CMBA Blogathon: Film Passion 101: Starstruck by Cagney in The Public Enemy

This is my contribution to the Classic Movie Blog Association Blogathon: Film Passion 101. Click here for the full roster of fabulous entries!

I must have been about 10 or 11. My parents were going out for the afternoon. I assume my older sister was enlisted to be home, as well, but it felt as though I was home alone. I’m pretty sure it was a Sunday. I had probably just finished watching the 3-hour Sunday morning show, Wonderama (WNEW Channel 5 New York), and do recall being intrigued enough by the upcoming teaser to stay put and watch the afternoon movie, The Public Enemy.

Charisma to burn!

I almost turned it off. It was so old! The sound was so scratchy! And then he appeared and my life was never the same. It was Cagney and I was in love*. Who was this man? Was he alive? Dead? Famous? Forgotten? My knowledge of old-time stars up to that point consisted of Abbot and Costello, the Three Stooges and Bette Davis, Olivia DeHavilland and Joseph Cotton (thanks to an accidental trip to the movies to see Hush, Hush Sweet Charlotte that had a live appearance by Bette and Olivia, but that’s another story). I do recall seeing Alice Faye and Bing Crosby on a show called Hollywood Palace, but not in any movies that I was willing to sit through.

But back to Cagney. I was under his spell. I had to know more about him. When my mom got home I was full of questions. She answered as best she could, but it was hardly enough. Monday brought a trip to the library to look up anything and everything about the man. Weeks were spent examining each new TV Guide to see when a Cagney picture would be shown, as I wanted to see them all (by my count he starred in 61 feature films; I’ve seen 50 – most of them on WNEW, who seemed to have the rights to a lot of old Warner Brothers films). While I love the Internet, I have to admit that nothing beats that exciting feeling when you are digging through old books and magazines and come upon a treasured piece of information.

Harlow was horrible, but who cared?

So, I loved the Public Enemy because of Cagney. I later learned that my Dad had a big crush of Joan Blondell and that Jean Harlow was not the world’s worst actress (my Aunt Lois apparently loved Harlow as a kid, kept a scrapbook, called her only by her first name and informed me that Jean never wore underwear). Oh, and that ending (Oh the awful sound of that rain, and did the size of that curb and Jimmy being sent home to his Irish mother wrapped as a mummy) scared the beejezus out of me. Poor Jimmy!!!

My love of classic film is always anchored to the star. Cinematography, director, all that stuff never much interested me and still really doesn't, although I have learned to appreciate it much more. I was star struck by James Cagney in The Public Enemy and from there it was just a short trip to this down the rabbit hole.

James Cagney

                                                               ê

Bette Davis                               Ann Sheridan                          Joan Crawford

Ann Dvorak

Kay Francis                                            ê

                 CaryGrant

                                                                 ê

Katharine Hepburn                      Audrey Hepburn                Doris Day             

                                                                 ê

Spencer Tracy                              William Holden                James Garner

                                                                ê

                                                       Gloria Swanson

                                                                ê

                                                  Charlie Chaplin             

Edna Purviance                                   ê                               Buster Keaton

                                                              

              

                                                    Mary Pickford

                                                             ê             

                                                 Douglas Fairbanks

 and so on and so on and so on.........................

Of course, that was only the beginning.....

* Before my massive crush on Cagney, I did have a kid-crush on the host of Wonderama, Sonny Fox.

Who sorta looks like my #1 movie star love affair of all time, doesn't he?

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PICTURE SNATCHER: CAGNEY TURNS YELLOW! (yellow journalism, that is)

This post is part of the Journalism is Classic Film Blogathon hosted by Comet Over Hollywood and Lindsay's Movie Musings.

Picture Snatcher Job Description

There's good, classic journalism, there's hard-hitting journalism, and then there is that old favorite of the masses, yellow journalism. Dating back to the late 19th century and a feud between the Hearst and Pulitzer New York newspapers, yellow journalism generally is defined by a sleazy and sensationalized approach to its topic - a perfect theme for a Warner Brothers quickie starring that pre-code prince of amorality, James Cagney.

