Veneno implacable

I saw this film for the first - and, up to now, last - time just after its release in early 1952 (original English version). "Come fill the cup" is one of those films that seem to have unjustly disappeared. It has never been released in this country, Spain, nor seen in television either here, in Belgium - where I lived 1973-1993 - or several other European countries linked to Brussels TV, U.K. not excluded. After all these years, I remember that all the actors are terrific, Cagney outstanding. Young - not surprisingly - was convincing, and the music score - an unfinished piano concert - haunting. From other comments, I assume that a DVD of this noir classic would be most welcome by Cagney fans of all ages.

I am not surprised to find only two previous comments about this very good film. Sadly,I have not seen it it many years, as it seems to have disappeared. My most vivid memory is about two particular scenes. The first is between Cagney and his boss (Raymond Massey). When Massey virtually orders Cagney to sober is young nephew up, Cagney replies "can't be done" . When the boss inquires why ? he is told that the drunk must first hear the sound of "angel feathers" . The feathers he relates, is the fear of death. The other scene is the one in which Cagney meets the young nephew who's name is Boyd (played by Gig Young). While completely drunk and laying down on a bed (couch ?) in Cagney's apartment, the two men engage in some banter, whereby Cagney keeps referring to his guest as Boydeee. The nephew having enough of Cagney's mispronunciation, informs him that if he calls him Boydee one more time, he will knock his block off! Cagney then informs him, that he is drunk and that he will knock nobody's block off. This last line is delivered with a smile and style that only the great Cagney was capable of. Upon hearing Cagney's reply, the nephew agrees with a smile of his own and then doses off to sleep. While watching the oncoming sleep, Cagney's expression changes from a smile to a face of concern and something else. The something else may be anger,disgust and or fear. But whatever it is, it in itself sets the tone for the rest of the film. And that look which once again, only Cagney could deliver, tells the audience that someone is in for a great deal of trouble, and part of the trouble is that Cagney doesn't know who is in for the worst of it.

Sure wish I could Buy this movie or they would show it on TV.

Does anybody know about this ??

Thanks in advance.

Come Fill The Cup is Warner Brothers answer to Paramount and The Lost Weekend. Come to think of it, the film could literally be where the Paramount classic left off.

Imagine James Cagney as the Ray Milland character as The Lost Weekend concluded. Remember both of them are writers, Cagney however was a newspaper reporter. He loses his job due to his alcoholism, but gets the same kind of wakeup call Milland got and goes back to working for the paper that hired him in the first place.

Flash forward about five years and Cagney is now city editor and the big boss, publisher Raymond Massey calls him in. Cagney has hired several former drinkers who are making a success on the paper and he thinks that Cagney is just the man to help straighten out his nephew Gig Young who is going down the same path. Young is a promising composer who has let his talent go to waste in a sea of booze.

Two things complicate the picture for Cagney. First Young is married, but separated from Phyllis Thaxter who used to be Cagney's girl. But also Young is now getting himself involved with Charlita, a little chanteuse from south of the border who gangster Sheldon Leonard has put his brand on. And to top that all off Leonard is the target of Massey's newspaper. It gets positively incestuous in Come Fill The Cup.

Gig Young got an Academy Award nomination for his role and his scenes of inebriation and withdrawal are every bit as good as the ones that got Ray Milland his Oscar for The Lost Weekend. Young lost in the Oscar sweepstakes to Karl Malden for A Streetcar Named Desire. The guy who should get some acclaim here is James Gleason who plays Cagney's roommate and sponsor in helping to kick the booze habit. Gleason's death scene and Cagney's reaction to it are the dramatic high points of the movie.

As for Cagney a lot of his usual mannerisms that sometimes carry along a bad film and make it better are missing. But he doesn't need them in playing this part.

I had not seen this film in several decades and quite frankly had forgotten how good it is. Demand that TCM show this one and demand that Warner Brothers get this out on DVD.

A few years after The Lost Weekend won Ray Milland an Oscar for playing an alcoholic writer, James Cagney made a similarly themed movie. That's the breaks of Hollywood, but sometimes it's frustrating to the cast and crew of competing studios. At least they weren't released in the same year - talk about unfair!

Rather than spending the bulk of the movie fighting his addiction, Cagney gets his act together fairly early on in the film. Veteran character actor James Gleason helps him get sober, and as an upstanding citizen, he becomes a respected and successful journalist. One good turn deserves another, and Jimmy is called upon to help another alcoholic about to lose everything: Gig Young. Gig is very young in this film (no pun intended) and eighteen years before he won his Oscar for They Shoot Horses, Don't They? He showed his acting chops and was nominated for the statue. He has some incredible withdrawal scenes with the shakes, emotional fits, and chemical outbursts - all the classic elements of one of these movies, but for some reason, he didn't win the Oscar (and neither did Susan Hayward or Frank Sinatra four years later) and Ray Mi-bland did.

Come Fill the Cup is a very solid drama with equally solid performances from everyone in the cast. It's an important story that no matter how many times it's told, shows the audience the value of hard work, discipline, honor, and selflessness. If you like this subject matter, try Richard Egan's turn in Voice in the Mirror, or of course, Susan Hayward's in I'll Cry Tomorrow.