The Public Enemy

source: The Public Enemy

Two brothers grow up in an urban neighborhood. The good one joins the army, while the other embarks on a life of crime. Of course, the main reason to catch this otherwise dated gangster flick is Cagney's dynamic performance. And to think he was almost cast in a supporting role. Had that occurred, I expect the movie would be nearly forgotten. Instead, it's treated as a classic, but in my book, that's because of Cagney and little else. Okay, I almost forgot the movie's centerpiece: the grapefruit-in-the-face episode that shocked audiences of the time, but now seems little more than an odd way to force feed a friend. Still, there's the celebrated Harlow, but it's before her big roles. She does have one big lounging scene in silky white get-up that's eye-catching. But for sheer sex appeal, my money's on big-eyed Joan Blondell who can roll those orbs with the best of the personality girls. Too bad we don't see more of her since she's the real female counterpart to Cagney. Surprisingly for a pre-Code production, almost all the gun violence occurs off-screen, while, on the other hand, the sexual innuendos are made unmistakably clear. Still, the ending leaves me puzzled. I expected Cagney's final retribution to be shown as an object lesson to audiences. Instead, we get a trussed-up, unrecognizable corpse. It's a dramatic scene, but hardly instructive in a movie whose prologue intends it to be instructive. (Contrast that with the closing scene in Little Caesar {1931}). Overall, it may be classic Cagney, but the great actor aside, the movie is now little more than a dated curiosity .

Well, I guess I'm in the minority on this one. Of the 6 films in the WB Gangster box set (which I picked up because I liked the noir box so much), I got to this one last. Admittedly, I'm not much of a gangster film fan. To me, they're a bit more one-dimensional than the noir films. And, despite some very interesting camera work & a few notable scenes (the best being the shoot out in the rain, Tommy coming home from the hospital & the visit to the tailors), I found this one to be the weakest of the 6 in the box set. What ruined the movie for me was both the acting & the rather one-dimensional plot. After watching the others in the set, the tough momma's boy theme became quite a cliché by this point. I thought White Heat did a much better job. The story was better developed & the acting a bit more professional. In this one, none of the other actors were very good (& I found Harlow & the brother to be particularly annoying) & I didn't think Cagney was all that great either.

This movie offers the quintessential Cagney, by the lamp post in the rain, a tense close up that signals the arrival of a star. It was only his third film, but what an impact he had. The movie would be great even if it came out today. Of course, James Cagney would have plenty of time to polish up his gangster image, his turn as Rocky Sullivan in "Angels With Dirty Faces" is one of my all time favorite characterizations. "The Public Enemy" allows both Cagney and Warner Brothers to sharpen up their story telling skills, but even for 1931, this is a powerful tale. Unlike 'Angels', boyhood friends Tom Powers and Matt Doyle both take up a life of crime as an answer to the easy way up and out of poverty. Told in crisply dated vignettes, the film progresses through the Depression and World War I as it offers Tom (Cagney) and brother Mike (Donald Cook) taking separate paths under the watchful eye of Ma Powers (Beryl Mercer). The movie has more than it's share of defining scenes, most viewers will identify with the Mae Clarke grapefruit smackeroo, but there are a lot more. The black cat crossing Putty Nose's (Murray Kinnell) path as the boys renew their acquaintance is just the best harbinger of bad luck, culminating in the off screen gunshot that screams revenge. It was Putty who taught the gangster trainees about honor and loyalty, but in reverse. Also, how about the quick exchange of a thousand dollars to bring a race horse to justice for accidentally killing mob benefactor Nails Nathan (Leslie Fenton). The coal chute cover for the rapid staccato of machine gun bullets was another inspired piece of work, culminating in the very real artistry of a skilled shooter taking it out on a cement wall. Following Tom's confrontation with the Schemer Burns gang, again off camera for the viewer to fill in the blanks, director William Wellman wryly uses Ma Powers to signal his final return home. With strange premonition, she utters - "You're comin' home, aintcha Tommy, to stay?" His arrival is one of the all time shocker finales of film history, a perfect dichotomy between the visual and the sound accompaniment to the strains of "I'm Forever Blowing Bubbles". What an ending! Warner Brothers begins and ends this tale with a warning and an exhortation, signaling the public enemy as not a single man or character but a problem that the public must solve. Seventy five years later they could still be putting the same captions into their films, as each generation finds a way to deal with it's own brand of criminal enterprise. But here in the early days of sound cinema, James Cagney set a high mark that was rarely ever challenged for gangster supremacy on screen.

