Héroes olvidados

Sometimes I come to a film because it looks like it can directly fulfill, sometimes because it can provide precious background to other things that matter, letting them stand.

It's watchable in itself, this one; a misfit's rise and fall played against the passing of times. Released on the cusp of WWII, it opened a portal back to more careless times, taking us on a journey from WWI trenches through the highs of Prohibition to the lows of Depression, so we could have this clear moral stance: in the new world there's no room for scoundrels. Right.

Interesting here is that only a year or two before Citizen Kane we have a similar saga about the passing of the times, but one that asks no fundamental question of us, casts no doubt on its testimony. It's as lurid and constructed as newspaper headlines of the time, a main contrast in Welles' film about its world-creating newspaperman. It's machinegun history written in the staccato sounds of a newspaperman's typewriter.

What I really wanted to see though was Cagney.

I am in the middle of a film noir quest looking for its machinery, and as an aside I was brought to explore its roots in 1930's crime stuff. Cagney is a force in this niche. He had so much energy that he could turn into presence. He is not just amused, he doesn't coast on pushing things back like Bogart; he throws himself on the encounter, bitterly cutting himself on the edges.

Not so here. He was asked to play a basically decent guy led astray by the prospect of easy money, meaning to reflect the broader American endeavor that ended on Black Tuesday. Usually in a Cagney film he lets loose in the end. They asked of him here the precise opposite; he sleepwalks, numbed by failure, a human ruin clawing at redemption. He looks like he gives it his all, but it's just not who he is. It's as if you asked Welles to strut like Wayne.

If you want to see Cagney in top form, look him up in Footlight Parade fully in command of a show, White Heat to see him face real demons.

It is hard to believe so many truly great films were made in 1939, and I can only guess that the sheer volume of excellent pix from that year is the only reason why THE ROARING TWENTIES does not have truly major classic status. 1939 seems to be cluttered with a plethora of cinematic riches, thus burying this astonishing and entertaining crime film. I also have been roaring (with laughter) at some of the astonishing silly comments also on this film's viewer comments page: from: "Blondell's haircut is worth the price of a ticket" (Joan Blondell is not in this film, sweetie, read the credits!) - to '"Another MGM gem"...hello? pal, the opening of the film has a great big shield with WB stamped on it followed by "Warner Bros Presents". Almost everyone commenting then proceeds to tell the whole story, each one after each one as thought they are the only person writing a comment. Yeesh. I am the only person who firstly reads what is already there in order to NOT duplicate plot points or characters or the same old same old same old? For genuine long lasting flabbergastering I prefer the movie's solid direction by Raoul Walsh the sensational crackling screenplay by Mark Hellinger and Jerry Wald and mostly the truly major performance by James Cagney. This role and it's ride is possibly the best I have ever seen from him, especially in the latter scenes on skid-row. It's a very mean cruel story with Bogart's jawdropping viciousness several points above censorship rulings - all thankfully intact and now in crisp DVD clarity. The production values are equally solid well decorated nightclubs and houses and rooms and very believable and expansive sets and scenes - especially in the WW1 intro. Yes it even has a terrific Citizen Kane style march of time newsreel tone and urgency. This is a genuine gangster masterpiece and well worth finding and sharing with other vintage WB (not MGM) crime buffs. THE ROARING TWENTIES deserves to be one of the most famous gangster films for everyone of its plot, acting , character and production qualities - they are all there on show. I would love to know the budget and the box office. I know the film was a big hit but exactly how big? It deserved to be massive. Also, the best saddest role of a lifetime to the superb and endearing Gladys George as Panama. As if everything else wasn't perfect enough! This film is a collectors must-have. If remade today, it would be exactly the same, such is it's timeless tone and production. In fact it is had to believe it was made 20 years earlier than SOME LIKE IT HOT. Both films look identical. Don't waste another day, put THE ROARING TWENTIES top of your must see list.

Two of the most famous actors of their day - James Cagney and Humphrey Bogart - are featured here, along with two very interesting women (Priscilla Lane and Gladys George). That foursome would be fun to join anywhere.

Lane is the wholesome pretty girl and George is the tough female bar owner. The latter may not look as good but she delivers the best film noir lines in the movie near the end.

In addition, Jefferey Lynn is good as the clean-cut, nice-guy attorney and Frank McHugh draws laughs as Cagney's buddy (as in real life). Paul Kelly is convincing as a hood.

With this cast, you know you are going to get a well-acted movie. It moves at a good pace, too, with few lulls. The gangster language of the period was fun to hear.