Cagney practices his technique

In this 1933 goodie, Jimmy plays Danny Kean, a gangster (naturally) who harbors a secret desire to be a newspaper reporter. Once he completes the obligatory detention in the clink, Danny turns over the "business" to Jerry the Mug (the dirty dog who set him up) and decides to go  - if not straight - at least not quite so crooked.

Ralph Bellamy as Al - yellow stains are not just from tobacco

He calls on old pal Al McLean, the editor of the bright yellow Graphic News. Now, Al is a broken down has-been who once offered Danny a job, never thinking the kid would ever take him up on it. But here's Danny, ready and eager like a pit bull puppy. Al is played by Ralph Bellamy, who does a wonderful job as the alcoholic newsman who has fallen about as low as he can go. Danny proves his spunk by using unethical means to get a prized photo of a fireman who, having found his wife and lover dead from a fire, was refusing to come out of his smoldering home.

Danny, with his questionable ethics, fits right in at the Graphic News. When a group of journalism students show up for a tour, Danny imparts all of his journalistic wisdom while making goo-goo eyes at one of the academic cuties (Patricia Ellis as Pat). He describes his job as tracking down the saps who don't want their pictures in the papers. When asked which was his toughest subject, he answered "the Governor." Why? He had to ask his pardon.

Professor Cagney and his students

Shouldn't someone have fired the teacher that sent those kids to the Graphic News rather than the New York Times? Just askin'.....

Naturally, Danny falls for the classy Pat and naturally her father is the police officer who sent Danny to the slammer in the first place. Danny fixes that little dilemma by getting another newspaper to run a glowing story about the protective father. In fact, the story is so influential, the officer is promoted and grateful to Danny. There's also a nice little side story with snazzy Alice White as Allison, a copy writer who romances Al and runs after Danny.

Alice White wants to collaborate with Cagney

Things come to a head when a big story erupts - a woman is to be executed in the electric chair at Sing Sing - and the Graphic News staff, because of the paper's low reputation, is not invited. Danny goes so far as to steal an invitation from another reporter which proves to be useless. But, surprise! Pat's dad is in charge of invited guests! He sneaks Danny in and all who view the execution are reminded that no photos are allowed. Danny, who never met a rule he couldn't bend or break, has secretly strapped a camera to his leg and snaps a picture of the execution.

Ready for a close-up

Danny becomes the scourge of journalism and is chased by a hoard of angry and outraged pressmen. Handing Al the prize photo, the Graphic News lives down to its reputation as the sleaziest tabloid in town. The publication of the photo leads to Pat's dad's demotion, so naturally Pat gives Danny the heave-ho.

The sensational photo

Danny, who has been drowning his sorrow with some hooch, also ticks off fellow alcoholic Al when he sees faithless Allison making the moves on Danny (who is not interested). But Al soon catches on to Allison's faithless ways and quits her, the booze and the Graphic News. But, alls well that ends well. Danny and Al get the scoop on Danny's old partner, Jerry the Mug. This leads to their employment at a real, legitimate newspaper, the Daily Record. Just to make things sweeter, good old dopey dad gets reinstated and Pat and Danny are reunited. Yay!

Cagney gets the job and the girl

All this in 77 minutes (and filmed in 15 days)! This neat and snappy little film is a true example of the Warner Brothers ripped-from-the headlines school of film and is based upon a real life picture snatcher who smuggled a camera strapped to his leg into the execution of murderess Ruth Snyder. The resulting photo was subsequently and sensationally published on the front page of the New York Daily News. For anyone who lives in New York, they can attest that the Daily News has much, still, in common with the Graphic News!

The real execution photo

For more on the Ruth Snyder story, click here.

