page_title: B movies (Hollywood Golden Age)
section_title: Sinners and saints
hierarchical_section_title: B movies (Hollywood Golden Age) / Bs from major to minor: 1940s / Sinners and saints
caption_attribution_description: English: Poster for the movie Raw Deal (1948), featuring (clockwise from upper right) stars en:Dennis O'Keefe, en:Claire Trevor, and Marsha Hunt
context_page_description: The B movie, whose roots trace to the silent film era, was a significant contributor to Hollywood's Golden Age of the 1930s and 1940s. As the Hollywood studios made the transition to sound film in the late 1920s, many independent exhibitors began adopting a new programming format: the double feature. The popularity of the twin bill required the production of relatively short, inexpensive movies to occupy the bottom half of the program. The double feature was the predominant presentation model at American theaters throughout the Golden Age, and B movies constituted the majority of Hollywood production during the period.
context_section_description: In the 1940s, RKO—the weakest of the Big Five throughout its history—stood out among the industry's largest companies for its focus on B pictures. From a latter-day perspective, the most famous of the major studios' Golden Age B units is Val Lewton's horror unit at RKO. Lewton produced such moody, mysterious films as Cat People (1942), I Walked with a Zombie (1943), and The Body Snatcher (1945), directed by Jacques Tourneur, Robert Wise, and others who would become renowned only later in their careers or entirely in retrospect. The movie now widely described as the first classic film noir—Stranger on the Third Floor (1940), a 64-minute B—was produced at RKO, which would release many melodramatic thrillers in a similarly stylish vein during the decade. The other major studios also turned out a considerable number of movies now identified as noir during the 1940s. Though many of the best-known film noirs were well-financed productions—the majority of Warner Bros. noirs, for instance, were produced at the studio's A level—most 1940s pictures in the mode were either of the ambiguous programmer type or destined straight for the bottom of the bill. In the decades since, these cheap entertainments, generally dismissed at the time, have become some of the most treasured products of Hollywood's Golden Age among aficionados. 
  In one sample year, 1947, RKO under production chief Dore Schary shot fifteen A-level features at an average cost of $1 million and twenty Bs averaging $215,000. In addition to several noir programmers and full-flight A pictures, the studio put out two straight B noirs: Desperate, directed by Anthony Mann, and The Devil Thumbs a Ride, directed by Felix E. Feist. Ten straight B noirs that year came from Poverty Row's big three: Republic (Blackmail and The Pretender), Monogram (Fall Guy, The Guilty, High Tide, and Violence), and PRC/Eagle-Lion (Bury Me Dead, Lighthouse, Whispering City, and Railroaded, another work of Mann). One came from tiny Screen Guild (Shoot to Kill). Three majors beside RKO also contributed: Columbia (Blind Spot and Framed), Paramount (Fear in the Night), and 20th Century-Fox (Backlash and The Brasher Doubloon). Adding programmers to that list of eighteen would bring it to around thirty. Still, most of the majors' low-budget production during the decade was of the sort now largely ignored. RKO's representative output included the Mexican Spitfire and Lum and Abner comedy series, thrillers featuring the Saint and the Falcon, westerns starring Tim Holt, and Tarzan movies with Johnny Weissmuller. Jean Hersholt played Dr. Christian in six independently produced films released by RKO between 1939 and 1941. The Courageous Dr. Christian (1940) was a standard entry in the franchise: "In the course of an hour or so of screen time, the saintly physician managed to cure an epidemic of spinal meningitis, demonstrate benevolence towards the disenfranchised, set an example for wayward youth, and calm the passions of an amorous old maid." 
  Down in Poverty Row, low budgets led to less palliative fare. Republic aspired to major-league respectability while making lots of cheap and modestly budgeted westerns, but there was not much from the bigger studios that compared with Monogram "exploitation pictures" like juvenile delinquency exposé Where Are Your Children? (1943) and the prison film Women in Bondage (1943). In 1947, PRC's The Devil on Wheels brought together teenagers, hot rods, and death. The little studio had its own house auteur: with his own crew and relatively free rein, director Edgar G. Ulmer was known as "the Capra of PRC." Described by critic and historian David Thomson as "one of the most fascinating talents in the worldwide labyrinth of sub-B pictures," Ulmer made films of every generic stripe. His Girls in Chains was released in May 1943, six months before Women in Bondage; by the end of the year, Ulmer had also made the teen-themed musical Jive Junction as well as Isle of Forgotten Sins, a South Seas adventure set around a brothel.
caption: Raw Deal, a 1948 film noir, was put out by Poverty Row's Eagle-Lion firm. Such movies were routinely marketed as pure sensationalism, but many noirs were also works of great visual beauty. Directed by Anthony Mann and shot by John Alton, Raw Deal "is resplendent with velvety blacks, mists, netting, and other expressive accessories of poetic noir decor and lighting."[61]
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