Recommendations
Archivist John
Senior Editor

Delving into the atmospheric depths of The Bad Boy reveals a master at work, the visual language established by Chester Withey is something many try to emulate. From hidden underground hits to established classics, these are our top picks.
The enduring power of The Bad Boy lies in to synthesize diverse influences into a singular artistic statement.
Jim is the leader of the "Slouchy Seven," a gang of small town boys. He takes the gang for a swim in the reservoir, and is reported to his father, who, as a punishment, locks him in his room. Jim, however, escapes and goes to the assistance of Clarence, a "nice" boy, who is vainly trying to secure an apple for his sweetheart, Mary. Mary is won by the prowess of Jim, but he is indifferent to girls. Clarence and Mary go for a walk and Tom, the blacksmith's boy, pushes Clarence aside and takes his place beside Mary. Jim goes to find the gang at the railroad station he meets a girl, who asks him the direction to Mr. Morton's, who, she says, is her uncle. Jim offers to take her bags and show her the house. The boys see him and have fun at his expense. He leaves the girl, whose name is Ruth, at the gate and goes to meet the gang. They have lost a member who moved away, and initiate Clarence, who proves to be a good sport. Unaware of the interest he has aroused in Mary's heart, Jim fights Tom, when he again interferes with Clarence and Mary, and is accused by Ruth of being "stuck" on Mary. This he stoutly denies. He calls on Ruth and her uncle tells her to dismiss him, that he is a bad boy. Jim then joins the gang in a prank on the schoolmaster, and as a punishment his father orders him to chop a pile of wood. Jim is rebellious and, taking his dog, leaves the house. He meets Mary and tells her he is going to the city. His dog deserts him and he falls in with a band of tramps. His mother places an ad in a local paper asking him to come home and Mary takes care of his dog. Later he comes back and is induced by the tramps to assist in robbing the bank, of which his father is vice-president. He dresses up and goes to secure the combination. Mary is impressed by his prosperous appearance, and when he hears his mother talking he almost gives up the idea of aiding the tramps, but his father's gruff remarks determine him to keep on. On going back to the tramps he sees his mother's ad in an old newspaper and refuses to help the hobos, but they take the paper with the combination away from him and bind him in a freight car. He escapes and hurries back to the town and tells the gang. They go to the bank, but are not in time to prevent the robbery, and the tramps escape with the loot. The loss ruins the bank, and although Jim is hailed as a hero his conscience troubles him. Finally he tells his father and is forgiven. The money is discovered in a woodpile, and the next day Jim carries Mary's books to school.
Critics widely regard The Bad Boy as a cult-favorite piece of cult cinema. Its cult status is frequently cited as its strongest asset, solidifying its place in United States's film legacy.
Based on the unique cult status of The Bad Boy, our vault has identified these titles as the most compelling follow-up experiences for fans of cult cinema:
Dir: Chester Withey
A German-American father, loyal to his new U.S. home, finds himself on opposite sides with his son in the wartime conflict between Germany and America. The son becomes involved with German agents plotting against U.S., and the father must decide between his son and his adopted homeland.
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Dir: Chester Withey
Wynne Mortimer, a pampered society girl and daughter of William Mortimer, a prominent business man, chances to meet David White, a young artist whose fame is already assured, at an art exhibit. Despite the fact that she is engaged to marry Hugh Gordon, the junior partner of her father, she falls in love with the artist. He invites the girl and her father to visit his studio and the invitation is accepted. Renee, a model, has been in love with David White for years and he has seemingly reciprocated her love. When Wynne Mortimer appears on the scene, however, he forgets all thoughts of love for Renee. The model is quick to realize the change in her lover. Secretly, she has been a user of cocaine. To forget the heartache the growing attachment between her lover and Wynne causes her, she turns to the cocaine. Wynne, led on by her interest in the artist and his insistence that she is the only one who can justly typify the spirit of a new picture at which he is at work, goes to the studio and poses for him. Hugh Gordon follows her and after a violent scene with the painter takes Wynne to her father, who upbraids her and forbids her to again see the painter. David is dejected at the loss of Wynne and finally takes to using cocaine. Before he has become a complete victim to the habit, however, Wynne dares her father's vengeance and returns to the studio. She and David finally run away and are married. In his anger Wynne's father turns her from home. David rapidly becomes an habitual user of cocaine and Wynne is forced to return to her home. Renee, heartbroken at the evil she has done by really being responsible for the drug habit acquired by David, tries to reform him. It is not until David hears his wife, however, declare that she will stick to him as long as he has need of someone to look after him, and he finally manages to throw off the habit he has acquired. He is determined to free his wife of whatever obligation she may feel binds her to him. Her loyalty to her husband leads Wynne to seek him. Her search takes her into an evil part of the city and she is attacked by a thug. David, who has returned to the city, however, learns that his wife is seeking him and goes to find her. He arrives just in time to rescue her from the den into which she has been carried. When husband and wife are reunited after the horrors through which they have passed the year past, they find that their love has grown stronger and eventually they find happiness.
