Il fronte della violenza

Shake Hands with the Devil is directed by Michael Anderson and adapted to screenplay by Marian Spitzer from the novel written by Rearden Conner. It stars James Cagney, Don Murray, Dana Wynter, Glynis Johns, Michael Redgrave and Sybil Thorndike. Music is by William Alywyn and cinematography by Erwin Hillier.

It's 1920s Dublin, Ireland, and the Irish Republican Army are at war with the British Black & Tans. Into the conflict comes Irish American Kerry O'Shea (Murray), who in spite of being apolitical is drawn into darker waters as the violence rages. Complications arise when a hostage situation unfurls, all while the strings are being pulled by the IRA's fearsome commandant, Sean Lenihan (Cagney), who wants Kerry under his wing.

It has always been a tricky subject to film, the so called Irish Troubles, for too many film makers have either been ignorant of the facts in the name of good cinema, or so fuelled by other motives it's difficult to get on side with such one sided venom. Michael Anderson's film, whilst itself harbouring dubious political material, deserves plaudits for trying to come at the topic from both sides, embracing the complexities of the issues and never shying away from the violence that tore through parts of Ireland. Even if it ends up being a little confused as to its aims.

Filmed on location predominantly in Dublin, there's almighty strength in the cinematography of Hillier (The Mark of Cain/Chase a Crooked Shadow). The night time shots of damp cobbled streets and gaslights are ethereal, while in daytime the lush landscapes are imposing yet still giving off a depressing hue. On the acting front it's Cagney who dominates, in one of his craziest and most crafty roles, he's a Vesuvius who darts between being the honourable cause man, to that of a psychotic who doesn't believe peace is a viable option. Strong support comes from Wynter and Johns.

Political hot-pot with wrought emotion, and action scenes that impact as Cagney does his stuff, Shake Hands with the Devil leaves a mark. 7/10

James Cagney was as great a star that existed in Hollywood. I enjoyed this film of the Irish "struggles" as they are referred to, and features a great beauty, Dana Wynter and a favorite actress of mine Glynis Johns. Mr. Cagney was perfect in his performances and again in this film Cagney when on screen dominates every scene. Don Murray is effective but frankly when Cagney is in a scene no matter who shares the scene one always looks at Cagney. That is what happens when a real movie star is in a scene and James Cagney bred at the great Warner Bros of the 1930's was a box office movie star and great actor.

James Cagney would make one or two more movies in particular Billy Wilder's zany "One Two Three" and then retire. When Cagney retired he retired. No cameos, no guest shots. Jack Warner asked Cagney to return in Warner Bros film version of My Fair Lady but Cagney -who would have been wonderful-refused. ( In fact J L Warner used to refer to Cagney as "the refuser" because James Cagney refused every enticement to return.

Shanke Hands With The Devil is a fine movie, and I recommend it

I first saw this film when I was 11, and even then I much admired it. Have seen it I don't know how many times since, and my original feelings re. this flick have only intensified.

First off, many contemporary folks, in and beyond the West, know far too little about the Irish "troubles." This film brings them home, establishing that despite atrocities on either side, neither held the moral high ground with absolute certainty.

Cagney is superb. His accent falters occasionally (although he was an Irish-American). But he nails every facet of his character, from the dedicated doctor and professor of medicine to the IRA commander who descends into fanaticism.

Most of the rest of the cast is excellent. Murray is a little, well, not quite at that level, but he still gives a respectable performance --

The powerful imagery extends to characters as well as extraordinary cinematography. A fine cast turns in great performances all around. Beautiful b&w photography appears to be born of a long and co-operative association between director Michael Anderson and cinematographer Erwin Hillier. There is ample evidence of a director at work with a firm sense of purpose and the creative ability to pull it off. Unusual for its time in this respect. This film confirms what I've heard today's filmmakers (Scorcese and Spielberg) are saying--the work of Michael Anderson deserves much greater recognition.

This movie is one of the older classics that doesn't get much play any more. It is a thought provoking piece, full of vivid characters, and told in an almost non stop action adventure way to make it super entertaining, even for the most impatient viewer. The movie centers on the Irish rebellion, with the reluctant hero, Don Murray, forced into the fray against the terrible Black and Tans. More historically accurate on the background scale than people want to admit. Cagney plays the "commadant" of several squads, who is a very hard liner in the IRA, totally against all compromise with the British authorities. The other characters are vividly expressed by the acting, writing, and directing. There is no weak spot in this film. The attitudes and reactions of each character to the evils by each, Cagney and the leader of the Black and Tans, makes this a remarkable film. Noonan, Cassidy, and also their British counterparts are portrayed as realistically dealing with the bloodshed caused by extremists. Innocent captives are taken by both sides, one a proper older lady jailed by the British, and the other a gorgeous knockout of a lady (Dana Wynter, who alone is worth watching the film for by a guy's standpoint, as there are absolutely no women in today's films as physically attractive as she is), a blue blood captured by the IRA, whom Murray swears to protect from harm. One thing that makes this movie so believable, is that the characters don't automatically assume and know everything that goes on. If the movie was made today, it would probably have such a flaw. This movie is ever so credible, particularly from a character standpoint. You feel the pain and torment of each individual. The movie is so relevant today, and it would be of great value to have it released in countries and lands where there is tumult. If every American should see "Jungle Fighters", "Southern Comfort," and "Ox Bow Incident", to show the dangers of judging others, then this movie should be seen by every Iraqi (and probably everybody) to see just how horrible terror tactics are, and the need for peaceful resolution to problems.