A young hoodlum (James Cagney) rises up through the ranks of the Chicago underworld, even as a gangster's accidental death threatens to spark a bloody mob war. The script is loosely adapted from "Beer and Blood", an unpublished book from John Bright and Kubec Glasmon on the life of Dean O'Banion, Al Capone's biggest rival. We see a variety of references to Irish mobsters, including Samuel "Nails" Morton, who was famously killed by a horse. Just like the real-life mobster, Samuel "Nails" Nathan of the film is avenged when the horse is shot. This is, of course, Cagney's breakout role. And what better role for him? Prior to "Public Enemy", he had been a hoofer on the New York stage. This experience really solidified him as a notable actor, as he had control over his movements that others might not have. Interestingly, he was originally cast as the good guy -- the last minute switch probably saved this movie as well as marked the decision that would catapult Cagney to stardom. (Some scenes were even filmed with Cagney in the other role before director William Wellman realized his mistake.) As for how the dance background helped his acting, critic Lincoln Kirstein noted Cagney "has an inspired sense of timing, an arrogant style, a pride in the control of his body and a conviction and lack of self-consciousness that is unique. No one expresses more clearly in terms of pictorial action the delights of violence, the overtones of a subconscious sadism, the tendency towards destruction, toward anarchy, which is the base of American sex appeal." Beautifully said. Playwright Robert Sherwood expressed how Cagney's character was the ideal anti-hero. He wrote that Cagney "does not hesitate to represent Tom as a complete rat -- with a rat's sense of honor, a rat's capacity for human love; and when cornered, a rat's fighting courage. And what is more, although his role is consistently unsympathetic, Mr. Cagney manages to earn for Tom Powers the audience's affection and esteem." In its own time, the film was thought of as a bit too violent, and there are a few moments that might still be considered shocking today. However, with the changing norms between the 1930s and today, what really stands out is the misogyny that barely earned a mention upon release. The most memorable scene, of course, is Cagney smashing a grapefruit into Mae Clarke's face. But his abusive language to her, suggesting his desire to drown Clarke, is hard to take and still remain empathetic with the gangster. There are very few films that can be said to be really inspirational to the gangster film. This one, Howard Hawks' "Scarface" (1932) and "Little Caesar" (1931) are at the top of that short list. If it is not evident enough from watching the film itself, the special feature interview of Martin Scorsese should cement the deal. Author TJ English feels this is "perhaps the most influential gangster flick in the history of American movies", but that may be overstating it a little. Some credit must be given for "Public Enemy" succeeding and remaining a top film, however. As strange as it sounds, there were at least 25 gangster movies in 1931 and at least 40 in 1932. So being among the one or two remembered almost a century later is actually quite a feat. Even William Wellman, who directed a staggering nine gangster films between 1928 and 1933 is really only remembered for this one.

I like this movie as much as the next guy, but face it: if not for Cagney, this film would hardly be remembered at all. The supporting cast are static bit players, the script isn't overly impressive, it follows a predictable storyline, and the thematic elements are overly didactic and dated. Public Enemy has gone down in film history as a piece of pre-code brutality, and some scenes are indeed worthy of notoriety: the grapefruit-in-the-face scene is legendary, and the piano execution has always impressed me. But without Cagney's fiery turn as Tom Powers, this gangster parable would be bland as toothpaste. Whereas all other characters are expendable, he makes Powers a true villain worthy of the history books. The expression on his face before his last raid and his exit in the pooring rain are electrifying.

"The Godfather" trilogy and "Goodfellas" owe a lot to this gangster film that preceded them both by at least fifty years. "The Public Enemy" was perhaps one of the first mob films that followed the rise and fall of a gangster and showed not only the implication of his actions on himself but on his family as well. The film is far from perfect. The first ten minutes of the film in which we are shown a glimpse into the characters' childhood are jerky at best and feel as if much of it was left on the cutting room floor. The movie's incessant fast pace thereafter don't allow for much to sink in, but Cagney saves the day with an absolutely fiery performance. Not one person is spared from his bubbling anger and ferocious delivery. Finally, the ending will leave you gasping - even by today's standards. "The Public Enemy" is a must see for any true fan of the mob movie genre.

