Manhattan Melodrama

Two boyhood friends (one played by a very young Mickey Rooney) grow up on opposite sides of the law. Clark Gable becomes a criminal--William Powell becomes governor. Myrna Loy loves both.

This plot is now screamingly familar but, back in 1934, this was original. In fact it won the Best Original Story Oscar for its year. This could have been a real howler but a great cast, tight script and wonderful direction really put it over. Well worth catching--especially for a powerful climatic scene between Powell and Gable. A classic of its type.

... those being "San Francisco" given the impact a disaster has on a community and the friendship as well as adversarial relationship the two male leads have to one another - with Gable being named "Blackie" in that one too, and the other being "The Thin Man" which reunites William Powell, Myrna Loy, and Nat Pendelton in a much better production that fires on all cylinders. Of course, both of these were directed by the director of this film, W. S. Van Dyke. That being said, this film doesn't seem nearly as good as it could have been.

The plot is this - Two friends grow up in the shadow of tragedy caused by sudden loss. The younger one is Blackie Gallagher (Clark Gable) and is always trying to work an angle - usually involving gambling - even before the tragedies. The older one is Jim Wade (William Powell) always studying, always chiding Blackie for his slacker and crooked ways, but always his friend. In adulthood, Blackie is a big time gambler and casino owner and is not adverse to murdering associates and Jim becomes district attorney in New York. And yet whenever they meet they seem fast friends. Eleanor (Myrna Loy) starts out Blackie's girl but decides she wants the conventional marriage she'll never get from Blackie and eventually marries Jim.. At this point I was starting to get bored with this morality tale until some of Blackie' s criminal acts cross paths with Jim's official duties where complications ensue.

There is just something off about this film. For one, Jim is supposed to be an uncorruptible political star destined for higher office but within the details of the film instead seems hopelessly naive and inflexible. Myrna Loy makes the transition from gangster moll to pious first lady in the blink of an eye, and even when she is with Blackie she is nagging him to "quit the rackets". Where did she think those marvelous evening gowns came from? There's just no way I'm believing Blackie is as ruthless in the rest of the film as he is shown to be and is just so "Oh gee whiz what class Jim has!" in response to things that impact his male pride (Eleanor), his livelihood, and even life itself. I guess none of this is as ridiculous as being expected to believe that Mickey Rooney grows up to be Clark Gable, but still the inconsistent characterizations are bothersome.

I'd say it is probably worthwhile overall and just to give it a pass as some of the weirdness may have been caused by confusion over just what exactly the production code, which began to be enforced two months after this was released, would allow.

Well, unusual for me. Perhaps at the time, the circumstances, what have you, it was not so unusual. But for me, watching Clark Gable portray a happy-go-lucky double murderer, who garners tons of sympathy from the audience; it was a first.

Manhattan Melodrama is a film of dubious and rather interesting morals. Who's the hero? Who's the villain? Childhood friends Jim and Blackie grow up very different men, Jim becomes DA of New York City, while Blackie runs a casino, and performs other unsavory activities. Eventually, their positions force them into conflict, but it's not your typical run-of-the-mill courtroom drama.

Blackie in most films would be a villain, he is after all a gangster and a murderer, amongst other activities. But here he's played by Clark Gable, about as charming an actor as ever lived, and the movie takes place in the 1930s, when gangster pictures like Little Caesar elevated these types of men into hero roles.

The picture makes a very blatant message against the heroic vision of gangsters (In a speech by Jim that feels as if the men who controlled the Production Code were standing off screen holding the cue cards for him). But I couldn't help feeling sympathy for the character, after the evil deeds he did. Meanwhile Jim, a hardworking individual who is uncorruptable, comes off as "cold" by the end of the picture. The way this movie sidesteps conventional roles is really interesting.

The lead woman in the picture, Eleanor, is rather interesting too. Watch how she jumps back and forth and between the men, and for what reasons.

I don't fully understand this movie, and it's not one of the most exciting films I've ever seen, but it's one of the most interesting ones I've seen in quite a while.

Clark Gable and William Powell are boyhood friends who end up on opposite sides of the law in "Manhattan Melodrama," also starring Myrna Loy. Loy is lovely here, as usual, but she doesn't really have much of a role. The film focuses on Gable and Powell. In the first scenes of the film, we see that they are orphaned and taken in by a man who has lost his son in the same fire that killed the boys' friends and family.

When we see them in present day, Gable is running an illegal gambling joint, leaning on people for money they owe, and dating the Loy character. Powell is in politics. After Loy spends some time with Powell, she decides she'd rather be with him, and eventually they marry, and Powell moves from DA to governor. Gable becomes increasingly ruthless, though the two remain devoted friends.

There are some melodramatic sections in the film, particularly the beginning and the courtroom scene which contains a very dramatic speech delivered by Powell. The acting is marvelous. Gable is likable as a slick gangster who takes things in stride. His smile lights up the screen. He really had one of the great screen presences - looks, a great voice, and dripping with charm.

But the really interesting performance is given by Powell. He's not the witty, energetic Thin Man in this, but a very committed and serious, dignified person with a lot on his shoulders. He's totally believable, and he and Gable provide great contrast. Powell's scene at the end of the film is very touching.

Enjoy the great stars and the story, but don't look for laughs.

Solid MGM crime drama that is best remembered today as the film John Dillinger saw just before being gunned down by federal agents. The story is a simple one about two men (William Powell, Clark Gable) who grew up together but are on opposite sides of the law. Myrna Loy also stars as the woman initially with Blackie (Gable) who falls for and marries Jim (Powell). Great director and trio of stars with fantastic chemistry elevate this above otherwise banal plot. Young Blackie is played by, of all people, Mickey Rooney! Must've been one hell of a puberty. Also of note is the song "The Bad in Every Man," sung by Shirley Ross here. The song would later be given new lyrics by Lorenz Hart and become the classic standard "Blue Moon."