Alcool

I consider it to be one of Cagney's best. A very entertaining film, not merely a morality play, complete with a good plot, witty dialog, and humor. In one scene, the local crime boss (Sheldon Leonard) "forces" two alcoholics to drink whiskey at gunpoint. In an ironic twist, one of the drunks deciding whether or not to quit the bottle in the film is Gig Young, a real-life alcoholic who later killed his wife and himself. The difference between this film and most others is its' contention that the alcoholic must want to quit, and that this desire must come from one's self. I nearly said "anti-booze" film, but that is not true. In it, most of the characters are able to drink without becoming alcoholics, just like in real life. Alcohol aside, this is a classic crusading newspaperman versus gangster story of the 40s and 50s with music and humorous twists for spice. This is definitely one of my favorite films.

This is a far too seldom televised Cagney picture, made in his more mature years. Cagney is top-notch as an alcoholic reporter finally scared enough by the threat of death ("Angel feathers," his reformed alcoholic savior James Gleason tells him) to go on the wagon. He's enlisted by his publisher boss Raymond Massey to mentor--basically slap some sense into-- Massey's incipient alcoholic nephew, Gig Young. The plot is rather work-a-day, and Cagney is all too dynamic for a recovering alcoholic; he never convinces us that being dry is agony. Moreover, it shows none of the stark horror of alcoholism better dramatized in The Lost Weekend or Days of Wine and Roses. Yet the script is taut and it's always a treat to watch Cagney at work. And James Gleason, one of the most personable of character actors, was never better. Watch his expectant face as he tries his daily attempt at a pseudo Bloody Mary on his roommate, Cagney. "Still tomato juice," they say in unison.

Six years after Billy Wilder,Gordon makes his own "lost week-end".Both Cagney and Gig Young are convincing in their parts of barflies desperately trying to find a way out of this hell.

I think that the film noir side weakens the film:all that concerns the "singer" (a gangster's moll) and the gang gets in the way.

On the other hand,Boyd's relationship with his mother is really frightening and it is a pity that the part of this over possessive woman was so underwritten.Almost every line she says is revealing: "Boy's sleeping" "He may get cold,I'm going to cover him up well".Too bad Phyllis Thaxter and her mother-in-law have virtually no scene together either.

A good film anyway.

Simply the best "recovery" movie! Cagney's performance is Oscar quality, as is James Gleason's. Even Phyllis Thaxter and Raymond Massey are believable in this film. The musical score is superb, with Grieg-esque overtones. Perhaps the best billboard (7 Dwarves Whiskey) in moviedom. 10/10

I am not surprised to find only two previous comments about this very good film. Sadly,I have not seen it it many years, as it seems to have disappeared. My most vivid memory is about two particular scenes. The first is between Cagney and his boss (Raymond Massey). When Massey virtually orders Cagney to sober is young nephew up, Cagney replies "can't be done" . When the boss inquires why ? he is told that the drunk must first hear the sound of "angel feathers" . The feathers he relates, is the fear of death. The other scene is the one in which Cagney meets the young nephew who's name is Boyd (played by Gig Young). While completely drunk and laying down on a bed (couch ?) in Cagney's apartment, the two men engage in some banter, whereby Cagney keeps referring to his guest as Boydeee. The nephew having enough of Cagney's mispronunciation, informs him that if he calls him Boydee one more time, he will knock his block off! Cagney then informs him, that he is drunk and that he will knock nobody's block off. This last line is delivered with a smile and style that only the great Cagney was capable of. Upon hearing Cagney's reply, the nephew agrees with a smile of his own and then doses off to sleep. While watching the oncoming sleep, Cagney's expression changes from a smile to a face of concern and something else. The something else may be anger,disgust and or fear. But whatever it is, it in itself sets the tone for the rest of the film. And that look which once again, only Cagney could deliver, tells the audience that someone is in for a great deal of trouble, and part of the trouble is that Cagney doesn't know who is in for the worst of it.