Jimmy the Gent

Aesthetically speaking, this is a pretty average Jimmy Cagney film. It stars Cagney as the pretty typical fast-talking but likable schemer and Bette Davis in a rather forgettable role she probably detested. Miss Davis reportedly liked Cagney but longed for roles where she was more than just "the girlfriend". In this film she is slightly more, as she's bright and pretty assertive, but once again it was the type of role that would neither hurt nor help her career to get to the next level. She was quite good in the film, but indications of her future greatness just aren't all that obvious.

However, despite the film's averageness and Miss Davis' limited character and the film only earning a 6, I actually enjoyed the film quite a bit. It's exactly the type of formulaic Warner Brothers film I enjoy and I try to see every Cagney, Pat O'Brien or Edward G. Robinson film of this era I can find because they are just a lot of fun to watch. Yes, they are rather predictable, but somehow Warner still made the characters likable and compelling. In this case, Cagney plays his typical guy skirting the edges of larceny in the form of a guy running a company that seeks out lost relatives to inherit fortunes. I also thought that juxtaposing this unsophisticated lout of a character with the classy charmer who is wooing Bette was an excellent move--particularly in how this played out in the end.

A typical Cangey film with some very unusual plot elements and twists, this movie is just plain fun.

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.

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 Corrigan is an unpolished, unmannered, unscrupulous con man specializing in finding bogus claimants for the unclaimed fortunes of wealthy people who die without an heir. Charles Wallingham, his chief rival, has stolen away his "Girl Friday," Joan Marsh, with whom Corrigan is still smitten.

When he goes to Wallington's office to try to win her back, he is struck by its contrast to his own organizational style. Instead of the herd of crude and ugly "mugs" he has working for him, Wallingham's operation boasts a gaggle of beautiful, well-mannered, cultured secretarial hostesses who serve clients tea and crumpets with friendly smiles. Unlike Corrigan, Wallingham is well-dressed, cultured, and erudite. In order to try to win back Joan, as well as improve his operation, Jimmy decides to transform himself into a "gent."

Cagney and Davis are in top form in this early example of the new screen genre that would be soon known as 'Screwball Comedy." Cagney draws upon all the vocabulary in his unique body language: his arching back and idiosyncratic walk, to great comedic advantage, and there are smaller examples of the Davis mannerisms that would later inspire impressionists for decades. Both Cagney and Davis had a great affinity for fast-paced dialog, and this 1934 effort contains a similar premise to "His Girl Friday," the high water mark of the genre, as an unprincipled con-man tries to woo back his business partner/girl friend.

It's interesting that the two stars' only other collaboration would be eight years later in "The Bride Came C.O.D.," another fast-paced Screwball Comedy. Too bad they didn't make more together. They could have been Warners' answer to MGM's William Powell and Myrna Loy.