Pre Code Confidential #28: Edward G. Robinson in LITTLE CAESAR (Warner Brothers 1931)


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Gangster movies were nothing new in 1931. Josef von Sternberg’s UNDERWORLD (1927), Lewis Milestone’s THE RACKET (1928), and Bryan Foy’s LIGHTS OF NEW YORK (1929) had all dealt with urban organized crime onscreen (and Foy’s drama was the first “all-talking picture” to hit cinemas). But when Edward G. Robinson rat-a-tatted his way through Mervyn LeRoy’s LITTLE CAESAR, the gangster genre had finally arrived – with a vengeance! This highly influential flick opened the floodgates for a variety of films about mobsters, killers, and other assorted no-goodniks, and made an unlikely star out of the pugnacious Eddie G.

The film concerns the rise and fall of Rico “Little Caesar” Bandello, a small-time hood from the sticks who, along with partner in crime Joe Massara, moves to the big city and blasts his way up the ranks to become a gang boss. The diminutive Robinson exudes star power as the psychotic sociopath…

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The Last Gangster: James Cagney in WHITE HEAT (Warner Brothers 1949)


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When James Cagney burst onto the screen in THE PUBLIC ENEMY, a star was born. Cagney’s machine gun delivery of dialog, commanding screen presence, and take-no-shit attitude made him wildly popular among the Depression Era masses, if not with studio boss Jack Warner, with whom Cagney frequently battled over salary and scripts that weren’t up to par. Films like LADY KILLER , THE MAYOR OF HELL , and ANGELS WITH DIRTY FACES made Cagney the quintessential movie gangster, but after 1939’s THE ROARING TWENTIES he hung up his spats and concentrated on changing his image. Ten years later, Cagney returned to the gangster film in WHITE HEAT, turning in one of his most memorable performances as the psychotic Cody Jarrett.

Cagney is older and meaner than ever as Jarrett, a remorseless mad-dog killer with a severe mother complex and more than a touch of insanity. Jarrett has frequent debilitating headaches…

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Psycho-Killer: Peter Falk in MURDER INC. (20th Century-Fox 1960)


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American filmgoers have had a long love affair with the gangster movie. The Pre-Code era was riddled with rat-a-tat-tat tommy gun action from Warner Brothers, MGM, and the other studios, helping to make stars out of Edward G. Robinson , James Cagney , Clark Gable , and a host of movie tough guys. Things quieted down once the Code was strictly enforced, but the gangster was still around, sometimes in comedy masks as likeable lugs, deneutered yet always lurking on-screen in some capacity.

By the late 1940’s, film noir introduced us to a darker vision, one seething with murderous rage. Cagney in WHITE HEAT, Robinson in KEY LARGO , and virtually everything Lawrence Tierney was in showed us gangsters were no “swell guys”, but anti-social psychopaths. The 50’s saw the gangster relegated mainly to ‘B’ status, just another genre to pit the good guys against the bad guys. Then in…

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