Cops and Robbers

Knowing full well that any film I watched within a week or so of re-viewing The Conformist could hardly get a fair shake from me, I let my mind run loose and trip hither and thither.  It stopped momentarily on American gangster films.  Back in the 1970s, film and cultural historians had a field day with the genre, finding in Depression-era underworld films a great source for a critique of (failing) capitalism, an economic system that knew only how to pillage people who were supposed to benefit from it.  Because the production code soon kicked into high gear and made certain that the right moral judgments were reached before the fade to credits, there was nothing all that subversive here, but the point got across--except in those movies where the gangsters were the implicit heroes, social bandits who were ripping off the establishment which had compromised all claims on their (or anyone else's) loyalty.  But the situation produced some strange films, one's with strong production values (by the standards of the time) trying to square up with the "right" view of things.

I looked again after many, many years at Michael Curtiz's Angels with Dirty Faces (1938), in which a couple of kids on the economic margins of New York's Hell's Kitchen run afoul of the law, but only one of them, Rocky Sullivan, does time.  He does it for his pal willingly, and when he gets out--after a few more stretches and deeper trouble with the cops--he's what he is, a crook, consorting with crooks, and his old pal is a priest.  (The Roman Catholic Church was the main institutional force behind the code.)  Rocky comes back to the old neighborhood, sees his buddy the priest, horses around with one of the street gangs--the rudiments of what became the East Side kids and then the Bowery Boys, including Leo Gorcey, Bobby Jordan, and Huntz Hall, although with Bobby Halop getting most of the lines--and gets sucked deeper into the underworld with a bent lawyer who is trying to steal from him.  Rocky gets cornered, shoots his way out, taking a couple of cops with him, but is finally captured, tried, sentenced to the chair.  The priest convinces him to go out not like a brave punk, which he is, but "a yellow rat," for the sake of the kids, not to make himself a hero to them.  Surprisingly, Rocky complies.

Angels gets all its oomph from James Cagney as Rocky and all its treacle from Pat O'Brien as Jerry, the priest.  The character reversal at the end is so unbelievable and so schmaltzy as to provoke sustained laughter, and it's also characteristic of its time.  Society will never be reformed, we see clearly, but there is redemption for individuals who recognize the authority of the church militant.  Cagney's energy and electric physical presence--the guy can't shrug his way into a jacket without creating ripples in you--truly carried the movie, and Curtiz had the good sense to keep him on screen probably eighty per cent of the time.  Humphrey Bogart played the weasely lawyer and Ann Sheridan the love interest who oddly drops out of the picture about three-fourths of the way through.

The next year, Warner Bros., famed for its "social realism," followed right up with The Roaring Twenties, a sort of chronicle of the bootlegging phenomenon of the decade.  Cagney plays a bootlegger with a heart of gold, but who falls in with bad types (weren't all bootleggers bad types? just keep going).  Humphrey Bogart plays his crooked partner, ably assisted by the glorious Paul Kelly (who had turned talking out of the side of his mouth before Dick Cheney had told his first lie), Jeffrey Lynn his straight partner, Priscilla Lane plays a singer for whom Cagney falls but whose heart is with Lynn.  Ultimately, Cagney sees he's thrown in his lot with the wrong side, shoots his way out with maximum damage to the criminals, but is killed himself . . . dying on the front steps of a church (in this instance, Protestant: the code was sometimes ecumenical).  Cagney's fire carried the show, Bogart was convincingly bumped off at the end, conventional morality was served, plodding through the melodrama was like wading through molasses, and Priscilla Lane sang entirely too much (she could have been a minimally acceptable chorus singer if she could have carried a tune). 

In both of these films, the cops are bumblers and fumblers, but ultimately have their hearts in the right place and are more or less straight.  When, after passing through the amoral stage of post-war film noir, cops returned, it was in an entirely different guise.  There was Dirty Harry in all his guises, to be sure, but the cake was awarded to New York's finest in The French Connection (1970)--with the footnote that the two earlier films were also set in New York, a bigger cinematic symbol of a sinkhole of corruption than either Chicago or Los Angeles.  Popeye and Russo make a royal mess of things, finally find the dope, kill the wrong prople, are dismissed and reassigned, and what keeps William Friedkin's film going is not the story or the energy of performers but the slam-bang action to little other point than slam-bang action.  Whereas the Warners' pictures had their vaunted "realism," they were all shot on sets; Connection used NYC indoor and outdoor set-ups and looked and smelled more like the genuine article.  And yet their unrelieved striving for showing it "how it was" never felt right: grit can be good, but too much of anything gets under your skin after a while, and Friedkin never quite gets his movie to settle in, tell its story. 

