Never Steal Anything Small

James Cagney in his autobiography said that he never ran his old films at home with the exception of the musicals. Those he ran continuously and he regretted he didn't do more of them.

Which is probably why towards the end of his film career he decided on a musical which had a certain amount of potential, but went sadly awry. Labor Unions were a big news back in the day. The hearings held by the McClellan Committee in the Senate made the doings of the Teamster's Union presidents, David Beck and Jimmy Hoffa front page headlines. There were any number of exposes showing how organized crime was muscling into honest unions. The Taft-Hartley law was a perennial issue back then with Democrats wanting to repeal it and Republicans staunchly in favor.

The songs by Allie Wrubel and Maxwell Anderson were singularly unmemorable and the comedy in Never Steal Anything Small is forced. However James Cagney is such a dynamic performer that he's put over far worse.

Roger Smith who played a straight arrow lawyer was a protégé of Cagney's back then. He played Cagney's son in Man of a Thousand Faces and after this film with a plug from Cagney to his old boss Jack Warner got cast in the television series 77 Sunset Strip.

My favorite in the film is Cara Williams. She's got the part that Joan Blondell or Gladys George would have played opposite Cagney back in the day. Williams is a worthy successor to both those women.

There is one true incident in Never Steal Anything Small. At one point Cagney nearly gets acid thrown in his face. There was just such an incident involving columnist Victor Riesel which was more successful and left him blind. But Riesel was a far more noble character than the one Cagney plays here.

Though in the end Cagney does show he has some scruples where women are concerned.

James Cagney is remembered for two main genres of movies. The gangster movie of course and to a much lesser extent, the movie musical. So if you put both genre's together in the form of a gangster themed comedy musical and put James Cagney right in the centre of it, surely it would work right? RIGHT? Well I'm disheartened to say that 1959's Never Steal Anything Small does anything but. However, it may be easier than you think to explain why.

By 1959, the movie musical had fallen very much out of favour. One of Gene Kelly's last big MGM efforts 'It's Always Fair Weather' had opened in drive ins and even the great Fred Astaire, after a run of poor efforts had turned his back on the genre completely. By the time this movie was released James Cagney was 60 years old and whilst he could still be convincing when it came to tough talking and giving out the rough stuff, his great dancing days were behind him and here he looks slow and uncomfortable in the few numbers he has.

To correctly define Never Steal Anyrhing Small, I would say that it wasn't a musical with comedy, it's more a comedy with musical numbers and both elements are lacking anything truly remarkable.

Cagney plays a tough talking dodgy dealing corrupt union boss, who's not beyond breaking the law or a few legs to get things done.

After extorting $10000 for campaign money from a local skinflint, he is arrested and is assigned a young clean cut lawyer to defend him. The lawyer is an idealist and is not exactly enthused to be defending someone he knows is guilty. Cagney received a letter stating that the lawyer is quitting, but Cagney needs him to beat the the extortion rap and goes to his house to convince him to stay.

He discovers that the lawyers wife (Shirley Jones) is the one who convinced her husband to ditch the case. Cagney is smitten with her and sets about an elaborate plan to break the couple up so he can scoop up the girl for himself, going so far as trying to ruin the life of the lawyer by hanging a larceny rap round his neck. (Yes, this is what comedy was in 1959 folks).

Prior to this movie, Cagney had spent the last 30 years playing some complete SOB's, however, and with the obvious exception of Cody Jarrett in White Heat, there was still always something likeable about the characters as Cagney had always said that you can't hate a likeable guy no matter how bad he was. But here, there are no redeemable qualities in his character and he is thoroughly unlikable. So this a extremely RARE Cagney backfire.

The musical numbers aren't that great, the plot uncomfortable and the comedy only occasionally funny.

I find it hard to admit that I am actually giving a James Cagney movie a poor review, but a bad movie is a bad movie regardless of the cast and sometimes even the most enjoyable and consistent stars cannot save it.

It's such a shame that the last movie musical James Cagney ever made was nowhere near as good as his first (Footlight Parade).

'Never Steal Anything Small' is a curiosity, a collector's item, and a seldom screened rarity.

Based on Maxwell Anderson's rejected play 'The Devil's Hornpipe', with new songs by Allie Wrubel, 'Never Steal Anything Small' tells of Jake MacIllaney, an irrepressible rogue who climbs to the top in the Trade Union racket. No trick is too dirty, no strategy too low for this scoundrel, and it fortunate for the movie that he is played by James Cagney whose effervescent screen presence makes the character bearable. It is also fortunate that the married woman for whom Jake develops an uncontrollable yen is played by Shirley Jones. 'Oklahoma!' may have been her break-through movie, but this is her break-out movie. For the first time Shirley was allowed to play a full-grown woman on screen, and she presents a new Shirley Jones, full-bodied and sexy, strong-willed and argumentative. Those who were startled by Shirley's performance in 'Elmer Gantry' cannot have seen 'Never Steal Anything Small'.

The movie is a puzzle. Allie Wrubel wrote several other songs which were not used, and Hermes Pan is the choreographer. Yet there is almost no dancing in the film and hardly any songs. This raises the question of whether Universal-International lost their nerve, and tried to make it a non-musical. Certainly Universal is not a studio associated with musicals, least of all in Cinemascope.

The film provides a chance to see Robert Wilke and Royal Dano, two regulars in Universal westerns, in a modern setting, plus another view of Cara Williams, Cyd Charisse's unsuccessful rival in 'Meet Me In Las Vegas'.

'Never Steal Anything Small' is such an uneven movie, and the leading character so unprincipled, that many people will dislike the film. However those with a cynical sense of humour or an appetite for Shirley Jones will find much to enjoy.

One of Cagney's last pictures before his extended retirement (he returned in Ragtime). Like On The Waterfront, Never Steel Anything Small deals with a corrupt longshoreman's union on the U.S. east coast. That's where the similarity ends, as one is a straight drama and the other a musical comedy. Cagney, with his roots as a vaudeville hoofer, dances and sings in some neat production numbers choreographed by Hermes Pan, Fred Astaire's (mostly) off-screen collaborator. The movie also sends up television commercials; an unusual thing in the 1950s when Hollywood was loathe to acknowledge the upstart TV medium. Shirley Jones does a nice job as the good wife who inadvertently tempts the wiley union boss/climber-with-a-heart-of-gold Cagney.

Charming Damon Runyon flavored semi-musical crime comedy driven by Cagney's magnetism.

Only Jimmy could make the strong arm racketeer he's playing so appealing and he sails through this minor film with the assurance of the star he was. Shirley Jones is lovely and sings beautifully but it's the brassy Cara Williams who really stands out.

The songs may not be too memorable but they fit the spirit of the story well and the zippy "I Want a Ferrari" duet between Cagney and Cara Williams is a classic car lover's dream.

Special mention should also go to the production designer who uses an almost exclusively muted palate of colors to create a rich harmonious look that gives the film a very stylish appearance without ever drawing the audience's eye away from the action.

Full of wonderful character actors and a jaunty attitude this is an under-known gem from the latter part of Cagney's career and he owns the film.