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Mickey Rooney gives an energetic ,scary and persuasive performance in this crisp and edgy don Siegal movie.The businesslike script by Irving Shulman and Daniel Mainwaring traces the rise of Nelson from apprentice gunman to Rocca(Ted de Corsia),through his meetings with Dillinger(Leo Gordon), his incarceration and subsequent escape aided by girlfriend Sue(Carolyn Jones)and his rise to the status of Public Enemy Number 1 Little is said about the background to the story-prohibition is scarcely touched on -or about Nelson's personal motivation .Instead it records -even ,disquietingly ,celebrates his achievements and behaviour.

The support cast gives Rooney solid backup and special kudos go to Sir Cedric Hardwicke ,Jack Elam and Emile Meyer It looks cheap and low budget but this actually helps the impact of this slick ,anti-social pulp movie

Baby Face Nelson is directed by Don Siegel and co-written by Daniel Mainwaring, Robert Adler and Irving Shulman. It stars Mickey Rooney, Carolyn Jones, Cedric Hardwicke, Leo Gordon, Anthony Caruso and Jack Elam. Story is based on the notorious criminal who became public enemy number one in the first half of the 1930s.

Gangsters have always been a profitable source for film makers, with many of them proving to be the basis of classic cinema. The story of Baby Face Nelson is ideal for cinematic treatment.

Don Siegel's 57 movie is tight and taut, yet still briskly paced, and in the main as per the characterisation of Nelson, it's pitched right by Siegel and Mickey Rooney. Nelson is seen as a pocket rocket of inferiority complexes, a deluded bully held in the grip of jealousies. He's a trigger-happy punk with anger issues, while Siegel is professional enough to ensure the little thug is not glamorised (the film opens with a written statement pouring praise on the FBI). The recreation of the period is grand, those cars, those guns, the latter of which get a good amount of screen time as Siegel gives us gun play aplenty. While visually (Hal Mohr on cinematography duty) it's lighted for shadows and period starkness. There's even a pitch black noir ending to round it off.

The flaws? Rooney never fully convinces in the role of Nelson, where perhaps he is a mere victim of following in the footsteps of greater characterisations in the genre? Or maybe it's just a case of being familiar with him in more airy roles? But with Hardwicke doing fine work as a boozy lecher, Jones appealingly knowing and sexy as Nelson's moll, and Elam and Elisha Cook Jr bolstering the support ranks, film is in capable acting hands. Narrative is a bit scratchy, not quite a complete whole, more a case of a number of great scenes inserted here and there, but it doesn't hurt the picture too much. Overall it gets in and does its job in next to no time, never out staying its welcome, it overcomes its faults and entertains the genre fan with ebullience. 7/10

Mickey Rooney stretched the limits of his talents and continued to live down the image of all American Andy Hardy in this blood and guts portrayal of Baby Face Nelson. In the title role Rooney dominates this film and that's no small achievement for him as he is supported by a really good bunch of character players, especially for a small independent United Artists film. This part was certainly a better fit for him than that other true life short man he played Lorenz Hart.

One of the nastiest of the famous public enemies of the Thirties, Lester Gillis aka Baby Face Nelson had some real issues. A nasty temper and some inferiority feelings about his short size are what makes him what he is. Give him a Thompson submachine gun and he cuts all down to size.

Reading the Wikipedia article and knowing what I know about him, Rooney really captured his character well. His fans should love what he did in this. Only the cheapness in production values prevents me from giving Baby Face Nelson a higher rating.

I did not have any surprise with this film. I have always loved every of the Don Siegel's features and this one makes no exception. Action packed, rough, tough script pulled by terrific performances with the likes of Mickey Rooney and Leo Gordon. I will never forget their prison films characters; LAST MILE for Rooney and RIOT IN CELL BLOCK 11 for Gordon. Rooney is as crazy as he was in the Howard Koch's masterpiece where he already was a cold blooded killer, leader of a bunch of men who have nothing to lose. This gangster film is not so easy to purchase and that's a real shame. I think it is one of the best of Don Siegel, so typical of his trade mark. Find it at all costs.

Working against the clock with a miniscular budget and a mere seventeen-day shooting schedule that required fifty-five setups on the final day, Don Siegel has turned in a terrific B-movie.

Suffice to say it is more fictional than factual but there is never a dull moment or a still frame and Mickey Rooney's sociopathic, psychotic depiction of the title character is utterly mesmerising. According to the director, working with Mr. Rooney was a less than congenial experience but of course between the words 'action' and 'cut' he delivers the goods which is really all that matters.