What I take from all of this is that we've never really figured out how to put a decent gangster film on screen without falling into genre conventions.  We're either code or anti-code, drearily conventional in our moral judgments or trying desperately to overcome them.  We can't simply say, here's this story about crime, let's try to get into it; we're always looking over our shoulders.  An occasional noir broke the mold; Point Blank was itself without apology.  The French Connection was all too characteristic, as we the two Warner Bros.' pieces.

A final Cagney note.  To the degree that his gangster films worked, it was because his characters galvanized the audience, accomplished that tricky feat of making us pull for the bad guy while understanding he had to go down ultimately, a little like Lucifer in Milton's Paradise Lost.  His last theatrical film was Ragtime (1981), in which he had a bit as Rhinelander Waldo, the police commissioner, and had to deal with Kenneth McMillan as a creep of major proportions with whom he must deal all the same.  Cagney was eighty-two, and the old furnace had pretty much banked down.  But when he had reached the end of his patience with McMillan, he exploded into a brief blast of disgust as only he could do, calling McMillan's character "a piece of human garbage."  The  New York audience I saw it with went wild with this tiny flash of the old Jimmy, screamed and applauded and roared with approval.  It was one of the few decent moments in a lousy movie, and one of the great movie-house moments of my life.  He was one of our greatest, and I doubt we'll ever find another one like him.

Comments

[Hilary]

I'm assuming that a poetic work like Force Of Evil would fall on the code side of your gangster film dichotomy, with the moralizing pushed (forced?) to tragedy. I suppose a police/crime procedural would break the code/anti-code mold.

Watching countless 30's crime films growing up I was fascinated by the good-hearted gangster character, the "regular joe" from "the wrong side of the tracks" who "never got a break". I think I saw this character as yet another example of a gentler, more civilized era, and failed to recognize it's fictional nature. Though I grew to know it as phony, nostalgically I still find it a charming notion.

I haven't seen The Roaring Twenties in many years, but I remember it fondly, and recall the panache of Walsh and Cagney serving it well. And while I love watching Cagney in almost anything, for me the enjoyment is undilluted in goofy stuff like The St. Louis Kid, where he get's to roughhouse with Alan Jenkins without that annoying veneer of realism.

[Exiled in NJ]

'Watching countless 30's crime films growing up I was fascinated by the good-hearted gangster character, the "regular joe" from "the wrong side of the tracks" who "never got a break".'

Even here there is a dichotomy between Tommy Powers et al and the Tony Camonte of Scarface, Shame of a Nation. Muni's gangster seems to have emerged out of the ground, is ugly as sin, and only has a love of his sister to recommend him to society. Some say that love is unnatural.

After Scarface, the Camonte type largely vanished from gangster films, only to be unearthed again by the Mannerists of our time, for whom nothing is too repugnant.

Regarding "Connection" a friend who makes films saw it at a downtown movie house in 1971. As Doyle, having killed the FBI man, stalked off to find his man while Russo looked on stunned, and the heavy score played, the audience sat stunned at this open-ended conclusion, until one person jumped up and shouted, "I can't effffing believe it."

[Campaspe]

What a delight to find you admire Cagney, too. For me, even a mediocre or downright bad picture snaps into watchability the second he struts on screen. Like the one I watched Sunday night, (coincidence!) Great Guy. Ever seen it? The premise is just hilarious; Cagney as a crime-busting, two-fisted inspector for .... (drum roll) the Bureau of Weights and Measures. But I'd sit through the thing again just for the scene where he catches a butcher putting a lead weight into the chicken and the chicken winds up getting thrown around the shop.

I would love to hear your thoughts on White Heat, which seems to me to have both code and anti-code elements. (My apologies if you've covered it before; I am still reading my way through the archives.)

[Hilary]

Even beyond the crime dramas, they made comedies in the 30s featuring underworld types, often in the style of Damon Runyon. I'm not a fan of Runyon--I find him grotesquely cute--but the Runyonesqe type was often the welcome comic relief sidekick (think of Allen Jenkins or Warren Hymer) in an otherwise "straight" film. Cagney himself played crooks, con-men, and gangsters in comedies such as Jimmy The Gent, Blonde Crazy, and The Lady Killer. Of course, Cagney injected comic energy into almost everything he did.

[Exiled in NJ]

There was a wonderful Shana Alexander opinion piece in Newsweek(?) on Cagney's visit to NYC to accept an award at some point before Ragtime. I wish I could find it, but I recall my eyes moistened as I read it. When I would drive the Taconic Parkway from 84 to Columbia County, I would wonder where his wonderful farm was.

