| The Purple Gang | |
| Director: | Frank McDonald |
| Starring: | Barry Sullivan Robert Blake Jody Lawrance |
| Music: | Paul Dunlap |
| Cinematography: | Ellis W. Carter |
| Editing: | Maurice Wright |
| Studio: | Allied Artists |
| Distributor: | Allied Artists |
| Runtime: | 85 minutes |
| Country: | United States |
| Language: | English |
The Purple Gang is a 1960 American period crime film directed by Frank McDonald and starring Barry Sullivan, Robert Blake and Jody Lawrance.[1] It portrays the activities of The Purple Gang bootlegging organization in Detroit in the 1920s
A fictionalized account of The Purple Gang as they smuggled liquor in 1920s Detroit, Michigan.
The Purple Gang was directed by Frank McDonald and was produced by Lindsley Parsons under the company Lindsley Parsons Productions, Inc.[2] The film details the formation of The Purple Gang and their criminal operations in Detroit, Michigan. It left out that the majority of The Purple Gang was Jewish.[3] The film opened with newsreels and Congressman James Roosevelt, the son of Franklin D. Roosevelt, saying that "despite its entertainment value, the film points out that only by an awakened citizenry can crime be successfully fought."[3] [4] Roosevelt's introduction is followed by a statement that explains the plot of the film. 1930s newsreel footage is interspersed throughout the film.[2] The Los Angeles Evening Citizen News said that the film's narration "adds a convincing documentary flavor to the picture."[5] The narration was provided by Barry Sullivan as his character Bill Harley.[2]
The film was released on January 5, 1960 by Allied Artists.[6] It was released on VHS in 1992 and on DVD in 2011 through the Warner Archive Collection.[7] [8]
Glenn Erickson of DVD Talk said, "The obvious hook with the true facts of The Purple Gang is the teen angle: in 1959 movie screens were awash with juvenile delinquency pictures. But the script as written sticks with gangster clichés, not adolescent angst."[8] Dave Kehr of The New York Times wrote, "Produced by the cash-strapped independent Allied Artists, the film employs a minimally rendered period setting to provide cover for a more or less frank admiration (at least, up until the last reel) of youth in revolt: teenagers with tommy guns."[9]