Daniel Mainwaring who had collaborated with Siegel on 'Invasion of the Body Snatchers', has revised Irving Shulman's original script whilst Hal Mohr is behind the camera and the editing of Leon Barsche guarantees the film's momentum.

As for the rest of the cast the classy Carolyn Jones is a far from typical gangster's moll and Cedric Hardwicke, despite taking a lower salary, relishes his role as a seedy, lecherous, alcoholic doctor. This also confirms the immeasurable contribution made to films of this type by supporting players such as Ted de Corsia, Jack Elam, Leo Gordon, John Hoyt, Tony Caruso and last but not least Elisha Cook Jnr.

Edgar J. Hoover, to whom the film was dedicated, thought that it glamorised criminal behaviour. Considering the sheer viciousness of Rooney's portrayal and his character's violent end, that verdict is mystifying.

This biography of Lester Joseph Gillis (aka Baby Face Nelson begin with his escape from prison in Crown Point Indiana. Quickly it shows his marriage to Carolyn Jones, his telephone contacts with Leo Gordon (played Dillinger) and, after Dillinger is killed, his continuing crime spree, including his ultimate betrayal of his gang.

There isn't much truth in it, but there are some fine performances. Mickey Rooney is great in the title role. The film makers abandon standard story-telling techniques to portray him in a series of violent betrayals. Only his wife is exempted, and she too comes to a bad end for loving a bad man.

Director Don Siegel was working with a short budget. Apparently his producers told him they were out of money after sixteen days of shooting, and the next day would be their last. DP Hal Mohr did 55 separate set-ups the next day and Siegel used his editing abilities to get the movie out. Perhaps that's why there's a shortage of plot.

A classic 1930's Warner Bros. gangster movie...except that it isn't. Don Siegel made "Baby Face Nelson" in 1957 and for United Artists but it has the look and feel of the very best gangster movies from a couple of decades earlier. Mickey Rooney plays the title role and, of course, he's perfect for the part and the wonderful Carolyn Jones is his girl. It's also got a killer supporting cast that includes Anthony Caruso, Jack Elam, Ted DeCorsia and Leo Gordon as Dillenger as well as an excellent Cedric Hardwicke beautifully cast against type as a doctor on the wrong side of the law. Irving Shulman wrote the original story and he and Daniel Mainwaring did the screenplay. The suitably seedy black and white photography was by Hal Mohr.

In the late 1950s and early 60s, 1930s gangsters were the rage. In addition to the TV show "The Untouchables", there were a lot of films that practically made heroes out of Dillinger, Ma Barker and other unsavory jerks of the era. One thing these depictions all had in common...they bore little semblance to the actual criminals! Why? Because their real life exploits weren't all that exciting...so they spiced it up by fictionalizing their lives--much like films of the 1930s and 40s did with cowboys like Billy the Kid and Jesse James. So, if you are looking for a history lesson or documentary about Baby Face Nelson, you should not bother with this movie.

If you don't mind that it's almost complete fiction, the film is modestly entertaining. Mickey Rooney's portrayal of the man is much like Jimmy Cagney's portrayal of Cody Jarrett in "White Heat"...completely over the top and more a caricature than realistic portrayal of anyone. This isn't so much a complaint...this is entertaining but it's hard to imagine anyone this antisocial and nasty being a successful gangster or working with any gang. This version of Nelson shoots people right and left, hates EVERYONE and is just plain nuts. The only problem with all this is that there is no room for anyone else in the film...even Dillinger! These other characters are one-dimensional and uninteresting. Overall, a dopey but enjoyable film. It has many faults but still makes for fun viewing if you have very, very modest expectations.

This film has been somewhat hard to find over the years, but I got hold of a copy last year that surprised me with its quality.

Rooney is totally committed to the role of the trigger happy Nelson, and makes you forget all the lovable roles he has played. His bantam gangster is startlingly convincing.

The rest of the cast is adequate and the Depression atmosphere is fairly believable. Jack Elam and Sir Cedric Hardwicke stand out in their oddball unexpected roles. Leo Gordon is his usual intimidating self as Dillinger.

But it is Carolyn Jones who gives the most memorable performance as Nelson's moll. I was amazed at her portrayal of the very sensual girlfriend. She showed a range of emotions and actions that I would have never guessed from seeing only her Morticia Addams and other notable roles. The movie is worth seeing just for her amazing incarnation of the loyal, loving Sue.

Anyone who likes gangster movies should check out this little B movie gem.

