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"B" Movies: An Informal Survey of the American Low-Budget Film 1933-1945
“B” MOVIES by Don Miller, with an introduction by Leonard Maltin
No one ever paid much attention to the bottom half of double-features in the 1930s and ‘40s—except movie enthusiast Don Miller, who had a photographic memory. This unique and invaluable book traces the history of Hollywood’s cinematic step-children, the low-budget movies that came from fly-by-night producers as well as the major studios. From Bela Lugosi to Charlie Chan, they’re all here in this comprehensive and entertaining text—a resource that’s been out-of-print for many years. Whether your interest is the early work of directors like Anthony Mann and Budd Boetticher or the roots of film noir, you’ll find what you’re looking for in Don Miller’s lively, encyclopedic book. (Introduction by Leonard Maltin)
No one ever paid much attention to the bottom half of double-features in the 1930s and ‘40s—except movie enthusiast Don Miller, who had a photographic memory. This unique and invaluable book traces the history of Hollywood’s cinematic step-children, the low-budget movies that came from fly-by-night producers as well as the major studios. From Bela Lugosi to Charlie Chan, they’re all here in this comprehensive and entertaining text—a resource that’s been out-of-print for many years. Whether your interest is the early work of directors like Anthony Mann and Budd Boetticher or the roots of film noir, you’ll find what you’re looking for in Don Miller’s lively, encyclopedic book. (Introduction by Leonard Maltin)
377 pages, Kindle Edition
First published December 12, 1987
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70 people want to read
About the author
Don Miller
3 books1 followerThe late Don Miller (1927-1983) was a film historian extraordinaire. He put his extensive knowledge of motion pictures to work as a researcher for such television projects as the classic "The Twentieth Century," then helped to organize the film research archives of TV Guide. He was a frequent contributor to various film journals and fanzines. Mr. Miller followed "B" Movies with a companion volume, Hollywood Corral: the definitive study of "B" Westerns.
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Displaying 1 - 7 of 7 reviews
June 27, 2023
Many people believe that "B" movies means bad movies (and the majority certainly were pretty terrible). But it really means "budget", a short (usually 60 minutes) film made to be shown on the bottom half of a double feature, preceded by an "A" film. Double features were popular during the 1930s/mid1950s period when people flocked to their local theater
B's were not made solely by the "Poverty Row" studios such as Monogram, Mascot, PRC,et al but were also released by the major studios, mostly targeted at the rural and small town theaters. They were full of actors/directors who would go on to fame and those who were in decline or never heard of again.
The author takes the reader through the history of the "B" film and how some, like the Charlie Chan, Tarzan, Nancy Drew series were popular and guaranteed to make money for the studio; and how others were downright horrible (cardboard sets, amateur acting, continuity errors). But don't be fooled as some true B" gems are now considered cult movies , such as Cat People, Detour, Gun Crazy.
My only problem with this book is that the author spends too much time listing the films but not giving a lot of history about each one. He tried to cover all of the "B's" and it slowed down the narrative or lack thereof to a crawl at some times. But if you are a film buff, this is a great reference book to have on your shelves.
B's were not made solely by the "Poverty Row" studios such as Monogram, Mascot, PRC,et al but were also released by the major studios, mostly targeted at the rural and small town theaters. They were full of actors/directors who would go on to fame and those who were in decline or never heard of again.
The author takes the reader through the history of the "B" film and how some, like the Charlie Chan, Tarzan, Nancy Drew series were popular and guaranteed to make money for the studio; and how others were downright horrible (cardboard sets, amateur acting, continuity errors). But don't be fooled as some true B" gems are now considered cult movies , such as Cat People, Detour, Gun Crazy.
My only problem with this book is that the author spends too much time listing the films but not giving a lot of history about each one. He tried to cover all of the "B's" and it slowed down the narrative or lack thereof to a crawl at some times. But if you are a film buff, this is a great reference book to have on your shelves.
December 11, 2013
As Leonard Maltin says in the Introduction most people associate
B movies with tackiness and everything bad. They were certainly
cheap but as Don Miller delves into them, some extraordinary
innovations were allowed to be put through - only because the
films were cheap and no one was going to be out of pocket. Like
"The Sin of Norah Moran" (1933), a real downer by Majestic which
has heroine going to the electric chair (with a lot of graphic
detail) but was from first to last "stream of consciousness" -
I think it predates "The Power and the Glory" (1933).
