Faccia d'angelo

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.

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.

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.

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.

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