Close your history books, and enjoy Hollywood at its finest in Gangster genre. Like Bugsey was impressed with George Rafts imitation of him; Nelson should have got to see Mickey Rooneys portrayal of him! This movie is hardly outdated, even timeless, entertaining audiences almost any age, of the ruthless outlaws of the thirties. If anyone has time enough to notice something even remotely corny, remember that it is America's favorite vegetable. I only wish that it was availiable on DVD or VHS.

If you're not ready to see Mickey Rooney as a bad guy, don't rent Baby Face Nelson. He really gets into the role, and it's impossible to see any molecule of Andy Hardy in his performance. He plays the famed 1920s gangster, and it's not a sympathetic portrayal. He's got a temper, a jealous streak, anger issues, and very few weak feelings. Once, while committing a crime, a couple of kids wander into the fray, and Mickey poises his gun. If they turn around and get a good look at his face, he'll shoot. Thankfully, they don't, but Mickey's girlfriend, Carolyn Jones, says warily, "Lie to me, baby. Tell me you wouldn't have killed them." Mickey says in a deadpan, "I wouldn't have killed them," and it's obvious he's lying.

This isn't my favorite gangster picture. Yes, these big-time hoodlums are usually pretty rotten people, but sometimes it's fun to glamorize their backstory and add some sympathetic side to their character. This one makes him out to be a straight villain, and why watch Mickey Rooney as a bad guy when you can watch him as a good guy in other movies? If you want to see him in a different role, and to share tons of steamy smooches with Carolyn Jones, you can rent it.

What separates a film noir from just a regular gangster flick made in the mid-40's to late 50's? Genre definitions are slippery beasts. I think a noir should, in most cases, say something about the human condition, something about how we respond to pressure, how our past defines us, how a bad decision in a moment of weakness can send us down the wrong path. A gangster flick is pretty much simple shoot-em-up entertainment. Because Nelson starts out bad and maintains that course, I wouldn't say we're getting much insight into the human condition. But it is damn fine shoot-em-up entertainment with another surprising performance by Mickey Rooney. As the tough-as-nails Nelson, he's cold and ruthless without a trace of his goody-good reputation. Also notable is Carolyn Jones as his game-for-anything devoted gal, and a series of fine (but with Nelson around, short-lived) supporting performances. Siegel proved with THE LINEUP that he could create top-notch thrills of the vicious variety, and although this film doesn't quite reach those heights (Rooney's good, but he's no Eli Wallach) it presents a series of rapid-fire scenarios without ever dawdling too long. Terrific jazz age score and one hell of a great ending, too. Noir or not, definitely worth a look.

Rooney as Nelson cracked me up. Too old for one thing, and Too over the top. Little man with a big ego.

a decade not over-endowed with great movies this has to be one of the most under-rated and underplayed. Don Siegle even stops Rooney from over-acting. No mean feat. The result is a chilling portrayal that has to rate with Rooney's best. In terms of genre this must rate in the top ten of gangster movies. Why has it never been seen on TV? Good knows they dig deep enough sometimes dredging up the most turgid pap especially for day-time TV. Rooney's portrayal of the murderous psychopath could possibly only have been bettered by Cagney at his best. The dialogue is suitably hard-nosed and cynical. By the time they get to 1933 and the end of prohibition Rooney (Nelson) takes a drink in their hide-out and a colleague remarks 'Hey haven't you heard? It's legal now' to which Rooney replies 'No kiddin. Kinda takes the fun outa drinking it'. Watch it if you get the chance.

Mickey Rooney was never a comedian even though he could be very funny at times. He could also be very serious & tough. He was quite a versatile actor.

As a kid I grew up watching the Andy Hardy film series & laughed. But I outgrew those movies. When I first saw "Boys Town" (1938) I forgot about Andy Hardy & was more impacted by his more serious & tougher roles.

He played a tough kid in "Hoosier Schoolboy" (1936) he was great as a grease monkey in "Quicksand" (1950). But I've never been more impressed than his portrayal of the notorious celebrated outlaw bank robber Lester Gillis aka Baby Face Nelson the quick tempered trigger happy shoot em up gangster.

It also has an excellent supporting cast of usual suspects like George e. Stone interestingly cast against type as a banker instead of a gangster. Elisha Cook Jr. & Jack Elam & John Hoyt etc. This movie really has the look & feel of a genuine 1930's gangster movie.

Surprisingly he let's the banker live (George E. Stone) & later when he see's 2 kids & draws his Tommy gun & pulls back his gun as the kids don't spot him & walk way.