"Picture Snatcher" is a Warner Brothers and Cagney pre-code home run with lots of fast and funny dialogue. Cagney is a joy and totally in his element as the toughie who knows that all newspaper is eventually good for is wrapping herring.

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The Roaring Twenties: The Biggest Shot of Them All

This is my contribution to the James Cagney Blogathon, hosted by The Movie Projector. Click HERE for more, more, more about Mr. Cagney, the man who could do it all.

Simply Irresistible

Before I dive into this film, let me first say that, in my book, James Cagney could do no wrong. I love almost every one of his films, and the ones I don't love have nothing to do with Jimmy's performance. He was my first movie-crush and you know those crushes never die. Never before or since was there one actor with so much talent, charm, intensity, menace, humor and total charisma. He was one of a kind.

The Roaring Twenties

While ostensibly a Warner Brothers gangster film, 1939's Roaring Twenties is really a buddy movie. True, the ties of buddy-dom are pushed to the limit, but the bonds of friendship formed in the trenches of World War I is the key to one man's rise and one man's fall.

Bonding in the Trenches

Eddie Barlett (James Cagney), George Hally (Humphrey Bogart) and  Lloyd Hart (Jeffrey Lynn) are foxhole buddies who return home to find the world has changed. After the Armistice, Lloyd comes home to a shaky law practice and Hally, once a saloon keeper, joins the ranks of the bootleggers in the wake of the newly passed prohibition law. Eddie returns home and finds his previous job as a garage mechanic gone. At the suggestion of his friend Danny (Frank McHugh - what would a Cagney film be without him?), Eddie starts driving a cab. Eddie soon hooks up with speakeasy proprietress Panama Smith (a terrific Gladys George), and they go into the bootlegging business together. Eddie builds up a fleet of cabs for liquor runs and even hires old buddy Lloyd as his lawyer, just to keep him out of trouble. The buddy trio is reunited when Eddie gets involved in a nasty gang war with Nick Brown (the almost always nasty Paul Kelly) and he and Hally join forces.

When the one you love loves someone else...

Eddie is sweet on Jean, but Jean is sweet on Lloyd

Of course, a love story kind of gums up the works. Panama loves Eddie, but Eddie loves Jean (Priscilla Lane), who was his wartime pen pal. Meanwhile, Jean loves Lloyd. Eddie gets Jean a job singing at Panama's club, but once Jean and Lloyd set eyes on one another, it's curtains for Eddie.

Now, Eddie is such a nice bootlegger (he drinks milk) and Hally is such a nasty one, you know that their partnership won't last. Hally, the heartless so-and-so, shoots the night watchman at a liquor warehouse, even though he recognizes him as his old sergeant. This pushes the basically decent Lloyd to the limit and he quits the racket. But, we all know you can never just walk away.

While Eddie rises in the rackets, he still has to contend with Nick Brown. In an effort to arrange a truce, Eddie sends his pal Danny to make peace, but Brown sends Danny's dead body back to Eddie as his response. Eddie plans a reprisal, but Hally, jealous of Eddie's power, tips off Brown, who sets a trap. Eddie kills Brown, but now he knows he can no longer trust Hally.

Now, you'd think Eddie would stay focused on saving his skin, but when Jean tells him that she and Lloyd are going to marry, he falls apart. There's nothing better than a love-sick tough guy with a tender heart. Loosing everything in the 1929 crash, he is forced to sell his fleet of cabs to Hally, who leaves him just one (to drive).

Eddie has hit the skids

And so, the mighty have fallen. Eddie is now driving his cab, drinking booze instead of milk and eating his heart out. One day Jean enters his cab and although he initially gives her the cold shoulder, he eventually wishes her and Lloyd, now with the District Attorney's office, and their young son, well. When Eddie learns that Hally has threatened to kill Lloyd unless he drops his case against him, Eddie appeals to Hally to call it off. When Hally refuses  Eddie shoots him. As he flees, he is mortally wounded by one of Hally's men. This sets up one of the greatest death scenes ever filmed. Eddie, wounded, staggers and collapses on the snowy steps of a church. As he lays dying, the ever-faithful Panama runs to him and cradles him, Pieta-like, in her arms. When a cop asks her who he is, her answer is only "he used to be a big shot."