As William K. Everson is to the Western, Don Miller must be to
the Bs - there doesn't seem to be any B movie from even the lowliest
studio (Action, Mayfair) that he hasn't seen. Way back in 1930
there were no double features but by 1933 with the depression
killing movie attendance "little" films started to rear their heads.
Sometimes it produced "sleepers", so called when minor films were
so good they caught everyone napping. "King of the Jungle" (1933)
starred Buster Crabbe to cash in on the Tarzan craze (one critic
from "The Times" compared him to Johnny Weismuller - "from the neck
up he is a vast improvement", just love that quote) but it proved
a big hit by spoofing the genre before it had even got going,(much
like Lon Chaney's "The Monster") by showing what would happen if
Tarzan, (here named Kaspa) was brought back to civilization!! And
"Mama Loves Papa", a Paramount film released in the dead box office
season of summer, featured a new screen team (Mary Boland and
Charlie Ruggles) and made the NBR's top film list of 1933.
Another oddity mentioned was the very B "Hello Sister" of Fox -
it had began life as an Erich Von Stroheim directed A as "Walking
Down Broadway" (which, if you have seen the movie, makes a lot
more sense). He vowed to give Zasu Pitts the dramatic role of her
life and the finished film had her as a psychotic old maid, insanely
jealous of her pretty room-mate. By the time the film was released
another director had been bought in and what emerged was a gritty
but light weight film about young love in depression New York. Pitts
role was supporting and only her whining was present. When talkies
came in studios were reacting like "passengers on the Titantic"
(according to Bill Haines) and stars whose contracts were due to
expire were jittery, whence the reason a 1930 exploitation film
like "Party Girl" had Douglas Fairbanks Jnr., Jeanette Loff and an
uncredited Marie Prevost - they went were work was offered.
Miller says the minor studios specialized in different genres and
had different looks to them - the same as the majors. Majestic was
one of the hidden gems: they were a small versatile company whose
product was far above average - "The Sin of Norah Moran" had loads
of experimentation, "The Vampire Bat"(1933), a superior horror which
starred Lionel Atwill, Fay Wray and Melvyn Douglas, a trio which
had all been seen in major films that year. "The World Gone Mad"
had Pat O'Brien and Evelyn Brent as well as Mary Brian, Neil Hamilton
and Louis Calhern in a topical film (for 1933) about big business
and stock market corruption. Brent was also in "The Crusader" about,
you guessed it, an honest D.A. Majestic disappeared in 1935 and
before it went out of business in 1934, Mayfair specialized in lurid
melodrama - "Her Resale Value", "Sin's Pay Day" and "Sister to Judas"
etc. By 1935 a lot of these studios were gone but strangely the
cinema double bill was here to stay. Major studios were getting in on
the act and setting up B producing units, making movies that could
showcase their up and coming talent or players nearing the end of
their contract.
Some "seen better days" stars owed the rest of their careers to the
Bs - Richard Dix, dropped by RKO because of faltering box office was
brought back by same studio for a series of westerns, then in the
1940s found himself with a life sentence (literally) issued by
Columbia to appear in "The Whistler" series. Another actor who found
himself shackled to Columbia was Warner Baxter for "The Crime Doctor"
series and yet another "once big star" Richard Arlen found himself
in a series of Universal oaters buddied up with Andy Devine. But
wait, there's more - Chester Morris (a completely under-rated actor
in my opinion) hit pay dirt in the 40s with Columbia's "Boston
Blackie".
Miller writes in a breezy, very readable style, it sounds like he
is remembering the films from first hand experience of sitting
in the movie theatre. You know exactly who he likes and doesn't
-he rates Jane Withers highly, saying she was a breath of fresh air
and a welcome relief against the sugariness of Shirley Temple. He
also doesn't believe Marian Nixon ever received a fair go in the
talkies. The way he describes Grand National's coup of obtaining
James Cagney is hilarious - "Imagine Cagney in an indie - not First
National but Grand National"!!! Among other chapter headings - "For
Adults Only" about the proliferation of exploitation films that
were about in the 1930s - "Reefer Madness", "The Pace That Kills",
"Assassin of Youth". Strangely, when the book was written in 1973,
they had some funny ideas about marihuana not being addictive (page
87)!! "Two Dollar Bills" about Pine Thomas productions, even one
called "The Runt of the Litter", all about PRC. The only down side
of the book is that it ends in the late 1940s - boo hoo!!
