Il pericolo pubblico n. 1

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.

Unlike most gangster films of the early 30s, this Hearst-produced item was fiercely on the side of the law (with a supporting quote by President Herbert Hoover directly following the opening credits), as personified by Walter Huston, as a charming "everyman" Irish cop with a weak-willed younger brother (Wallace Ford). Huston is a charming family man (extended scenes with his wife and children underscore this point, to distraction) who dedicates himself to wiping out crime in a generic, unnamed American city during Prohibition when bootleggers were the scourge of the nation. Ford, lured by gang moll Jean Harlow, gets mixed up with a crime syndicate (led by German-accented Jean Hersholt uncharacteristically cast as a loathsome Italian gangster). Harlow gets the best lines and is easily the most engaging element of the story. The resolution is earnest if technically clumsy and obvious, but with Harlow, Huston, Hersholt and Tully Marshall, who delivers a rousing courtroom monologue (not to mention a supporting role played by an 11-year-old Mickey Rooney), it's worth a look.

This is one of the grittiest of the pre-Production Code features. It is important to realize that just two years later, with the implementation of the rewritten Production Code in 1934, this film could not have been made.

As with any piece of popular entertainment that is nearly 70 years old, there are going to be dated elements. What is more important is how relatively modern this film feels, especially compared to the films made under the Production Code after 1934. The story is a hard slice of life, and it will not suit all tastes. This is especially true for those who have been too conditioned by Production Code features and television.

The ending has been compared to Sam Peckinpah's THE WILD BUNCH and Don Siegel's DIRTY HARRY, and not without cause. However, try to imagine yourself as a member of the original theatrical release audience in 1932. There would have been very little to prepare you for it, apart from DOORWAY TO HELL, LITTLE CAESAR, PUBLIC ENEMY, and SCARFACE. The difference here is that the story is told from the point of view of the men in law enforcement. It focuses on something that was common knowledge at the time, that prohibition had corrupted law enforcement far beyond the scope of anything the public had ever known.

The remedy for corruption that this film prescribes is very strong medicine indeed. You may not like it, but I defy you not to think about it for a long time after you've seen it.

The blond bomb shell, Jean Harlow,(Daisy Stevens),"Reckless",'35 gave an outstanding performance and some of her outfits showed off all the wonderful things males love in a woman during the 1930's and still DO ! Walter Houston,(Capt. Jim Fitzpatrick),"The Great Sinner",'49, played a rough and tough Irish Captain who did not mess around with the mob and especially Jean Hersholt, who really did not fit very well in this role. Jean Hersholt played very few roles as the bad guy during the 1920's and 30's and was a good actor in the radio days. J. Carrol Naish,(Pietro Cholo),"The Beast With Five Fingers",'46, was very young and gave a great supporting role on his way to a fantastic career on the Silver Screen. The ending of this film is great and I thought it was very well directed and produced.