Cagney's unforgettable death scene

As usual, Cagney doesn't get a leading lady worthy of him, although Gladys George, as the lovelorn floozy Panama, is unforgettable. This would be Bogart's last appearance with Cagney and he is his usual despicable self before bigger and better roles beckoned.

Based on a story by Mark Hellinger and directed by Raoul Walsh, this film was an homage to not only the 1920s, but to the great Warner Brothers gangster films of the 30s. Almost a decade after the 20s had ended, Hollywood finally could come to grips with those years and the effect the first World War had on a lost generation. Never again would Cagney's gangster be so sympathetic, so pure, so fundamentally decent. The Roaring Twenties was a fitting tribute to all of those dirty rats that started with The Public Enemy's Tom Powers and ended with Eddie Bartlett's poetic death on the steps of a church.

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City For Conquest: Cagney gets some angst

This is my contribution to the Classic Movie Blog Association's Fabulous Films of the 1940s Blogathon. Who doesn't love the films of the '40s? Click HERE and check out all of the wonderful entries about some of the greatest (and best loved) films ever made

CITY FOR CONQUEST (1940)

For my money, the James Cagney of the 1930s is one of the greatest movie stars of all time. It's hard to find anyone who comes close to his personal charisma, charm, danger, grace and magnetism (not to mention talent). His cheerful amorality was irresistible and, no matter what side of the legal fence he was on, you had to love him. This was one guy who you just knew spent almost no time contemplating his navel. He was all action.

After the watershed year of 1939, Hollywood films took on a heavier tone and even Cagney, who was always fast on his feet, was slowing down a bit (although at 40 he got himself into fine fighting shape for this film).

City for Conquest is the perfect Warner Brothers story. Based on the novel by Aben Kandel, it is set in familiar Warners social commentary territory - the throbbing streets of New York City's poor, the city that rewards the strong and devours the weak. This time up, the neighborhood is Forsyth Street and Delancey.

The Story
Danny Kenny is a regular guy who is content with his lot as a truck driver. He boxes on the side and could be a champion, but Danny is not particularly ambitious.  His two passions are his girl, Peggy Nash (and who wouldn't be sweet on Ann Sheridan?) and the musical education of his talented brother, Eddie (Arthur Kennedy in his screen debut). Danny decides to enter the fight game as "Young Samson" to get money for Eddie's future. After all, the kid is not truck driver material.

Danny and Peggy share their dreams for the future

Eddie Kenny: that kid's got something

But Peggy has a passion, too. Not content to win neighborhood dance contests, she sees her name in lights on Broadway. She has ambition and is not all that pleased that Danny seems to have none. One night, at a local dance contest/beet soiree, Peggy meets professional dancer Murray Burns (well played by an oily, scene stealing Anthony Quinn). Murray promises her the fame she wants and Danny sees that, if he is to keep Peggy in his life he will have to step it up. He promises to use his fists to beat a path to success for both of them.

Could Cagney fight without Frank McHugh at his side?

So, Peggy dances, Eddie composes and Danny fights, but suffer they must. Peggy turns down Danny proposal of marriage. The lure of fame and fortune are too strong. Burns turns out to be a heal who abuses Peggy, and Danny - oh poor Danny. A shady opponent rubs rosin dust in his gloves and blinds Danny after a brutal 15-round fight. Only Eddie fulfills his dream and writes a symphony of the city, one filled with all of the heartbreak, longing and glory that Danny, Peggy and Eddie know all too well. The ending? More about that later.

Anthony Quinn comes between Jimmy & Ann

This film holds a very special place in my heart. Before I saw it (as an impressionable, tender-hearted teen) I was already a Cagney fan, but this one cemented my total adoration for him. Ann Sheridan also wowed me here and I still haven't recovered. Those first loves always stay with you to some degree. So, maybe it's not a masterpiece, but I was never one for masterpieces.

