The Beast of the City

THE BEAST OF THE CITY (Metro-Goldwyn-Mayer, 1932), a Cosmopolitan Production directed by Charles Brabin, is not a story about some wild gorilla loose in New York. King Kong would take care of that in 1933. The movie, in general, is MGM being, or at most, outdoing Warner Brothers crime dramas with gangsters as leading attractions. For something completely different, an opening statement written by President Herbert C. Hoover is brought forth on screen: "Instead of the glorification of cowardly gangsters, we need the glorification of policemen who do their duty and give their lives in public protection. If the police had the vigilante, universal backing of public opinion in their communities, if they had the implacable support of the prosecuting attorneys and the courts, I am convinced that our police would stamp out the excessive crime - which has disgraced some of our great cities." In other words, THE BEAST OF THE CITY is more than a crime story. It's a tribute to the crime fighting men in blue.

Taken from a story by "Little Caesar" author, W.R. Burnett, the fade-in follows the daily routine of the New York City police department through its camera tracking starting with police operators(one being Edward Brophy) taking, receiving or gathering information from phone calls before "calling all cars" to policemen in their siren blazing patrol cars racing down the streets to their latest assignments. James J. Fitzpatrick (Walter Huston) is introduced as a police captain whose failing methods in putting gang leader, Sam Belmonte (Jean Hersholt) in prison due to lack of evidence, assisted by a corrupt lawyer (Tully Marshall) who gets him released on technicality, gets himself demoted to desk job at a quieter precinct at the other side of town by his chief commander (Emmett Corrigan). Fitzpatrick, a family man with wife, Mary (Dorothy Peterson), twin daughters (Betty Mae and Beverly Crane) and son, Mickey (Mickey Rooney), redeems himself by capturing a pair of robbers, that reinstates his position as police chief. As Fitzpatrick continues his attempt to put an end of Belmonte's racketeering activities, Ed (Wallace Ford), his younger brother and detective in the police force, who, while on assignment, falls victim to Daisy (Jean Harlow), Belmonte's "stenographer" and mistress, Unable to obtain a promotion, Ed foils his brother's chances with his fight against crime.

Other members of the cast include: John Miljan (District Attorney); Sandy Roth (Lieutenant John "Mac" McGrowski); J. Carroll Naish (Pierre Choco, one of Belmonte's mob); Murray Kinnell (The Judge). There's also those familiar faces of character actors as George Chandler, Clarence Wilson, Arthur Hoyt and Nat Pendleton appearing in smaller roles.

Virtually forgotten following its very limited television broadcasts since the 1960s, this pre-code crime melodrama, which surfaced decades later in the wake of cable television on Turner Network Television (TNT) in the late 1980s before becoming a prominent fixture on Turner Classic Movies (1994 onward), THE BEAST OF THE CITY, being Walter Huston's movie from start to finish, is recognizable mostly for its presence by the second-billed Jean Harlow, still early in her career. For her second MGM film, the studio where she would remain until her untimely death in June 1937, is basically secondary than a major presence. She does make the most of it doing her part of a tough talking blonde. Harlow's character is introduced briefly in Belmonte's office with no spoken dialogue before coming forth minutes later in the police line-up where she captures the attention of the weakling brother (Ford) to a crime fighter (Huston). Though the Danish-born Hersholt may seem miscast as the Italian ring-leader, possibly John Miljan, probably tiring of his bad guy image by this point (cast as a gray-haired attorney), might have been better suited. Or Tully Marshall switching with Hersholt. Of its assemble, much of the cast is well placed in their roles, especially Walter Huston who can play bad guys, good guys or anti-heroes with conviction without any chance of being type-cast.

Once seen, whether on DVD or TCM viewing, it's hard to forget some of the violence (by 1932 standards) attached to THE BEAST OF THE CITY, along with its offbeat and dark method to Fitzpatrick's fight against crime. This is his story. This is MGM's contribution to the American policemen. This is Hollywood's participation to crime wave on the city streets, quite different, quite atypical from anything else regards to cops and gangsters up to this level. (***)

Grim and gritty pre-Code crime drama about a tough-as-nails police captain (Walter Huston) with a hard-on for wiping out crime. His brother (Wallace Ford) falls for a vampy bad girl (Jean Harlow). Through her, he gets involved with gangster Sam Belmonte (a miscast Jean Hersholt). This leads to an inevitable clash between brothers.

Well-directed and well-written with solid acting, especially for 1932. Harlow is her usual alluring self. Huston is great in a part that is not very sympathetic, despite his being the protagonist. Early work by J. Carrol Naish as Hersholt's henchman, Cholo. Speaking of Hersholt, he was the only suspect casting. I'm not bashing Hersholt because he was a fine actor. But hearing him spout gangster slang through his thick accent was a little silly. Mickey Rooney has a small part as one of Huston's kids.

Another great Walter Huston movie from the '30s. He made a lot of interesting ones. The aim of this particular film is to glorify cops not criminals. At least that's what the Herbert Hoover-signed message before the credits says. Yet the ultimate message of the movie is that in order for the cops to stop the criminals, they have to abandon the rule of law and take matters into their own hands. The final shoot-out between the gangsters and the vigilante cops is amazing.

I would classify this early 1930s gangster flick as "ordinary" but that's better than you think, because these kind of movies ordinarily are fast-paced, a bit edgy, have unique language to them and generally are pretty interesting...and they are short films, which isn't always bad, either.

This one features Walter Huston as the hard-nosed committed cop trying to clean up his crime-ridden city with the eventual goal getting to the number one guy: the "beast" of the city. The ending is a wild one and commented on by a number of reviewers, here and elsewhere.

A subplot involves Huston's younger brother (Wallace Ford), also a lawman, who is corrupted and then, after being exposed, tries to atone for his sins at the end. Jean Harlow also stars in this film. Frankly, I never found her as sexy as her reputation, but she is excellent in here and very interesting to view. Finally, we also get to see a very young Mickey Rooney, as one of Huston's children. He didn't have many lines but you knew it was him with that smile and all those teeth!

Let's hope someone puts this out on DVD. It's too good to be a secret.

MGM tried to go for the hard edged style of Warner Brothers gangster films with this drama about a strict DA (Walter Huston making an amazing turn as a tough guy) looking to clean up the city. The film is stolen by Jean Harlow, as a loose woman luring Huston's rookie cop brother (Wallace Ford) down the highway to sin. Her `koochie-dance' she performs for Ford is quite the eyeful! And dig that vicious, mind bending ending!

Beast of the City, The (1932)

*** (out of 4)

MGM gangster film shown from the point of view of the police. Capt. Fitzpatrick (Walter Huston) is out to bring down gangster Sam Belmonte (Jean Hersholt) but is sold out by his brother (Wallace Ford) who has fallen for the gangster's girl (Jean Harlow). This film is certainly a lot different than the Warner gangster pictures as it doesn't glamorize the gangsters but instead puts the spotlight on the public for allowing gangs to rule the streets. Huston is his usual fiery self and both Ford and Harlow shine in their supporting roles. The subplot between Ford and Harlow is a bit weak but it leads to a highly powerful ending, which is among one of the best scenes from all the gangster films from this period.