“The Dark Horse” is a 1932 American pre-code comedy film directed by Alfred E. Green where the story revolves around a political strategist who turns a dim-witted but honest man into a candidate for governor.
The article “The Best Movies You’ve Never Heard Of” is a series dedicated to little-known movies of exceptional quality that may have fallen through the cracks of the general public’s awareness.
“The Dark Horse” is featured in this series, emphasizing its quality and the relevance of its themes even in contemporary times.
As the campaign progresses, unexpected challenges and comedic situations arise, making it an entertaining watch for fans of classic cinema.
The film’s blend of humor and political satire has made it a notable entry in the era’s filmography.
The Best Movies You’ve Never Heard Of: “The Dark Horse” (1932)
During a time when the ongoing presidential primary season continues to become increasingly absurd, the distinction between reality and satire is becoming more blurred.
Warner Archives has displayed remarkable foresight by releasing Warner Brothers’ scathing 1932 political satire The Dark Horse on DVD.
Although the film is nearly a century old, its relevance is striking, especially given the current competition among GOP presidential candidates to make self-destructive verbal mistakes.
This paradox is not uncommon for Warner Brothers movies from the 1930s and 40s, a period often referred to as “The Golden Age of Hollywood.”
Warner’s films possessed a distinctive and vibrant energy and a cynical indifference that set them apart from other studios, particularly MGM.
Warner Brothers was also the only studio where protagonists could be unapologetic rebels, making it the ideal home for stars like James Cagney, Bette Davis, Humphrey Bogart, and John Garfield.
Consequently, Warner’s approach to addressing topical issues resulted in enduring classics that have aged remarkably well, such as the wartime romance Casablanca in 1942 and the hard-hitting 1932 exposé I Am a Fugitive From a Chain Gang.
Despite being a comedy with dark and biting undertones, The Dark Horse aligns with Warner’s tradition of topical entertainment.
Notably, amidst the worsening Depression and the public’s dwindling faith in politicians and the government, The Dark Horse capitalized on this mistrust, contributing to its success at the box office.
Despite being primarily forgotten within decades of its release, The Dark Horse remained a favorite among film historians.
William K. Everson, in his 1961 program notes for the Theodore Huff Memorial Film Society, described The Dark Horse as “a sharp and brisk political satire in the unreserved Warner tradition of the thirties.”
He highlighted its significance as an election-year production that fearlessly lampooned corrupt politics and the public’s gullibility.
Similarly, in his 1971 book “We’re in the Money: Depression America and Its Films,” Andrew Bergman characterized The Dark Horse as “an extremely humorous and acerbic film about electoral politics.”
Initially conceived by Warner Bros.’s head of production, Darryl F. Zanuck (using the pseudonym Melville Crossman), The Dark Horse was initially planned to follow the satirical comedy High Pressure, which starred William Powell.
However, due to financial disagreements with the author of the play on which High Pressure was based, the script was reworked to feature the rising star, Warren William.
Esteemed writer Wilson Mizner and staff writer Joseph Jackson were tasked with the script. At the same time, the direction was entrusted to the capable Alfred E. Green, known for delivering top-notch entertainment with suitable material.
The film kicks off with a frantic sequence revealing the behind-the-scenes maneuvering during a deadlocked gubernatorial primary, leading to the unexpected nomination of a political unknown named Zachary Hicks (played by Guy Kibbee).
Hicks, lacking in political acumen, is described by his campaign manager, Hal S. Blake (portrayed by William), as “the dumbest human being” he has ever encountered.
However, Hicks has two advantages – the first being Blake himself, a morally flexible and quick-witted hustler, and the second being Kay Russell (played by Bette Davis), Blake’s girlfriend and the one who recommended him to the “Progressive Party.”
This character dynamic represented by Blake and Hicks aligns with Warner Bros.’s portrayal of archetypes, featuring cunning and charismatic characters always on the lookout for opportunities.
A role well-suited for actors like Warren William, James Cagney, and others from Warner’s roster of players.
Upon evaluating the candidate, Blake astutely transforms Hicks’ lack of experience and naivety from a disadvantage to an advantage by highlighting his detachment from established political circles, portraying him as the ultimate “outsider.”
“We’re going to capitalize on his lack of knowledge,” Blake informs the party leaders. “Sure, he may be inexperienced, but he’s honest.”
Blake’s initial move involves persuading Hicks to adopt a uniform response to any question posed to him: “Yes, and then again, no.”
Adding to Hicks’ favor is his opponent, the “Conservative Party” nominee, a pompous figure named William A. Underwood (portrayed by Burton Churchill).
Churchill’s casting was significant shorthand for 1930s audiences, given his cinematic typecasting as corrupt politicians or ruthless capitalists.
(Churchill is most renowned as the hypocritical banker in John Ford’s iconic Western Stagecoach, known for criticizing others’ moral failings.)
After weeks of coercing Hicks to memorize an early speech by Abraham Lincoln to pass it off as his own, Blake is astonished when Underwood opens a town hall debate with the same speech.
Seizing the moment, Blake promptly exposes Underwood as a plagiarist, prompting Churchill’s hasty departure amid jeers and protests from the audience.
The film’s momentum wanes with the introduction of Maybelle, Blake’s gold-digging ex-wife, who dangles the threat of imprisonment over his head unless he pays her overdue alimony.
Recognizing Hicks as an easy target, Maybelle manipulates him. She conspires with the opposing party to lure him to a mountain cabin getaway across state lines, intending to have him arrested for violating the Mann Act.
The climax involves a cross-country pursuit, alternating between the rival party leaders with the local sheriff in their car and Blake and his assistant Joe in a chartered airplane, rushing to the ” crime scene.”
At the same time, Hicks finds himself unwittingly participating in a game of strip poker introduced by Maybelle.
The majority of the film’s humor is expertly handled by William, Kibbee, and McHugh, who specialize in portraying comic sidekicks.
Despite later achieving film stardom surpassing that of the rest of the cast, Davis’ dull and thinly developed role essentially relegates her to the Zeppo of the group.
However, The Dark Horse wasn’t conceived as a showcase for Bette Davis; instead, it was crafted as a cinematic critique aimed at the politicians responsible for the country’s woes, and in that regard, it achieves its goal splendidly.
As is typical, apart from the original trailer, the Warner Archives release of The Dark Horse offers no additional features.
Nonetheless, for many viewers, this is an acceptable compromise for finally accessing a lesser-known treasure on DVD, a status it likely wouldn’t have attained otherwise.
