The Widow from Chicago

Ruthless gangster Dominic (Edward G. Robinson) bumps off a young detective impersonating Swifty Dorgan. The detective's sister (Alice White) sets out to get revenge. She passes herself off as Swifty's wife in order to infiltrate the gang. But then the real Swifty (Neil Hamilton) shows up.

Pre-Little Caesar gangster movie for Robinson, his first at Warner Bros. Also very early role for Frank McHugh, who already seems to be perfecting his screen persona. Alice White is pretty bad. She says every line the same way, regardless of what emotion she's supposed to be displaying. It's an early talkie so there's the expected amount of creakiness. Watchable, particularly for Robinson fans, but nothing special. Believe it or not, this was originally a musical!

A clever crime movie in which a woman seeks to put a mob boss behind bars for killing her brother, who was a cop. Polly gets inside Dominic's circle by posing as Swifty's wife, but when the real Swifty shows up things get interesting, and very unpredictable. Polly's brother was killed for impersonating Swifty, so now she is impersonating Swifty's wife for revenge. An entertaining movie that has humorous points and look out for an unusual place to see a SWATSTICKER, years before Hilter's rise.

Considering that in the panoply of gangster movies this 1930 WB picture starring Edward G Robinson is usually ignored, it's surprisingly entertaining and actually pretty good. Compared with the dour LITTLE CAESAR made a couple of months later, in terms of depth and character development it's incredibly shallow but it's a lot more fun.

The story is stupid but somehow also great: sister of a murdered policeman infiltrates EGR's crime outfit to see that justice is done. Fortunately this was made at the very end of 1930; that's the post 'sound-on-disc' era, so production standards are fine with lots of dynamic camerawork giving this a lively, almost modern feel. Veteran director Edward Cline was not however one for evoking a modern feel. He doesn't do anything special with this so consequently the effect is a little pedestrian but it's lively enough to keep your interest.

Although EGR is now seen as the star of this, it was made as a vehicle for Alice White to demonstrate that she could play a serious dramatic role, an aspiration sadly unachieved. It's painful for me to admit this but Alice White is pretty awful in this. She had been fantastic portraying her iconic 'flapper' character in a series of fabulous fun films in the late 20s but with the approach of The Depression, audiences' tastes were changing. Warner Brothers/First National therefore decided to make no more musicals, no more silly Alice White films! This film bizarrely started life itself as a musical but all those numbers were edited out - thus the short running time.

Alice White needed to prove that she could act in proper dramatic films, effectively this was her auditioning for a new career. As a massive fan of her's, this film is really upsetting to watch. She looks like a dream in this, she's drop dead gorgeous and a flutter of her eyelids makes you melt into a heap but as an actress.... oh dear, she's truly awful. She just can't do it, she lacks any depth and is utterly unbelievable. Her co-star EGR described her as 'completely lacking any acting ability' and you wonder what must have been going through this trained actor's mind as he tried to do a serious scene with her.

Although she would make one more picture for WB/First National, THE NAUGHTY FLIRT, which is brilliant, this was the nail in her acting career. It's a fun, exciting, rip-roaring crime picture, albeit a bit too simplistic but it's difficult for an Alice White fan to watch this without shedding a silent tear.

Widow from Chicago, The (1930)

** (out of 4)

Early gangster film from Warner has Alice White playing Polly Henderson, a woman who sees her brother get gunned down by a bunch of thugs. The woman pretends to be the widow of another gangster who is presumed dead and she crashes in on thug Dominic (Edward G. Robinson) to try and find out who killed her brother. THE WIDOW FROM CHICAGO is a fairly entertaining film that's going to mainly play to those who want to see Robinson in the role of a gangster a year before he became a star with LITTLE CAESAR. There's really nothing to compare in terms of the two performances as it's clear Robinson was still trying to find it acting chops. He's certainly good here but it's easy to see why this film didn't make him a star. It should go without saying but there's very little going on with the screenplay other than a few twists and turns that most viewers are going to pick up on long before they happen. The screenplay itself is pretty silly as there are all sorts of wacky things that happen including the entire bit with the real gangster (Neil Hamilton) who's supposed to be dead showing back up and throwing a wrench in the plans of White. The twist in what happens to Robinson is downright silly and so far-fetched that you almost have to laugh at it. As for White, she's certainly not in the same league as the legends from this era and while her performance is far less from what I'd consider good, there's no doubt that she has a presence on the screen. Her and Robinson do fine work together and certainly help the weak material. The supporting cast offers up Frank McHugh playing the comic bit but he doesn't get a chance to do too much. In the end this is a pretty forgettable film but the addition of Robinson makes it worth viewing for fans of his or the genre.

Polly (Alice White) infiltrates a group of gangsters headed by Dominic (Edward G Robinson) in order to find out who killed her brother Jimmy (Harold Goodwin).

The plot develops at a pace which just about allows you to keep up with the story. It's a bit complicated at the beginning but things fall into place so keep watching. Alice White is super cute and likable but I'm not convinced about her ability to survive in the underground world. She'd be dead if she wasn't mixing with lightweights such as Neil Hamilton who plays "Swifty". It comes as a surprise when she ruthlessly shoots a policeman although there is a twist that runs alongside this. Another lightweight is Harold Goodwin - the film gets off to a good start when he gets shot. Overall, this film holds an interest but it is nothing special.