I'd just like to mention a terrific B team (that Miller mentions as
well) - Frankie Darro and Mantan Moreland. They were starred in a
series of Monograms which saw Frankie as a bell hop, delivery boy,
soda jerk etc usually getting involved in a murder mystery as a
young Sherlock. He would be teamed with Mantan, an Afro-American
actor I always liked in movies. The fact that they acted as an equal
team - there was no down talking or racist jokes (in the 1940s
quite a feat). I read an interview with Darro where he praised Mantan
and said it was an honour and privilege to work with him and that
they were great mates. It definitely showed.
B movies with tackiness and everything bad. They were certainly
cheap but as Don Miller delves into them, some extraordinary
innovations were allowed to be put through - only because the
films were cheap and no one was going to be out of pocket. Like
"The Sin of Norah Moran" (1933), a real downer by Majestic which
has heroine going to the electric chair (with a lot of graphic
detail) but was from first to last "stream of consciousness" -
I think it predates "The Power and the Glory" (1933).
As William K. Everson is to the Western, Don Miller must be to
the Bs - there doesn't seem to be any B movie from even the lowliest
studio (Action, Mayfair) that he hasn't seen. Way back in 1930
there were no double features but by 1933 with the depression
killing movie attendance "little" films started to rear their heads.
Sometimes it produced "sleepers", so called when minor films were
so good they caught everyone napping. "King of the Jungle" (1933)
starred Buster Crabbe to cash in on the Tarzan craze (one critic
from "The Times" compared him to Johnny Weismuller - "from the neck
up he is a vast improvement", just love that quote) but it proved
a big hit by spoofing the genre before it had even got going,(much
like Lon Chaney's "The Monster") by showing what would happen if
Tarzan, (here named Kaspa) was brought back to civilization!! And
"Mama Loves Papa", a Paramount film released in the dead box office
season of summer, featured a new screen team (Mary Boland and
Charlie Ruggles) and made the NBR's top film list of 1933.
Another oddity mentioned was the very B "Hello Sister" of Fox -
it had began life as an Erich Von Stroheim directed A as "Walking
Down Broadway" (which, if you have seen the movie, makes a lot
more sense). He vowed to give Zasu Pitts the dramatic role of her
life and the finished film had her as a psychotic old maid, insanely
jealous of her pretty room-mate. By the time the film was released
another director had been bought in and what emerged was a gritty
but light weight film about young love in depression New York. Pitts
role was supporting and only her whining was present. When talkies
came in studios were reacting like "passengers on the Titantic"
(according to Bill Haines) and stars whose contracts were due to
expire were jittery, whence the reason a 1930 exploitation film
like "Party Girl" had Douglas Fairbanks Jnr., Jeanette Loff and an
uncredited Marie Prevost - they went were work was offered.
Miller says the minor studios specialized in different genres and
had different looks to them - the same as the majors. Majestic was
one of the hidden gems: they were a small versatile company whose
product was far above average - "The Sin of Norah Moran" had loads
of experimentation, "The Vampire Bat"(1933), a superior horror which
starred Lionel Atwill, Fay Wray and Melvyn Douglas, a trio which
had all been seen in major films that year. "The World Gone Mad"
had Pat O'Brien and Evelyn Brent as well as Mary Brian, Neil Hamilton
and Louis Calhern in a topical film (for 1933) about big business
and stock market corruption. Brent was also in "The Crusader" about,
you guessed it, an honest D.A. Majestic disappeared in 1935 and
before it went out of business in 1934, Mayfair specialized in lurid
melodrama - "Her Resale Value", "Sin's Pay Day" and "Sister to Judas"
etc. By 1935 a lot of these studios were gone but strangely the
cinema double bill was here to stay. Major studios were getting in on
the act and setting up B producing units, making movies that could
showcase their up and coming talent or players nearing the end of
their contract.
