Le dernier gangster

This is one of Edward G. Robinson's best performances. He played the gangster with the expired use by date in a number of movies, most notably in "Key Largo", but here he takes the character on a fascinating journey. He starts as a newly-wed little Napoleon, is crushed by his conviction on tax evasion, degraded through ten years of prison, and tortured to near death by his former gang when released. Through all this he is motivated by a great love for a son he has never met - when he does meet him finally his tender side is released.

What a challenging role this is - and how brilliantly Robinson rises to the challenge. At times you'll hate him, but he is always so vividly real that it is impossible not to empathise. Less effective is Rose Stradner as his wife - she too often slips into melodrama. It is perhaps not surprising to learn that she only made one other film. How fabulous Luise Rainer would have been in this role. The rest of the cast is terrific - that great Warner Bros store of thugs and villains - with Lionel Stander and John Carradine particular stand-outs.

And a pre-star James Stewart is the good guy - he even has a Clark Gable moustache in some scenes (the studio never let him grow that again!). The little boy is very icky - seems more English than American and is far too boy scouty to be appealing.

But add to all this strong direction, a good script, and stunning camera-work and you have a minor masterpiece. The torture scene is really very harrowing and the passage of time in prison montage is excellent - and you've got to love the opening credits.

Edward G. Robinson stars in "The Last Gangster," with a cast that includes Lionel Stander, Rosa Stradler, James Stewart, John Carradine, and Sidney Blackmer.

As older men, Stander and Blackmer would be known for the TV show Hart to Hart (no mistaking that voice) and Rosemary's Baby, respectively.

Robinson is Joe Krozac, a powerful, ruthless mob boss who does not tolerate anyone moving in on his territory.

Joe takes a trip to Europe and returns with a bride, Talya (Rosa Stradner). Talya doesn't speak much English so she really doesn't know how Joe makes his living.

When she becomes pregnant, Joe is crazy with joy, absolutely obsessed with the idea of having a son, whom he dreams of taking over his crime business.

Joe, alas, taking a page out of Al Capone's book, lands in jail for ten years for tax evasion. He is determined to be a model prisoner so he can get out on time. When Talya brings the baby to see him, he only cares about the baby and not her.

When her son is called baby mobster in the newspaper, with a photo, Talya becomes disillusioned and stops bringing the baby. She also divorces Joe. Meanwhile, Joe left a lot of money somewhere and his old friends want it as soon as he's released.

This film went the typical gangster route until the end, and it's really very sweet. Robinson was such a wonderful actor - he could play a wimp or a bully, do drama and comedy - he was a real treasure.

James Stewart had an early role in this film. I thought he looked on the young side for Rosa Stradner, even though he was five years older. Toward the end of the film, I guess to show the passage of time, he has a mustache someone stuck on him, and it looks dreadful.

Rosa Stradner did a good job as an insecure woman from another country who marries the wrong man. She was married to Joseph Mankiewicz, during which time, she didn't work in the early years while he was out having affairs with Judy Garland and Linda Darnell.

But they stayed married, and she did a film, The Keys of the Kingdom, in which she was marvelous. At the age of 45, an alcoholic by now, she committed suicide. Very sad.

Supposedly the line from the Mankiewicz screenplay of All About Eve - "Fasten your seatbelts. It's going to be a bumpy night" was inspired by Rosa.

You won't have to fasten your seatbelts for this, but thanks to Robinson, it's good.

Last Gangster, The (1937)

*** (out of 4)

Strange but highly entertaining gangster film from MGM has Edward G. Robinson marrying a woman who doesn't know about his deadly pass. Robinson eventually has a son with her but before he meets the child he gets sent to prison for ten years. The mother then finds out about his past and decides to kidnap the kid so that he doesn't turn out like his father. She eventually marries another guy (James Stewart) but soon Robinson is out of jail and looking for revenge. This is certainly a lot tamer than the Warner gang pictures of the time but that's a good thing because there's a lot of heart and emotion in place of the violence. Robinson is very good and incredibly touching in the end and Stewart shines in his role. John Carradine has a very good part as a man picking on Robinson inside prison. The ending is predictable but the film still works very well.

There are a lot of theoretical strikes against this movie-- Robinson playing a Capone lookalike for the zillionth time (right before he switched mainly to playing them for comedy in things like A Slight Case of Murder and Brother Orchid); post-Code MGM instead of pre- Code Warner Bros., which surely means a softer handling of the gangster theme; a no-name director and female co-star, Jimmy Stewart in a thankless good guy role; and, not least, a sort of gangster Sin of Madelon Claudet plot in which Robinson gets to get weepy about not knowing his son while he's in Alcatraz.

And amazingly, it's all handled remarkably freshly-- and toughly, especially from the point where the movie pulls the rug out from under big shot Robinson with a long and realistically bleak prison train sequence. Almost every opportunity to sink into cliche is rethought to find a fresher angle-- instead of the archetypal Warner Bros. tough-guy prison, with the warden acting like a crime boss himself to keep his charges in line, the movie's Alcatraz is a streamlined, impersonal machine for reducing men to numbers, the striking production design as institutionally cold as the manner of the warden. The classic welcome home from the boys (such lovable gangster lugs as Lionel Stander and Edward Brophy) takes a highly unexpected turn-- and keeps turning. Although the scenes where he finally meets his son again are hampered by unrealistic dialogue for the kid, in all this is a strong and thoughtful adult drama which brings emotional realism back to a genre usually riddled with cliches.

The movies have always relied on clear-cut heroes and villains to either engage the sympathy or incur the animosity of members of the audience: simplistic, and far removed from real life. Much more thought-provoking are the occasional characters such as the lead in this film, an egotistical, tough-as-nails crime kingpin and killer, who nevertheless emerges convincingly as a man capable of sympathy and single-minded devotion. The scenario is to be commended for making the complexities and seeming contradictions in this character altogether believable. Of course it is the performer who must make this come alive on the screen, and here Edward G. Robinson succeeds brilliantly. In a gallery of great performances by such a fine actor, this one deserves to be much better known.