This is one of the great early talkies and still a highly watchable movie ; it results to be one of the great mobsters pictures, and an expertly directed film that made James Cagney a superstar . A young and vicious hoodlum named Tom (James Cagney based his performance on Chicago gangster Dean O'Bannion, and two New York City hoodlums he had known as a youth) along with his fellow Matt (Edward Woods) rise up through the ranks of the Chicago underworld. From their teen-aged years into young adulthood, unredeemable Tom and obstinate Matt have an increasingly lucrative life , bootlegging during the Prohibition era. Tom's bad way of life is constantly set up against his brother Mike's (Donald Cook) . Meanwhile Tom falls in love with a gorgeous girl named Gwen Allen (Jean Harlow , though Louise Brooks was offered this role in this film) . Tom turns more stubborn and cruel against those who either disagree with him or cross him . Even as a gangster's accidental death threatens to spark a bloody mob war . Classic gangster movie contains top-notch performances , unpretentious familiar drama, thrills , fast-paced , action , and a shocking final . Magnificent James Cagney in the title role as a snarling and ominous gangster . Edward Woods was originally hired for the lead role of Tom Powers and James Cagney was hired to play Matt Doyle, his friend . However, once director William A. Wellman got to know both of them and saw Cagney in rehearsals, he realized that Cagney would be far more effective in the star role than Woods, so he switched them . Very good support cast formed by known actresses who subsequently would have an important career as Jean Harlow , Joan Blondell and Mae Clarke including her infamous grapefruit scene that caused women's groups around America to protest the on-screen abuse of Mae Clarke . As several versions exist of the origin of the notorious grapefruit scene, but the most plausible is the one on which James Cagney and Mae Clarke agree: the scene , they explained, was actually staged as a practical joke at the expense of the film crew, just to see their stunned reactions ; there was never any intention of ever using the shot in the completed film , filmmaker Wellman, however, eventually decided to keep the shot, and use it in the film's final release print . Atmospheric and appropriate musical score , Scorsese says that Wellman's use of music in the film influenced his own first gangster picture, Mean Streets (1973) . Wellman was an expert in all kind of genres as Gangster, drama , Film Noir , Western and adept at comedy as he was at macho material , helming the original ¨ A star is born ¨(1937) (for which he won his only Oscar, for best original story) and the biting satire ¨Nothing sacred¨ (1937) , both of which starred Fredric March for producer David O. Selznick . Both movies were dissections of the fame game, as was his satire ¨Roxie Hart¨ (1942), which reportedly was one of Stanley Kubrick's favorite films. During World War Two Wellman continued to make outstanding films, including ¨Ox-Bow incident¨ (1943) and ¨Story of G.I.Joe¨(1945), and after the war he turned out another war classic, ¨Battleground¨ (1949). In the 1950s Wellman's best later films starred John Wayne, including the influential aviation picture ¨The hight and the mighty¨ (1954), for which he achieved his third and last best director Oscar nomination. His final film hearkened back to his World War One service, ¨The Lafayette squadron¨ (1958), which featured the unit in which Wellman had flown . He retired as a director after making the film, reportedly enraged at Warner Bros.' post-production tampering with a movie that meant so much to him . ¨The Public enemy¨ , rating : Well worth watching , above average ; the picture will appeal to classic cinema buffs and James Cagney fans . It ranked #8 on the American Film Institute's list of the 10 greatest films in the genre "Gangster" .

Most films made in the early 30s are entertaining only as period pieces that give us a glimpse into another era. Often they are so dated that they've become unintentionally funny. The Public Enemy is a totally different thing. It is such a well-crafted and honest film that it still has the power to shock us. The violence in this film is every bit as brutal as anything in a modern "gangsta" flick, even though some of it takes place off-camera. Based on the stills I had seen of the grapefruit scene, I thought it would be a light-hearted moment. In fact, it's anything but. In that encounter, Cagney's character exhibits a total disregard for others that is downright chilling. The final scene is extremely disturbing. You won't forget it.

The Public Enemy, along with Little Caesar and Scarface, set the standard for the gangster film. Though films about crime had been done in the silent era, sound was what really ushered in this particular genre. I've always maintained that musicals and gangster films are the only two movie genres that date from the sound era. Of course this film about a young man's rise to prominence in the bootleg liquor business during Prohibition made James Cagney a star. Interestingly enough Edward Woods was originally supposed to be Tom Powers and Cagney was cast as best friend Matt Doyle. After some footage had been shot, Director William Wellman scrapped it and had Cagney and Woods exchange roles. Stars get born in many and strange ways. Some critics have complained about Beryl Mercer's part as Cagney's mother, saying she's overacts the ditziness. I disagree with that completely. In the prologue section with Cagney and Woods as juveniles, there is a two parent household. The boys have a stern Irish father and a mom who'd spoil them if she could. The older kid who is later played by Donald Cook has more the benefit of the two family home and both influences. That and the fact that World War I leaves him partially disabled prevents him from thinking about the gangster trade. Cagney misses the war and is spoiled by mom. I knew a woman like Beryl, in her own world with a stream of nonsensical chatter to keep out the reality of things. Her portrayal for me rings true. Oddly enough in The Roaring Twenties Cagney is a veteran who enters the rackets because he can't get a legitimate job and its easy money. Both The Public Enemy and Little Caesar are short films, edited down to the essentials so the viewer ain't bored for a minute. Warner Brothers sure knew how to do those gangster flicks.