Director: JEAN YARBROUGH. Original screenplay: Edmond Kelso. Photography: Mack Stengler. Film editor: Jack Ogilvie. Settings: David Milton. Art director: Charles Clague. Music director: Edward J. Kay. Production manager: Glenn Cook. Sound recording: Glen Glenn. Producer: Lindsley Parsons.
Copyright 11 June 1941 by Monogram Pictures Corp. No recorded New York opening. U.S. release: not recorded, but probably similar to copyright date. No recorded Australian theatrical release. 6 reels. 63 minutes.
SYNOPSIS: The good guy's trucking firm is sabotaged by the bad guy's rival operation.
COMMENT: I are not surprised I can find no record of this film's release anywhere, though American exhibitors, keen to save a few bucks, no doubt used it as a first half for a particularly strong "A" feature. True, the cast is not uninteresting (though Robert Homans looks uncomfortable out of his customary cop uniform), with both Keye Luke and Mantan Moreland giving it a bit of luster.
But the script is on the dull side. Worse, its lack of vitality becomes progressively compounded by Yarbrough's flat, lifeless direction with its reliance on long, static takes. Worse still, production values are minimal. If ever a movie looked like it had been created in the proverbial phone booth, The Gang's All Here is it!
Copyright 11 June 1941 by Monogram Pictures Corp. No recorded New York opening. U.S. release: not recorded, but probably similar to copyright date. No recorded Australian theatrical release. 6 reels. 63 minutes.
SYNOPSIS: The good guy's trucking firm is sabotaged by the bad guy's rival operation.
COMMENT: I are not surprised I can find no record of this film's release anywhere, though American exhibitors, keen to save a few bucks, no doubt used it as a first half for a particularly strong "A" feature. True, the cast is not uninteresting (though Robert Homans looks uncomfortable out of his customary cop uniform), with both Keye Luke and Mantan Moreland giving it a bit of luster.
But the script is on the dull side. Worse, its lack of vitality becomes progressively compounded by Yarbrough's flat, lifeless direction with its reliance on long, static takes. Worse still, production values are minimal. If ever a movie looked like it had been created in the proverbial phone booth, The Gang's All Here is it!