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Dir: Chester Withey
Genevieve Rutherford Hale, a pampered youngest child, reads an advertisement for women to work on farms to increase food production during World War I. After having her modiste make silk overalls which Genevieve models on Russian ballet attire, she arrives at the Hubbard ranch in New York State with her chauffeur, maid, and pet dog, to be a "farmerette." While Genevieve finds the chores difficult and the other girls unfriendly, Bobbie, the youngest Hubbard, discovers officer training camp to be equally discouraging. Although he is tempted to desert, Bobbie only leaves for one night to see his home again. He finds Genevieve crying in a potato patch, and together they resolve to do their patriotic duty. When a prying neighbor, seeing them together, tells the Hubbards that Genevieve was with a soldier, Genevieve remains silent about Bobbie's identity, and is banished from the ranch. After Bobbie gets a furlough and explains matters, the Hubbards apologize to Genevieve. Bobby proposes, and they plan to marry when he returns from "over there."
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Dir: Chester Withey
Rosalie and Reginald become acquainted while they are guests at a hotel in Palm Beach, Florida, and later they are married. Misunderstandings, aggravated by a case of measles, send the young wife to Reno, Nevada for a divorce. A year later she finds her ex-husband engaged to Marcia Hunter--a match promoted by Mrs. Hunter with an eye for Carter's wealth and social position. Regretting her hasty divorce, Rosalie almost succeeds in winning him back until the Hunters, a poet, and a rejected suitor interfere with her plan. Nevertheless, Rosalie stops the wedding by sending a note to the bishop, telling him that Reggie is divorced. Returning to Reggie, she becomes Mrs. Carter again.
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Dir: Chester Withey
When Marie Callender is left a fortune by a wealthy old admirer on the condition that she marry the man she loves, Marie targets Ernest Lismore but is too shy to ask him to marry her. Instead, Marie disguises herself as an elderly woman of considerable wealth and offers to bail Ernest out of his impending bankruptcy in exchange for marriage, with the understanding that if Ernest ever falls in love with another woman she will grant him a divorce. Then Marie disguises herself as June Dayne in order to make her husband fall in love with her. She succeeds, and when Ernest confesses his love for another woman, Marie discards her disguise and Ernest discovers that the woman with whom he is in love is his own wife.
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Dir: Chester Withey
A young man planning to marry receives a cautionary tale from his bishop based on the sad tale of the bishop's own early romance.
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Dir: Chester Withey
Betty Griffon delays her wedding to Harry Lindsey, because her brother Dick is late for the ceremony. Upon learning that her dear brother has been injured in an accident, Betty refuses to leave on her honeymoon until he has recovered. When Harry objects, Betty proclaims that he is insensitive and demands a divorce. To oblige his wife, Harry hires his friend Tom Robinson to testify as corespondent in a divorce case, and a separation is granted. Betty and Harry realize that they really love each other too late and decide to remarry, but are prevented from doing so by the divorce papers which forbids Harry from marrying again. They finally decide to circumvent the New York law by becoming really married in New Jersey, and all ends happily.
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Dir: Chester Withey
Polly, a young woman on the run from three unwanted suitors, checks into a hotel using an assumed name. This subterfuge leads a Secret Service agent to mistake her for a German spy, which in turn leads her to become unwittingly involved with real German spies.
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Dir: Chester Withey
A down-on-her luck streetwalker is ultimately redeemed by the love of a decent man.
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Dir: Chester Withey
Adventures of King Richard when he travels with Queen Berangaria, the knights and ladies of his court, and his army of crusaders to Palestine to fight Sultan Saladin and the Saracen hordes for possession of the Holy Land.
View DetailsAnalysis relative to The Bad Boy
| Film Title | Atmosphere | Complexity | Similarity |
|---|---|---|---|
| The Hun Within | Gritty | High | 97% Match |
| The Devil's Needle | Gothic | Abstract | 87% Match |
| Little Comrade | Tense | Abstract | 90% Match |
| Wedding Bells | Ethereal | Linear | 87% Match |
| She Loves and Lies | Gothic | Linear | 96% Match |
This guide was algorithmically generated using the cinematic metadata of Chester Withey's archive. Last updated: 5/8/2026.
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