BW-67m.

by Frank Miller
Union Depot

Union Depot

If timing is everything in show business, then Union Depot, a 1932 drama from Warner Bros., certainly had some of the worst timing in history. Its tale of criss-crossing fates in a big-city train terminal could have been another Grand Hotel (1932), which it beat to the screen by three months. Ultimately, however, MGM's all-star drama would overshadow Warners' more modest, if no less thrilling release. With its no-holds-barred story-telling, a quality common to films released in the years before strict Production Code enforcement, Union Depot remains a fascinating glimpse of how the studios handled the permissiveness of the early sound years. Douglas Fairbanks, Jr., then one of the studio's top male stars, delivered one of his best performances as a homeless man who profits not once, but twice from stumbling upon lost money. No mere thief, however, he gives in to his innate nobility to help showgirl on the run (Joan Blondell) and fellow hobo Guy Kibbee, a plot turn that explains the film's British title, Gentleman for a Day. Blondell's scenes give the film a sexual edge rarely seen after censorship reared its ugly head in 1934. On the run from a sexual predator who very clearly intends to rape her, she tries to earn train fare to a promised job in Salt Lake City by coming on to Fairbanks. Audiences used to Blondell's later work as a character actress are often surprised by the blatant sexuality of her early performances. In many ways, she was Warners' resident hooker with a heart of gold, even when she stopped short of turning tricks, as in Union Depot. She also was one of the studio's most generously endowed leading ladies. Her more sensual appearances were often cut by film censors and generated memos from production chief Darryl F. Zanuck about keeping her breasts covered so the studio could actually release her movies. Despite the film's hints of sexual perversion and Blondell's clear attempts to sell herself for $64, the picture got past the admittedly weak Production Code Administration (PCA) with few problems. At the time, the PCA and local censors were more concerned about gangster films like Warners' Little Caesar (1931), also starring Fairbanks, and The Public Enemy (1931), which co-starred Blondell. Censors and law-enforcement officials were convinced that these films were teaching young people how to commit crimes. When a researcher took a young boy to see Union Depot to find out if the film would have a bad effect on him, the only thing of note he reported was the boy's disappointment when Fairbanks opened a lost violin case to discover it was filled with money, a scene that apparently brought gasps from contemporary audiences. The child had hoped the case would contain a machine gun. Censorship issues aside, Union Depot was, like so many Warner Bros. films of the '30s, a showcase for the studio's roster of contract players. In addition to Fairbanks and Blondell, the picture offered meaty roles to Kibbee as Fairbanks' fellow hobo, Alan Hale as a crooked businessman and Frank McHugh as a local drunk. Other studio stalwarts working on the film included director Alfred E. Green -- whose 109 films would include Mary Pickford's Little Lord Fauntleroy (1921), Bette Davis' Dangerous (1935) and The Jolson Story (1946) -- cinematographer Sol Polito, a favorite of many of the studio's leading ladies, and writer George Rosener, here taking a turn as an actor to play the sex fiend on Blondell's trail. Along with its Grand Hotel like plot, Union Depot has two other elements that anticipate later hits. Two decades before High Noon (1952) won praise for taking place in real time -- the film's action unfolding in the same time it takes to view it -- Union Depot did the same thing, tracing the characters' tangled destinies through a trim 67 minutes of their time and the audience's. And Warners, always on the hunt for inexpensive story properties (one reason so many of their films were "torn from the headlines"), got their story here from an unproduced play, a move that would pay off ten years later when they turned Everybody Comes to Ricks, often called the worst play ever written, into the timeless classic Casablanca (1942). It's highly doubtful, of course, that Union Depot was the inspiration for taking a chance on more unproduced plays, but the film did leave one legacy at the studio. The impressive train station set built for this picture would resurface in Warners' films for years to come, helping keep production costs down in the time-honored Warner Bros. fashion. Director: Alfred E. Green Screenplay: Kenyon Nicholson, Walter DeLeon, Kubec Glasmon, John Bright Cinematography: Sol Polito Film Editing: Jack Killifier Art Direction: Jack Okey Music: Cast: Douglas Fairbanks, Jr. (Charles Miller), Joan Blondell (Ruth Collins), Guy Kibbee (Scrap Iron Scratch), Alan Hale (The Baron), David Landau (Kendall), George Rosener (Dr. Bernardi). BW-67m. by Frank Miller

Quotes

Trivia

Although the play was unpublished, it was copyrighted on 3 December 1929.

Notes

Film Daily notes that Eulalie Jensen replaced Nella Walker. This was actor George MacFarlane's final film before his death in 1932. Modern sources add the following cast credits: Frank Darien (Little boy's Father), Maude Eburne (Waiting room passenger), George Chandler (Panhandler), Irving Bacon (Waiter in hotel), Charles Lane (Man at parcels counter), Charles Coleman (Reverend Harvey Pike), Robert E. Homans (Cop in paddy wagon), Ethel Griffies (Woman at magazine stand), Sam McDaniel (Train porter), William B. Davidson (Traveler), Otto Hoffman (Station agent), Ray Turner, John Larkin (Porters), Hooper Atchley (Second station agent), George Ernst and Harrison Greene.