Some "seen better days" stars owed the rest of their careers to the
Bs - Richard Dix, dropped by RKO because of faltering box office was
brought back by same studio for a series of westerns, then in the
1940s found himself with a life sentence (literally) issued by
Columbia to appear in "The Whistler" series. Another actor who found
himself shackled to Columbia was Warner Baxter for "The Crime Doctor"
series and yet another "once big star" Richard Arlen found himself
in a series of Universal oaters buddied up with Andy Devine. But
wait, there's more - Chester Morris (a completely under-rated actor
in my opinion) hit pay dirt in the 40s with Columbia's "Boston
Blackie".
Miller writes in a breezy, very readable style, it sounds like he
is remembering the films from first hand experience of sitting
in the movie theatre. You know exactly who he likes and doesn't
-he rates Jane Withers highly, saying she was a breath of fresh air
and a welcome relief against the sugariness of Shirley Temple. He
also doesn't believe Marian Nixon ever received a fair go in the
talkies. The way he describes Grand National's coup of obtaining
James Cagney is hilarious - "Imagine Cagney in an indie - not First
National but Grand National"!!! Among other chapter headings - "For
Adults Only" about the proliferation of exploitation films that
were about in the 1930s - "Reefer Madness", "The Pace That Kills",
"Assassin of Youth". Strangely, when the book was written in 1973,
they had some funny ideas about marihuana not being addictive (page
87)!! "Two Dollar Bills" about Pine Thomas productions, even one
called "The Runt of the Litter", all about PRC. The only down side
of the book is that it ends in the late 1940s - boo hoo!!
I'd just like to mention a terrific B team (that Miller mentions as
well) - Frankie Darro and Mantan Moreland. They were starred in a
series of Monograms which saw Frankie as a bell hop, delivery boy,
soda jerk etc usually getting involved in a murder mystery as a
young Sherlock. He would be teamed with Mantan, an Afro-American
actor I always liked in movies. The fact that they acted as an equal
team - there was no down talking or racist jokes (in the 1940s
quite a feat). I read an interview with Darro where he praised Mantan
and said it was an honour and privilege to work with him and that
they were great mates. It definitely showed.
December 20, 2016
It's a superb run down of Hollywood movie-making practices from the thirties to the fifties; written in very chatty, garrulous, conversational terms. Every paragraph practically mentions a film and who starred in that film; who directed that film; and anything unusual to note about how the film was made or in what way it pioneered.
Mind, now: 'Dog' films are also called out; this is not just a book of 'raves' and 'exulting'. When a movie bombed; or when a studio floundered, that too is remarked upon. There is frequent mention of what studio was bought/sold into what successor studio.
The format is refreshing because most books which start out to describe the enormous production history of the era here, wind up being mere 'film catalogues' or 'film encyclopedias'. This author clearly has seen all the films he writes about; and his quickly rattles off his opinions and recommendations whether yea/nay.
Nevertheless, this book is spared from the other extreme--the opposite end of the spectrum of 'boring film books'--in that it is not a film critic's ponderous work of theory and film analysis. This is not a work of analysis; it is more of a historical survey. The perfect middle ground: light and brisk; but informative, without being sententious.
Top sum up: this title is really a must have on any film-buff's shelf. It gives much more mileage for its purchase price than many other similar works might. Hollywood was constructed on the strength of the genre' film. This book covers those trends in the proper, necessary, depth. Few other works do, you will discover.
I'll make this assertion as well: understanding 'B' movie history, distinguishes the dedicated film buff from hordes of lazy devotees; and also sets one apart from the (often 'useless') airy, ivory-tower cineaste' type.
Miller's fun investigation--along with the work of Susan Sackett-- offers formidable ammo with which to bombard the modern, blinkered, filmgoing ignoramuses who swear that the **Golden Age of Hollywood** is either a fib or a lie; and that it never was any better than what we got today (appalling levels of stupidity out there today).
Mind, now: 'Dog' films are also called out; this is not just a book of 'raves' and 'exulting'. When a movie bombed; or when a studio floundered, that too is remarked upon. There is frequent mention of what studio was bought/sold into what successor studio.
The format is refreshing because most books which start out to describe the enormous production history of the era here, wind up being mere 'film catalogues' or 'film encyclopedias'. This author clearly has seen all the films he writes about; and his quickly rattles off his opinions and recommendations whether yea/nay.