Carolyn Jones asks Baby Face to lie to her that he wouldn't have killed the 2 kids he answers her by saying he would not have killed them.

Mickey Rooney was perfect for the role as he was short & had a baby face I can't think of anyone else in the role. Mickey Rooney was born to play Baby Face Nelson for Mickey Rooney is Baby Face Nelson.

Highly recommended for any fans of gangster films.

I suppose the audience going into films of this time that have government imprimatur or effusive praise for Federal Agencies, ought to know what they're getting. Certainly now, looking back, we can see crime films, crime bios and particularly film noir (though this film is not noir) with such official approval lack a vitality that the more mischievous ones, testing the boundaries of the Hays Code possess. This film benefitted by loosening of the code, but still remains rather constricted.

It's not that this film is necessarily inaccurate, or predictably moralistic in its simplistic portrayal of criminality, It's more that the film delivers a scrapbook of events, with a economical script of exposition. (The dialogue leading into Dillinger's demise is laughably terse). And the addition of an incessant, snappy jazz background works too hard to give the film a dynamism it hasn't earned, making it all the more unwelcome. It's like a history class that gives facts and dates, but students don't really care, waiting for a creative teacher to come and make it more compelling.

I am not a big fan of Mickey Rooney. I did not like him in BOYS TOWN, found him annoyingly goody-two-shoes as Andy, and a jarring note as Mr Yuniochi in BREAKFAST AT TIFFANY's.

I had to admit that he posted a terrific performance as the horse trainer in Francis Ford Coppolla's THE BLACK STALLION, but nothing prepared me for his incredibly believable portrayal as Baby Face Nelson. As others have pointed out, he might have been a trifle old for the part, but what matters to me is whether I need to suspend my disbelief and, in this case, I found him credible in his motivations, facial expressions, cold eyes and his portrayal reached its zenith when he tested the bullet proof vest on Elisha Cook Jr.

Definite must-see. 8/10.

Don Siegel's low budget gangster tale has a nasty uncompromising sting to it. Siegel's Direction is spare, but efficient. Mickey Rooney plays the title hood for all he's worth - a bitter thug with a chip on his undersized shoulders. Carolyn Jones is his sultry moll, Sue Nelson, who doesn't have that much cheerier a disposition. Irving Shulman and Daniel Mainwaring's (who previously had written INVASION OF THE BODY SNATCHERS for Siegel) screenplay plays loose with the facts, if not the essential essence of Baby Face's story. Along the way, Baby Face and Sue join up with John Dillinger's (Leo Gordon) gang. Cedric Hardwicke is his oily best as a shady Doctor and George Stone plays a Bank Manager who Baby Face takes an unexpected kinship with. Jack Elam, Dabs Greer and Elisha Cook Jr. provide sturdy support. BABY FACE NELSON is a bit too clipped to fully deliver the goods, but, it's a more than competent B movie with an edge.

Semi-factual, this film skims through the life of gangster Baby Face Nelson (Mickey Rooney), from the time he emerges from prison on parole, in 1933, through various subsequent hold-ups with his gang members. They're constantly on the run and being chased by G-men, right up to the end.

The plot trends superficial. And though Nelson and his girlfriend, Sue (Carolyn Jones), are clearly characterized, members of his infamous gang are hardly more than stick figures in the background, despite a great supporting cast.

If this was supposed to have been a biography, a narrator describing the places, times, and key people would have helped to put the story in perspective and aided in the flow of events. As is, the film seems like just one more fictional gangster film, lacking in true-life credibility. And so I don't really see the film's point. On the other hand, it's possible, even likely, that filmmakers in the 1950s were prohibited from telling a true-life story in a believable way.

B&W cinematography gives the film a noir feel, with high-contrast lighting. Too much makeup, combined with the lighting, makes Carolyn Jones' face look slightly bizarre. I never did see Baby Face Nelson. All I saw was Mickey Rooney trying to act the role. Aside from his miscasting, the cast is great. Acting overall is fine, and Carolyn Jones' performance is quite good. The mostly jazz score is okay but a bit overbearing at times.

This might have been a better film if 1950s Hollywood had not taken such a straitjacket approach to crime story telling, and if the production had had a bigger budget. The main problem here is a generic script that treats the lead character as just another gangster, his gang as stereotyped sidekicks, and events as contrived. The film downplays Nelson's historical reality. There are some very good films about real-life gangsters. "Baby Face Nelson" isn't one of them.