L'ennemi public n° 1

Clark Gable and William Powell are boyhood friends who end up on opposite sides of the law in "Manhattan Melodrama," also starring Myrna Loy. Loy is lovely here, as usual, but she doesn't really have much of a role.

The film focuses on Gable and Powell. In the first scenes of the film, we see that they are orphaned and taken in by a man who has lost his son in the same fire that killed the boys' friends and family.

When we see them in present day, Gable is running an illegal gambling joint, leaning on people for money they owe, and dating the Loy character. Powell is in politics.

After Loy spends some time with Powell, she decides she'd rather be with him, and eventually they marry, and Powell moves from DA to governor. Gable becomes increasingly ruthless, though the two remain devoted friends.

There are some melodramatic sections in the film, particularly the beginning and the courtroom scene which contains a very dramatic speech delivered by Powell.

The acting is marvelous. Gable is likable as a slick gangster who takes things in stride. His smile lights up the screen. He really had one of the great screen presences - looks, a great voice, and dripping with charm.

But the really interesting performance is given by Powell. He's not the witty, energetic Thin Man in this, but a very committed and serious, dignified person with a lot on his shoulders. He's totally believable, and he and Gable provide great contrast. Powell's scene at the end of the film is very touching.

Enjoy the great stars and the story, but don't look for laughs.

'Manhattan Melodrama' may not have the stylistic finish to it to make it a great message movie about contemporary 30s issues, but it does go a long way towards that end, and is never less than engaging.

Clark Gable is the happy-go-lucky gangster Blackie who is being tried for murder by his boyhood best friend Jim, William Powell, a D.A. who has made it to governor of New York because of a murder done by Blackie, unbeknownst to Jim. On top of it all they both love the same woman, Myrna Loy.

Despite its melodramatic but never overwrought style 'Manhattan Melodrama' has sufficient weight and substance to make itself heard 70 years after the fact. It cuts no convenient corners in the description of the governor's sad plight of having to decide whether his friend should live or die, and it paints a wonderful and believable picture of Loy's character who does what she deems best. Powell delivers a multi-layered performance that has to count amongst his best, and Gable is irrepressible and delightfully amoral as the bad guy we're all rooting for.

Recommended, but please don't judge it by the first 20 minutes which are rather slow-moving, but still entertaining.

Well, unusual for me. Perhaps at the time, the circumstances, what have you, it was not so unusual. But for me, watching Clark Gable portray a happy-go-lucky double murderer, who garners tons of sympathy from the audience; it was a first.

Manhattan Melodrama is a film of dubious and rather interesting morals. Who's the hero? Who's the villain? Childhood friends Jim and Blackie grow up very different men, Jim becomes DA of New York City, while Blackie runs a casino, and performs other unsavory activities. Eventually, their positions force them into conflict, but it's not your typical run-of-the-mill courtroom drama.

Blackie in most films would be a villain, he is after all a gangster and a murderer, amongst other activities. But here he's played by Clark Gable, about as charming an actor as ever lived, and the movie takes place in the 1930s, when gangster pictures like Little Caesar elevated these types of men into hero roles.

The picture makes a very blatant message against the heroic vision of gangsters (In a speech by Jim that feels as if the men who controlled the Production Code were standing off screen holding the cue cards for him). But I couldn't help feeling sympathy for the character, after the evil deeds he did. Meanwhile Jim, a hardworking individual who is uncorruptable, comes off as "cold" by the end of the picture. The way this movie sidesteps conventional roles is really interesting.

The lead woman in the picture, Eleanor, is rather interesting too. Watch how she jumps back and forth and between the men, and for what reasons.

I don't fully understand this movie, and it's not one of the most exciting films I've ever seen, but it's one of the most interesting ones I've seen in quite a while.

Two boyhood friends (one played by a very young Mickey Rooney) grow up on opposite sides of the law. Clark Gable becomes a criminal--William Powell becomes governor. Myrna Loy loves both.

This plot is now screamingly familar but, back in 1934, this was original. In fact it won the Best Original Story Oscar for its year. This could have been a real howler but a great cast, tight script and wonderful direction really put it over. Well worth catching--especially for a powerful climatic scene between Powell and Gable. A classic of its type.

Solid MGM crime drama that is best remembered today as the film John Dillinger saw just before being gunned down by federal agents. The story is a simple one about two men (William Powell, Clark Gable) who grew up together but are on opposite sides of the law. Myrna Loy also stars as the woman initially with Blackie (Gable) who falls for and marries Jim (Powell). Great director and trio of stars with fantastic chemistry elevate this above otherwise banal plot. Young Blackie is played by, of all people, Mickey Rooney! Must've been one hell of a puberty. Also of note is the song "The Bad in Every Man," sung by Shirley Ross here. The song would later be given new lyrics by Lorenz Hart and become the classic standard "Blue Moon."