L'urlo della folla

Racing has been portrayed so well many times in film and television and always makes for an interesting setting and subject. Howard Hawks was a great director and a versatile one, taking on a good deal of genres and excelling at most (especially Westerns and screwball comedy). Another big reason for wanting to see 'The Crowd Roars' was the cast, James Cagney, Joan Blondell, Ann Dvorak and Frank McHugh could always be counted upon to make anything better.

The cast are one of the main redeeming qualities of 'The Crowd Roars' and there is a good deal to enjoy in the dialogue and the choreography of the race scenes. Sadly, 'The Crowd Roars' did not strike me as a great film and Hawks certainly did far better films, if anything this is a lesser effort for him. If the film had a better story, didn't look as cheap and didn't have a character that made so little impact in such a jarring way, it would have fared better.

Despite having a truly loathsome character, Cagney is a knockout and has cocky charisma and intensity galore. To me he didn't seem uninterested at all. Blondell is sassy and charming in usual Blondell style, she was no stranger to this type of role and always did it well, and Dvorak is affecting. McHugh provides colourful support as one of the more likeable characters. While having reservations with the production values overall, the racing is thrillingly choreographed and excites, quite bold for back then too. The tragedy did bring a lump to my throat.

Furthermore 'The Crowd Roars' does go at an energetic pace and has snappy, hard-boiled dialogue on the whole. Hawks' direction does have moments of brilliance.

He is sadly not always in full control of his material however, and there are a few too many melodramatic scenes that lack the urgency of the racing where he doesn't fare very well stopping the drama from getting over the top. The subplot with Eddie and Ann doesn't really add very much and feels like padding. Did find the chemistry between Blondell and Eddie Linden anaemic and Linden not only lacks any kind of charisma but also injects very little personality in a sketchy role.

Sadly have to agree with some too that the production values are not the best. The studio rear projections are very cheap and over-obvious and while the choreography of the racing excites the racetrack shots feel very clumsily incorporated and could have been a lot more subtle with the editing.

In summary, worth a look but not a must recommend. 6/10

James Cagney must have felt darned silly greasing up, donning goggles, climbing into a race car, and making dumb faces while a rear-projection Indy 500 played behind him. He's an ace driver, a daredevil on the track and a cocky alpha male, mistreating his unconditionally supportive girlfriend and attempting to steer his uninteresting younger brother away from a racing career. The script's practically a textbook of genre cliches, from the best buddy whose death-on-wheels gives our hero a guilt complex to the sibling rivalry that is mysteriously resolved, offscreen, in the last reel. Cagney's justifiably celebrated skill and charm can't make us care about this misogynistic, unlikeable blowhard, nor can it make his rapid descent into drink, vagrancy, and hunger (or equally rapid rise back to the Indy) credible. Howard Hawks was already making fast-paced, psychologically sound male-bonding flicks, but even he's flummoxed by the hoary melodramatics of this one. The ladies have little to do but play weepy-loyal (Ann Dvorak) and sarcastic-loyal (Joan Blondell), but they come off best.

The seven is for the racing footage; I'd have to give the film as a whole something lower; this looks like a standard "programmer" from the period. I've seen "TCR" several times, and this time decided to watch it to try to determine where the racing footage was shot and what kind of cars these are.

I have to (somewhat educatedly) guess that we're looking at the old Jeffrey's Ranch Speedway in Burbank in the first racing sequence. It was pretty close to the Warner back lot, and (according to racing historian Harold Osmer) in operation from '31 to '35.

The stands are covered, and there are a lot of large trees close by, as well as equestrian facilities, all three items definitely not the case at Legion Ascot or Huntington Beach. I've been told that Culver City's half mile of that period did not have any equestrian facilities, either, which deals with all the tracks in the region in '31 and '32.

The cars in these shots are largely Ford-Model-A-block / any-odd-freer-breathing-head, rear-drive, backyard/filling-station bombs on Ford rails rather than anything from Harry Miller's shop in nearby Vernon, though there might be an early Miller 200, 220 or 255 (the basis of the famed Leo-Goosen-designed, "Offy" 255/270 built by Offenhauser & Brisko and, later, Meyer & Drake).

This is doubtful, however, as those engines and complete (usually two- or three-year-old) Miller chassis rarely ran anywhere but Legion Ascot in the LA area at that time.

The second (nighttime) sequence is at Legion Ascot, and its 20,000 seats look to be pretty full, which, even when they weren't shooting a feature film, were pretty full even in the nadir of the Great Depression. Veteran dirt track fans will note that Ascot's oiled surface runs pretty much dust-free compared to the old horse track in Burbank.

The third group of action sequences shot at the Brickyard feature top-of-the-line Miller and Deusey rails, as well as several of the very best drivers of the period including Fred Frame and Billy Arnold, both Indy winners (1930 and 1932, respectively; Lou Schneider won the '31 race in the Bowes Seal Fast Special seen momentarily here). Careful listeners will hear the unmistakable snarl of the early "Offy" fours in the background.

Sadly, the sound era was just getting underway as the legendary Miller 91s and the incredible board tracks they ran on were phased out in '29. Open-wheel racing in the '30s was -good-, but OW racing in the previous decade (at tracks like Beverly Hills and Culver City) was as big -- and spectacular, and fast -- then as NASCAR is now on mile ovals.

The Indy scenes feature the (more nearly "stock car") two-seaters and "poor man's" engines that were mandated at the time to reduce costs and break the high-tech/high-buck, Miller stranglehold of the late '20s. There were Deusies, Fords and even Studebakers running the big tracks in those days, but Harry Miller's cars and engines continued to dominate.

Jimmy Cagney plays a race car driver who's at the top of his game. When he returns home to visit family, he's shocked to find that his much younger brother has also taken up racing. Despite Jimmy loving his work, he knows it's dangerous and wants better for his kid brother. This sets the stage for a major falling out between them and eventually the young whippersnapper actually surpasses Cagney--leading to a dandy conclusion.

This is a very good, though not especially great film by Jimmy Cagney towards the beginning of his career. The acting, writing and direction are competent. However, just seven years later, the studio remade this movie--practically word-for-word in places and even using some of the same auto racing footage!!! Considering that the remake wasn't quite as good, lacked originality and lacked Cagney, I say it's best to stick with the original.

By the way, remaking movies--often using pretty much the original script--was a common practice in the 1930s--especially at Warner Brothers. Again and again, films were recycled--sometimes only a couple years later!

As suggested in another review there was probably stuff left on the cutting room floor that would have filled in some holes in the plot. Still I disagree that we don't get the gist of this gripping melodrama or that the racing scenes aren't great. Cagney is a hard-boiled champion Indy driver, who goes a little psycho when his younger brother wants to follow in his footsteps. Suddenly, the girlfriend who loves him isn't good enough and her friend is a tramp. Before you can say "You dirty rat!", the two brothers are alienated and the girl is broken-hearted. This sets up a great rivalry on the track and some heated racing scenes.

I beg to differ with the fussy earlier reviewer who lamented that the racing scenes were over edited. I found these scenes riveting and brilliant. Moreover, they convey a strong taste of a brand of racing long past where death was not so rare. They also show us film of some of the great cars of bygone days in action. Nowadays we are jaded with television cameras on board most high level events. But this footage rivals the modern one for pace and context with the advantage of placing us in a wilder sport. The track is more dangerous, the cars more primitive and of course modern racing is much more civilized.

However, the character Cagney plays is remarkably like many modern day racing greats living and dead due to their daring ways. maybe in their childhood they saw Cagney in this flick.