Der letzte Gangster

Made at MGM but starring a Warner Brothers icon, and this strange gangster pic has ample ingredients reeking of both studios. Edward G. Robinson, clanking on all cylinders, is a Capone-like capo who gets rich during Prohibition, is sent up the river for a decade, and becomes obsessed with the little boy his wife (Rose Stradner, unknown to me and quite interesting) bore. She's an immigrant and utterly, somewhat implausibly unaware of her husband's dirty business, but she gets educated by a newspaperman (James Stewart, not very compelling here, except for an uncharacteristic Cesar Romero mustache) who falls in love with and eventually marries her. The Warners influence is evident not just in Robinson's snarling and grimacing but in the stepped-up violence, quicker-than-usual editing, and hilariously overblown musical score, by Edward Ward. But the ideal home life of Stewart, Stradner, and their adorable little boy, complete with suburban trimmings and Louise Beavers doing maid things, are utterly MGM. There's some excitement, and a good supporting cast, notably Lionel Stander as Robinson's henchman, but it's all kind of predictable. And when you want it to settle down, another Edward Ward blast assaults the senses. But what's really interesting, and still timely, is how Robinson's character, Joe Krozac, is self-centered, not as smart as he thinks he is, used to getting his own way, outraged when he doesn't... he's Donald Trump!

There are a lot of theoretical strikes against this movie-- Robinson playing a Capone lookalike for the zillionth time (right before he switched mainly to playing them for comedy in things like A Slight Case of Murder and Brother Orchid); post-Code MGM instead of pre- Code Warner Bros., which surely means a softer handling of the gangster theme; a no-name director and female co-star, Jimmy Stewart in a thankless good guy role; and, not least, a sort of gangster Sin of Madelon Claudet plot in which Robinson gets to get weepy about not knowing his son while he's in Alcatraz.

And amazingly, it's all handled remarkably freshly-- and toughly, especially from the point where the movie pulls the rug out from under big shot Robinson with a long and realistically bleak prison train sequence. Almost every opportunity to sink into cliche is rethought to find a fresher angle-- instead of the archetypal Warner Bros. tough-guy prison, with the warden acting like a crime boss himself to keep his charges in line, the movie's Alcatraz is a streamlined, impersonal machine for reducing men to numbers, the striking production design as institutionally cold as the manner of the warden. The classic welcome home from the boys (such lovable gangster lugs as Lionel Stander and Edward Brophy) takes a highly unexpected turn-- and keeps turning. Although the scenes where he finally meets his son again are hampered by unrealistic dialogue for the kid, in all this is a strong and thoughtful adult drama which brings emotional realism back to a genre usually riddled with cliches.

Criminal kingpin Joe Krozac (Edward G. Robinson) returns from Europe with a new bride. Before long she's pregnant. But no sooner does she find out than Joe is arrested for income tax evasion. Before their son is born, Joe goes to prison. While he's in stir, his wife falls in love with a reporter (Jimmy Stewart) and divorces Joe. When Joe gets out, he plans to get his son back. But his old gang have plans of their own for Joe.

Robinson is the main attraction and shines in a role he could do in his sleep. But he's got able support from the likes of Lionel Stander, John Carradine, Edward Brophy, and Sidney Blackmer. Jimmy Stewart is fine but nothing special in an early role. This is a gangster flick with MGM polish. It was great entertainment any time Eddie G. was in a movie like this. Give it a shot and I'm sure you'll love it.

The movies have always relied on clear-cut heroes and villains to either engage the sympathy or incur the animosity of members of the audience: simplistic, and far removed from real life. Much more thought-provoking are the occasional characters such as the lead in this film, an egotistical, tough-as-nails crime kingpin and killer, who nevertheless emerges convincingly as a man capable of sympathy and single-minded devotion. The scenario is to be commended for making the complexities and seeming contradictions in this character altogether believable. Of course it is the performer who must make this come alive on the screen, and here Edward G. Robinson succeeds brilliantly. In a gallery of great performances by such a fine actor, this one deserves to be much better known.

Last Gangster, The (1937)

*** (out of 4)

Strange but highly entertaining gangster film from MGM has Edward G. Robinson marrying a woman who doesn't know about his deadly pass. Robinson eventually has a son with her but before he meets the child he gets sent to prison for ten years. The mother then finds out about his past and decides to kidnap the kid so that he doesn't turn out like his father. She eventually marries another guy (James Stewart) but soon Robinson is out of jail and looking for revenge. This is certainly a lot tamer than the Warner gang pictures of the time but that's a good thing because there's a lot of heart and emotion in place of the violence. Robinson is very good and incredibly touching in the end and Stewart shines in his role. John Carradine has a very good part as a man picking on Robinson inside prison. The ending is predictable but the film still works very well.