Nevertheless, this book is spared from the other extreme--the opposite end of the spectrum of 'boring film books'--in that it is not a film critic's ponderous work of theory and film analysis. This is not a work of analysis; it is more of a historical survey. The perfect middle ground: light and brisk; but informative, without being sententious.
Top sum up: this title is really a must have on any film-buff's shelf. It gives much more mileage for its purchase price than many other similar works might. Hollywood was constructed on the strength of the genre' film. This book covers those trends in the proper, necessary, depth. Few other works do, you will discover.
I'll make this assertion as well: understanding 'B' movie history, distinguishes the dedicated film buff from hordes of lazy devotees; and also sets one apart from the (often 'useless') airy, ivory-tower cineaste' type.
Miller's fun investigation--along with the work of Susan Sackett-- offers formidable ammo with which to bombard the modern, blinkered, filmgoing ignoramuses who swear that the **Golden Age of Hollywood** is either a fib or a lie; and that it never was any better than what we got today (appalling levels of stupidity out there today).
June 3, 2020
I love this book. This was my third time reading it in the 30+ years since it was published. The first time, in the late 80s, I was a classic movie fan but not necessarily a B-movie fan, so I hadn't seen many of the films Miller discusses. The second time, a few years back, I was much more familiar with the genre, thanks largely to Tuner Classic Movies. This time, I've seen a great number of the films covered, maybe half--this time due to YouTube and some niche DVD releases. Miller relates the history of B-movie production from the the beginning of talkies to the end of WWII, not only the Bs made by the bigger studios, but the movies from the low-budget "Poverty Row" studios like Monogram and PRC. A good chunk of the book is short plot summaries of the films, but I found these very interesting. I keep this book on my movie reference shelf to consult whenever I watch a B-film. I consider it a treasure, and I'm sad that the author died before he could write a revised edition for the age of home video access.
December 8, 2021
Poorly organized, a boatload of typos and it lacks a much needed index. Still, the book is pretty indispensable.
July 16, 2016
Don Miller's survey is lot more broad than deep. There's a lot of affection for this world of moviemaking, and some for particular movies, actors, or filmmakers. And plenty of amusing dismissals of efforts, or rather non-efforts, that he was not impressed with.
Miller can turn a sentence; there are some that I really enjoyed:
"A month or so later, a modern version of The Moonstone by Wilkie Collins appeared in not especially suspenseful form, with David Manners, Phyllis Barry, and that gaunt menace Gustav von Seyffertitz."
If you like Thirties and Forties movies a lot, you'll probably want to take a look. You might not want to read the whole thing at once. It will certainly drop a few more movies onto your lists.
Miller can turn a sentence; there are some that I really enjoyed:
"A month or so later, a modern version of The Moonstone by Wilkie Collins appeared in not especially suspenseful form, with David Manners, Phyllis Barry, and that gaunt menace Gustav von Seyffertitz."
If you like Thirties and Forties movies a lot, you'll probably want to take a look. You might not want to read the whole thing at once. It will certainly drop a few more movies onto your lists.
August 26, 2025
Preliminary review/some thoughts.
The book is neither encyclopedic or overly analytical. However the list format is tedious. I kept asking of the book/author; but what was good or bad about a particular film?
Too much skimming over titles to cram them all in.
Hoping it gets more detailed, but I doubt it.
Ok.
Finished.
A quick read, actually, despite the drawbacks I've mentioned.
It only got draggy (for me) in the chapter on wartime pictures. Not sure why. Maybe the emphasis on war themed narratives was just not that fascinating.
Anyway, I learned a bit about the people who made the B pix I've loved forever.
Recommend if you have a love for secondary cinema.
The book is neither encyclopedic or overly analytical. However the list format is tedious. I kept asking of the book/author; but what was good or bad about a particular film?
Too much skimming over titles to cram them all in.
Hoping it gets more detailed, but I doubt it.
Ok.
Finished.
A quick read, actually, despite the drawbacks I've mentioned.
It only got draggy (for me) in the chapter on wartime pictures. Not sure why. Maybe the emphasis on war themed narratives was just not that fascinating.
Anyway, I learned a bit about the people who made the B pix I've loved forever.
Recommend if you have a love for secondary cinema.
Displaying 1 - 7 of 7 reviews