Jimmy the Gent

Have always had a thing for seeing films that have great casts or actors/actresses etc. that do a lot for me. That is yet another case of too many to count and list with 'Jimmy the Gent'. Love Bette Davis (i.e. 'All About Eve'), even when she featured in films that were not worthy of her, and James Cagney was great in 'White Heat' and 'Yankee Doodle Dandy'. Michael Curtiz directed two of my favourite films 'Casablanca' and 'The Adventures of Robin Hood'.

'Jimmy the Gent' is certainly worth the watch and definitely recommended, it is entertaining, well made and played with professionalism by people that clearly knew what they were doing and cared. Davis and Cagney did both do better though, in terms of both films and performances, and the same goes for Curtiz and his direction, particularly the above cited films on all counts. So to me it is not one of those must-see films. A longer length would have helped and if it tried to do a little bit less.

While not lavish, not that it needed to be, 'Jimmy the Gent' is well photographed with the right amount of gritty yet never cheap atmosphere. The music may not stay embedded in the brain a long time after, but it is a good match for the story's tone and at least appeals to the ears. It is breezily directed by Curtiz, while the script crackles amusingly and at its best hilariously.

The story has some fun twists and turns, is taut enough and is never dull. Cagney is in a role that plays to his strengths and gives a performance full of energy and that is entertainingly larger than life. Davis' character is not as interesting but she is charming and sassy, making the most of her role. The supporting cast are fine too, Allen Jenkins contrasting endearingly with Cagney.

On the other hand, there are times where the pace was a little hectic and the story over-stuffed. A longer length again would have helped.

Just over an hour felt far too short and with little time to go into more depth. Something that was missing here, giving the film a little emotional blandness.

Concluding, fun film if not great. 7/10

.. and all of those memorable Warner Brothers contract players. In this fast-paced, cynical comedy from Warner Brothers and director Michael Curtiz, Jimmy Corrigan (James Cagney) runs a shady operation that sets up phony heirs to collect the fortunes of deceased people who left no legitimate beneficiaries. This brings him into conflict with another firm headed by the suave Wallingham (Alan Dinehart), and particularly with Wallingham's secretary Joan (Bette Davis), who disapproves of Jimmy's modus operandi. Both firms set about trying to outwit one another for the latest big money case.

Cagney is terrific here, with his hair shaved at the sides, and his suits looking a size too small, both accentuating his machine-gun line delivery and coiled-spring body language. Davis is still in her "cute" period, although her pencil eyebrows are a bit too much. The stars have great chemistry together, even if neither one wanted to make the movie, and Davis was so furious over Cagney's haircut that she refused to do publicity photos with him! The supporting cast of familiar faces is good, and the script, by Bertram Millhauser, has a lot of great lines. The stars' dismissal of the project as low fluff is accurate to a degree, but it's very well done fluff, and an enjoyable diversion.

Production note: That ugly scar on Cagney's head that you see through his buzz cut was painted on intentionally at Cagney's direction just to annoy the suits at Warner Brothers. He was tired of playing the same character repeatedly and reportedly said: "If they want a mug, I'll give them a mug".

Con man Jimmy Corrigan (James Cagney) runs an agency that finds heirs of those who died without a will and he's not above providing phony heirs in order to collect his fee. His girlfriend (Bette Davis) didn't approve of his underhanded techniques so she left him to go work for his supposedly honest and respectable competitor. In order to win her back, Jimmy tries to prove he can go straight and become a respectable gentleman.

Cagney and Davis are both enjoyable in this snappy comedy, each getting plenty of good lines. Cagney, with his bow-tie, crew cut, and nasal accent, is different than most other pictures I've seen him in from this period. Another fine example of what an underrated actor he was, even doing these WB programmers. They're backed up by a fine supporting cast including Allen Jenkins, Arthur Hohl, and Alan Dinehart. A fun one for fans of Jimmy and Bette.

Jimmy the Gent (1934)

As an old-film lover, I'm going to have to disagree with the majority of reviewers here and say this film is too flawed and formulaic to rise above its peers. Even its star, James Cagney, is a bit rote and predictable, taking on a harsh edge that prevents any depth to his supposedly complicated character. The other star is in retrospect—this is an early Bette Davis appearance, and she's wonderful to see so unformed, but she, too, is playing a common role.

All is not disaster here, for sure. The pace is terrific, and turns of plot, which are a problem overall in their quick succession, keep you on your toes. There are stock characters in secondary roles who will be familiar to early Warner Bros. fans, and the filming is generally solid, if bright and a bit dull, too.

Yes, there are hesitations at every turn. Director Michael Curtiz has been cranking out films by the dozen for Hollywood by now, after emigrating from Europe, and many of those are frankly better and worth seeking out. But he's a long way from the mastery of "Casablanca" or "Mildred Pierce," as a director above all.

The story here seems workable—Cagney and Davis play characters who scheme a complicated scam involving a huge inheritance. The twists are basically a farce because there are so many and they happen without warning. In fact, I think the style of the film is to have everything just "happen" in a madcap way, and the audience is to be dazzled and impressed by the audacity of the writers. But there is a little sense of involvement that would help very much, a wanting the characters to win or lose at their efforts. One example is how two court cases are reduced to a single sentence each: the judges reading their conclusion.

That seems dandy in a way, a hugely streamlined plot. But it defines superficial, too. In these two cases, there is time spent watching the courtroom crowd reacting to the news, but we don't really care about that. We aren't made to care.

Not that this should be a drama, of course. It's a comedy plain and simple. And a slip of romance sneaks in as our two leads brush past each other now and then. All of it is interesting, and it's never quite boring. But for a fast pre-Code or early Code era movie, there are many examples that are fast, funny, and engrossing and inventive, too. Expect only the effects here.

This pre-code film starring James Cagney has him playing Jimmy Corrigan who is a private detective specializing in finding heirs to large fortunes. He's in competition with Alan Dinehart who calls himself a "geneologist" and has just about the same set of ethics Cagney has. The only difference is Cagney lacks the polish of Dinehart and is less a hypocrite.

Now no one ever confused James Cagney with Ronald Colman on the screen and I daresay they probably were never up for the same parts, but Cagney dumbs it down to Leo Gorcey levels in order to contrast himself with Dinehart. It's effective though.

What makes this film special is that the leading lady is Bette Davis who was a year away from finally getting Jack Warner to give her a role with substance in Of Human Bondage. Speaking of class, you can see that Ms. Davis has it in abundance and that she wasn't going to be held down with supportive leading lady roles. Later on Cagney and Davis were given The Bride Came COD when both were big box office names.

Cagney is quite the operator here and I won't tell you exactly what he does, he does bend our legal system over backwards though. And if he's not exactly reformed, he does learn the difference between class and manners.