Hell's House Blu-ray Review

The Blu-ray presentation of "Hell's House" opens with a disclaimer noting that the film was mastered in HD from an original 35mm print from Bette Davis' personal collection, donated to the Library of Congress. This preservation endeavor results in a mixed visual experience. The first reel suffers significant damage due to nitrate decomposition, which manifests as strong edge degradation, ghostly white flickering vignettes, a heavy barrage of white specks, and thick vertical and horizontal scratches. Frame drops contribute to intermittent stutters and choppiness but are not excessively distracting for viewers familiar with films of this era. Once past the initial reel, the level of deterioration subsides, but occasional scratches, brightness fluctuations, and small judders persist throughout.

Despite these imperfections, the true-to-source fidelity of the Blu-ray transfer is commendable. The 1080p/AVC MPEG-4 encode looks natural, maintaining a visible patina of grain without any overuse of noise reduction or artificial smoothing techniques. The 1.33:1 image showcases a well-balanced contrast curve with neither overly crushed shadows nor blown-out highlights, lending depth to the black-and-white cinematography. Detail clarity is often impressive; instances such as the boys' detention center uniforms and the intricacies of Bette Davis' facial features stand out notably. However, viewers should expect occasional soft and blurry moments and some scenes where the edge of the negative is slightly visible. Overall, while the presentation exhibits age-related flaws typical of a film over 80 years old, it remains a very watchable and appreciatively detailed high-definition transfer.

The audio presentation for the Blu Ray release of "Hell's House" faces several challenges owing to the age and condition of the source material. The uncompressed Linear PCM 2.0 mono track brings with it a persistent light hiss throughout much of the film, along with semi-frequent splice pops, crackles, and a few outright dropouts from missing frames. However, these issues are generally not distracting and are manageable in the grand scheme of the viewing experience. The dialogue remains relatively clear and easy to understand, with no major instances of muffling or peaking, which is crucial for maintaining audience engagement.

While the orchestral score meets expectations for a film of this era—dynamic limitations notwithstanding—certain elements like mid-range can feel constrained and a bit generic. Voices, although generally intelligible, do tend to come in and out with varying pitches and occasional sudden volume drops, creating a distant feeling in some character interactions. This inconsistency might be attributed either to the original recording quality or to the poor state of the print from which the audio was sourced. Despite these shortcomings, the lossless mix provides good presence in the center channel with sufficient bass support. Unfortunately, one notable oversight is Kino’s customary exclusion of subtitle options, which could have significantly enhanced the overall viewing experience.

The extras included with the Blu-ray of "Hell's House" are sparse, providing only minimal supplementary content. The sole bonus features consist of high-definition trailers, which showcase other Kino Classics releases. While the trailers are presented in HD and maintain high quality, the lack of additional content such as behind-the-scenes features, interviews, or directors' commentaries leaves much to be desired for those seeking a deeper exploration of the film. Consequently, this Blu-ray edition may not satisfy aficionados keen on comprehensive bonus material. Nonetheless, the trailers included offer a glimpse into the broader Kino Classics catalog.

Extras included in this disc:

• High Definition Trailers: Trailers for other Kino Classics releases in high definition.

"Hell's House," directed by Howard Higgin and produced by B.F. Zeidman, is a largely unremarkable 1932 drama exploring the juvenile reform system. The movie stars Junior Durkin as Jimmy Mason, a naïve rural boy who becomes an unfortunate pawn in an underground bootlegging operation led by Matt Kelly, played by Pat O'Brien. Jimmy’s unwavering loyalty to Kelly lands him in a state reform school where the so-called institutional injustices unfold. Counterintuitively, despite its title, the film’s depiction of the institution is rather mild, rendering a subplot involving an activist aiming to reform the system implausible.

Bette Davis, though given top billing, appears in a minor role as Peggy Gardner, Kelly’s girlfriend. Her performance is one of the few memorable aspects, though her character’s presence feels like a late addition to press on Kelly’s conscience. The film's plot aims to expose the harsh realities of penal systems for troubled boys, but its execution falls short of delivering any substantive critique or emotional impact. The narrative is simplistic and has a dated feel, often leaning on melodramatic elements reminiscent of early silent pictures.

Despite noble intentions, "Hell's House" suffers from low production values and uninspired direction, feeling every bit the low-budget B-picture it is. The performances are mixed: Junior Durkin shows some promise despite his rough edges, while Pat O’Brien’s portrayal lacks depth. The film primarily stands today as a curiosity and a study piece for early Bette Davis rather than as an impactful social commentary. Its depiction of juvenile reform fails to evoke the urgency or scandal it might have plausibly aimed for, making it more of a historical footnote than an enduring classic.

"Hell's House" is a long-forgotten Pre-Code melodrama revolving around the maltreatment of young boys in reform schools. While its heart is undoubtedly in the right place, aimed at shedding light on societal issues, it falls short of becoming a memorable piece of entertainment. The story primarily follows Junior Durkin's character, a rural hayseed who gets caught up in the complexities of the big city. Tragically, Durkin's promising career was cut short by his untimely death just two years later. Though headlined by Bette Davis, her role in this film is brief, making this title more of a curiosity for Davis enthusiasts and scholars interested in tracing her career trajectory during the early 1930s.

The Blu-ray release by Kino provides a high-definition transfer sourced from a print owned by Davis herself, a detail that will likely pique the interest of collectors and fans. However, the overall audio and video quality are described as troubled but passable, and the absence of significant supplemental material might make this release less attractive for those seeking added depth or context. Compared to Davis's other works, such as "Of Human Bondage," which Kino is also releasing, "Hell's House" remains a lesser-known footnote in both her filmography and the Pre-Code Hollywood era.

In conclusion, "Hell's House" serves primarily as a historic artifact rather than a standout cinematic experience. Fans of Bette Davis or those interested in Pre-Code Hollywood will find value in this Blu-ray release, albeit with certain reservations regarding technical quality and supplementary content. Overall, while it may not offer compelling entertainment by today's standards, it remains an interesting study for those passionate about film history and the early works of iconic stars like Bette Davis.