Cagney went on record saying he was quite disappointed in the film. Directed with a poetic touch by Anatole Litvak, it might have fallen short of Cagney's expectation, but it gives him a chance to give of his most moving, heartfelt and deep performances. John Garfield is already on the payroll, Bogart is rising and Brando, Clift and Dean are coming.

Chief Pleasures

James Cagney and Ann Sheridan

Cagney and Sheridan are one of my favorite screen couples. She is one of the few actresses that could hold her own with him. She had his number but was sweet on him anyway. He never got all mushy, but you knew he was crazy about her. They compliment one another perfectly and when he tells her that she will always be his girl, well, you know he means it from the bottom of his heart.

That old Warner Bothers Gang of Mine

I always feel warm and cozy when Frank McHugh, Donald Crisp, George Tobias, Jerome Cowan, Lee Patrick and Joyce Compton are on hand. I'll bet Cagney and Sheridan did, too.

Faux-Gershwin Score

That overture! Thanks, Max Steiner, for channeling your inner Gershwin and giving us that inner city heart-on-the-pavement rhapsody in blue collar (known as the Magic Isle Symphony).

Great Trivia Question
Who played Goggi Zucco in City for Conquest?

Yup - that's Elia Kazan in one of his only 2 movie roles. I've won a few trivia contests with this one!

Best Tear-Jerker Ending
So, this is how it all winds up. Danny, now nearly blind, is working at a newspaper stand. The night Eddie debuts his symphony at Carnegie Hall, Danny prefers to listen on the radio. He has sacrificed his sight for his brother's dream. 

Peggy, whose dreams have been crushed after Murray tossed her aside, approaches Danny at the news stand. Seeing his condition, she breaks down. But Danny is philosophical. He tells her that he is happy because he knew that one day she would walk up to him here; he knew that because, no matter what, she would always be his girl.

And she is. And together they listen as Eddie dedicates his music to his big brother Danny.

The Warners Gang is all there, more or less, but now it is 1940. Everything is a little darker, a little heavier, a little older. But beautiful, still. Noir is falling, and war is coming. Goodbye, old friends.

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I Want James Cagney to Kick Bogey's Butt

I can't help it  - I'm a Warner Brothers girl. So many of my favorite actors were either mainstays of or at least passed through that ultra-efficient factory of movie studios: Edward G. Robinson, John Garfield, Bette Davis, Joan Blondell, Ann Sheridan, Ann Dvorak, Kay Francis, Warren William, Olivia De Havilland, Errol Flynn and even Marilyn Miller, just to name a few. But my number 1 Warner's Guy is James Cagney.

Was there ever an actor with more charisma and star power than Jimmy at the height of his powers? I can't think of one (not even my beloved Cary Grant). Humphrey Bogart, before attaining mega-star status, served a long internship at Warner Brothers. As he inched towards stardom, he was cast three times as Cagney's antagonist in three terrific films. My immediate reaction when seeing them together?  "PLEASE Jimmy - kick Bogey's butt now!" When paired together on the screen, Bogart, by nature of the roles he played, is seen to a disadvantage. He speaks slower and moves slower. Cagney is all speed and energy, Bogart seems turgid. Bogey is humorless, Jimmy is funny. Bogey never played a likable guy in these films. It's one thing to be bad, but unlikable is tough to take. This probably has a lot to do with why I still struggle to like Bogart. I admire him, I respect him, I appreciate him, but I just don't really like him. These early pictures formed a lasting impression that even "The Maltese Falcon" and "The African Queen" can't erase. I know, I know, but please don't try to convince me - it must be organic or hereditary or biological or something like that.