You do not need to see his eyes, or face, to see what his characters are thinking. His hands, arms, legs and chest say it all.

[burritoboy]

"What I take from all of this is that we've never really figured out how to put a decent gangster film on screen without falling into genre conventions. We're either code or anti-code, drearily conventional in our moral judgments or trying desperately to overcome them. We can't simply say, here's this story about crime, let's try to get into it; we're always looking over our shoulders. An occasional noir broke the mold; Point Blank was itself without apology. The French Connection was all too characteristic, as we the two Warner Bros.' pieces."

I would disagree - we simply need to look farther afield. Here's some examples (note - I will use spoilers):

Cassavetes' The Killing of a Chinese Bookie

I think this is one of the most interesting gangster movies of all time. Cosmo Vitelli is drawn into crime, not primarily as a result of poverty, but as a result of his deluded machismo (which is not wholley a bad thing - he treats his strippers fairly well and actually does have some pride in his club). While the outright mafiosi in Killing are indeed bad, the movie doesn't pay much attention to them, instead focusing on Vitelli's progression.

Resnais' Stavisky......

What I think is really interesting about this film is how cleverly and intricately it depicts the interplay between crime, politics and society. Stavisky is, like many criminals, more of a dupe and a pawn (and personally is actually the nicest and by far most appealing character) rather than the actual fount of crime. Instead, as is revealed by the end of the movie, the real criminals are the political forces manipulating events behind the scene.

Both of these movies have the archetypal "fall of the gangster/criminal" endings, but those endings are made completely different from the genre traditions.

Here's some others:

Allen Baron's Blast of Silence
Bill Duke's Deep Cover
Akira Kurosawa's Drunken Angel
Samuel Fuller's House of Bamboo
Melville's Le Samourai
Polonsky's Force of Evil
Byron Haskins' I Walk Alone
John Woo's Bullet in the Head
Infernal Affairs

[Campaspe]

Bullet in the Head ... very interesting movie to bring up. Perhaps it doesn't fall into the code/anti-code categories. Must ponder.

[Lance Mannion]

George, do you really think Rocky fakes it at the end of Angels With Dirty Faces? I've never been sure. Cagney plays his turning yella with such frightening hysteria that whenever I see the movie I believe he's truly terrified of dying.

But then comes the last scene with O'Brian and the Bowery Boys and I think that O'Brian's playing the priest as though he's lying here, as though he believes Rocky faked it for his sake.

Then the last look in his eyes changes my mind again. He looks disappointed in Rocky himself.

[Campaspe]

Lance, I was never sure either, and I always thought Cagney deliberately played it so that uncertainty would be in the audience's mind. The script, it seems to me, wants us to believe Rocky was faking. It always pleased me to think that Cagney as an actor gave the movie its most interesting element (though I don't know that for a fact).

[Hilary]

From CAGNEY, the great biography by John McCabe:

Does Rocky die yellow? It was a question Jim was asked unendingly, and his reply was undeviating: "I think in looking at the film. it is virtually impossible to say which course Rocky took-which is just the way I wanted it. I played it with deliberate ambiguity so that the spectator can take his choice. It seems to me it works out fine in either case. You have to decide."

And, McCabe continues: Hal Wallis in his autobiography says of the ambiguity that the "script's directions were very specific on this point, and I believe the audience understood it perfectly." Understood, that is, that Rocky was pretending to be yellow.

McCabe also mentions that Cagney used a real-life pimp for some of his portrayal of Rocky. The pimp stood with his arms down and his fists pressed against his abdomen, then lifted his fists in a constant hitching motion, usually accompanied by a roll of the shoulders. The same pimp provided Cagney with "Whadda ya hear? Whadda ya say?"

[Campaspe]

Hilary: Just like I thought! Awesome. Cagney really was peerless. I will try to get my hands on that bio.

[Hilary]

Campaspe: It really is a wonderful biography. It's full of great detail and insight. It will break your heart when you read about the origin of the wail that Cagney as Cody Jarrett emits upon learning of Ma's fate in the prison cafeteria scene in White Heat. Sorry for the tease!

[Flickhead]

"What I take from all of this is that we've never really figured out how to put a decent gangster film on screen without falling into genre conventions." I believe that "Goodfellas" was a noteworthy (albeit not entirely successful) attempt.

David Thomson once proposed an interesting idea for casting: Fred Astaire and James Cagney sharing the "dual role" of Dr. Jeckyll and Mr. Hyde.

[Exiled in NJ]

Where does "The Long Good Friday" fit? It has kind of disappeared from the cable screen, but I find when I do get to see it, I am not saying to myself "That's Liotta and there's deNiro."

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