The first time I saw this film I was disappointed. Maybe I expected too much. On the second viewing, I throughly enjoyed it. Having a great DVD transfer on the second viewing didn't hurt, either. It's a nice sharp picture.

I got a kick out of this flick having seen in on TCM. In fact I get a kick out of all TCM movies because there are no commercials so whether you like or dislike Ted Turner, I gotta thank the man for giving us that channel and that format. It's just like sitting in the Bijou after buying a ticket for a quarter and a box of popcorn for a dime. Those were the days. When we hear the names Cagney and Bogart,what's taken for granted? Both were legends. Hollywood immortals whom as long as film is preserved, will never really be dead and "The Roaring Twenties" showcased the dynamic duo to the Nth degree. Bogie did not get top billing as did Jimmy however shining throughout that entire movie was unmistakable greatness yet to come from the guy with the impressive speech impediment. His villainous,conniving rotten gangster disposition was there to exploit in how many more films with him? And Cagney too was contemptible but in a nicer way-if indeed that makes any sense whatsoever. I guess I mean to write that if Cagney would shoot someone, he'd first apologize and then perhaps pay for the funeral.But when Bogie shot, his followup would be two or three more right to the gut. Regarding the story line of the film, it's quite straightfoward. Bogie and Cagney meet as Doughboys in France in W.W.I. The war ends, a few years later the Volstead Act becomes law which gives birth to bootlegging, rival murder etc. Jimmy, who's nuts about a gal who sings and is just out of high school is warned by his pal in booze,Bogie,that the gal is two-timing him for their lawyer and so forth and so on. A one time rock solid friendship between Cagney and Bogart disintegrate and why go on? See the film. It's classic gangster stuff and highly enjoyable.

"The Roaring Twenties" more or less marked the end of Warner Bros. gangster films popular during the 1930s. For the next few years WWII would form the backdrop of their action films.

This one is full of action and memorable characters due largely to the presence of legendary director Raoul Walsh and its stellar cast.

Three soldiers meet on the WWI battlefield in 1918. One is the all good lawyer Lloyd Hart (Jeffrey Lynn), one the thoroughly bad George Hally (Humphrey Bogart) and the third, an everyman named Eddie Bartlett (James Cagney). Eddie is smitten with a girl, Jean Sherman (Priscilla Lane) who has been corresponding with him from home.

When the war ends Eddie returns to New York and hooks up with buddy Danny Green (Frank McHugh) who is a Gabie. Eddie goes to meet Jean but is disappointed to learn that she is just a teenager. Unable to find work, Eddie is forced to share the driving of Danny's cab. In the meantime, prohibition takes effect and Eddie discovers that bootlegging is the way to get rich. At the onset he meets saloon girl Panama Smith (Gladys George) who turns out to be his only friend.

Fast forward to 1924 and Eddie re-discovers Jean in a chorus line and decides to take a hand in her career. Eddie is now hopelessly in love with Jean much to the dismay of Panama. Jean however, is in love with Lloyd who has turned up as Eddie's lawyer. One night while hijacking a load of booze from rival gangster Nick Brown (Paul Kelly), Eddie meets up with George Hally (what are the chances of that?) who works for Brown. Hally decides to double cross Brown and throw in with Eddie. All the while Eddie is buying up taxis until he has immersed a fleet of 2,000 cabs.

Everything is running smoothly until Hally begins to get his own ambitions and sets up Brown to Murder Eddie. The plot fails. Meanwhile Jean leaves Eddie and runs off with Lloyd and Eddie begins to drink. At the same time come the stock market crash of 1929 and Eddie is ruined. Hally however, didn't play the stocks and buys out Eddie's cab business for a small figure and leaves Eddie with but one cab for himself.

Eddie hits the skids along with the ever faithful Panama until Hally threatens Jean and Lloyd and.............

Cagney as usual dominates the picture. He is his usual cocky Irish tough guy but with character flaws. His love for Jean ultimately is what destroys him. Lane contributes a couple of classic songs (in her own voice) as Jean. Bogart as the thoroughly evil Hally gives us a preview of the Bogart tough guy image to come in the 40s. Gladys George almost steals the picture from Cagney as the tragic Panama and McHugh is sympathetic as Danny.

Oddly enough, for a gangster picture, there are no major characters in respect of crusading cops or district attorneys. All of the action is between the gangsters.

Cagney would not appear in another gangster film for ten years until "White Heat" (1949).