Angels With Dirty Faces

So, how does anyone compete with Cagney as Rocky Sullivan? In one of his greatest roles, Jimmy overpowers good priest Pat O'Brien (who is a pious bore) and bad boy Bogart. As crooked lawyer Frazier, Bogey is a shifty, snarling snake. He did Rocky (and Father Jerry) wrong and, even though Rocky paid the price, Bogey got his butt kicked real good. I was so happy when Jimmy plugged him.

The Roaring Twenties

Poor Eddie Bartlett, he's just a confused war vet who gets lured into bootlegging and falls for the wrong girl. But he's fundamentally decent and when fundamentally corrupt Bogey puts the hit on their good-guy friend, Eddie sacrifices his life (but not before, once again, kicking Bogey's butt). Cagney's death scene is a heart-breaker, but I was glad he got to turn the tables on Bogey before buying the farm at the church.

The Oklahoma Kid

Oy! If two New York City dudes ever looked out of place, it's Cagney and Bogey out west. But Jimmy, as Jim Kincaid, The Oklahoma Kid, gets to whup Bogey (as Whip McCord) one last time. It's all kind of campy fun, with Jimmy in white and Bogey in black. So there, Whip, take that from the man in the white hat (that's a mite too big for him)!!!

Well, it was only a matter of time before Cagney didn't have Humphrey Bogart to kick around any more and things were never quite the same. Bogart went on to a different kind of career and attained a noirish status with complex characterizations that a straight forward guy like Cagney would probably find irksome. But, if Bogey wasn't such a damn good actor, it all would not have been half as fun.

It's hard to give a presence like Jimmy Cagney a run for his money but Bogey, just warming up in the bullpen, was throwing pretty good stuff himself and soon he wouldn't be playing second fiddle to anyone. Still, Jimmy has my heart and every time I see Bogey I hope Cagney is somewhere waiting in the weeds, poised to magically appear and, if not kick Bogey's butt, at least muss up his lapels.

And how about you? Are you on Team Cagney or Bogart?

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Star Transformations: This Does not JUST Happen!

Sometimes - a lot of times - most times - okay, all the time - when I look in the mirror I get very downhearted. It seems as though it takes a lot of product and effort to get me together to face the world and the results are not very encouraging. No matter how hard I try, I never look like a star. But then I remember that a star did not always look like a star. I'd like to think that, with a team of industrial strength beauticians giving me the Star Treatment, the same results could be achieved for me and I could be transformed from a caterpillar to a butterfly.

Here are a few that needed just a little assistance to achieve that "extra" something:

Greta Garbo:
Before the Star Treatment

No so impressive, is she?

After the Star Treatment:

Much better, no?

Marlene Dietrich:
Before the Star Treatment

Umm...not quite.....

After the Star Treatment

There she is!

The Star Treatment is not just reserved for foreign actresses who might not have the advantages of American Glamor. Here are a few American gals who needed the Treatment:

Joan Crawford:

Before the Star Treatment:

Not her best look

After the Star Treatment

Glamor Puss

Lana Turner:

Before the Star Treatment

(Yes - she needed a little assistance)

to go from this.....

to this!

Rita Hayworth
Even a goddess needs a hand. Before the Star Treatment:

 a pretty enough girl

After the Star Treatment

They did a good job with this one!

The guys are not immune to a make-over, either. A good haircut (both head and facial) as well eye makeup and lighting can do wonders.

John Gilbert
Before the Star Treatment

an ordinary fellow

After the Star Treatment

Wow!

Clark Gable:
Before the Star Treatment

Not bad, but not quite  royalty

After the Star Treatment

His Majesty, The King

James Cagney
Before The Star Treatment

Not so tough...

After the Star treatment. As Lady Gaga can tell you, a little eye makeup can make you look fierce...

You've got my attention!

Even Lassie needed some help!
Before the Star Treatment:

No one is immune to a bad hair day

After the groomer works his magic

Ready for my close-up!

So, I face each day looking like a "before" picture, but I just know that if MGM would send those beauticians to my house and follow me all day with the proper lighting, I, too, could look like a star!

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