Peso de Ódio

James Cagney plays a cab driver whose quick temper causes problems in his relationship with Loretta Young, who hates violence. When his kid brother is killed, Cagney is out for vengeance. But getting it may cost him the woman he loves.

Jimmy's great. He makes a sometimes unlikable character relatable. Loretta is very pretty and endearing. George E. Stone, Guy Kibbee, Leila Bennett, and David Landau are part of the nice cast. George Raft has a bit part where he gets socked out by Cagney. Opening scene where Cagney speaks Yiddish is a classic. This is the movie where Cagney yells at his brother's killer "Come out and take it, you dirty yellow-bellied rat, or I'll give it to you through the door!" This would later be misquoted as "You dirty rat, you killed my brother!" and would become a staple of Cagney impressions.

Roy Del Ruth's early movies are roller-coasters of nonstop excitement. He seemed to lose a lot of his style and passion once the Code was issued. His pre-Code movies, though, seem very modern: They're funny, naughty, touching, and shocking -- sometimes all at once.

"Taxi" is one of his best. It's also one of my favorite James Cagney movies. In this, he weeps when he learns that a family member has died. It's a full-frontal shot and very daring. How many leading men of his era would dared this? In the same movie, he slugs his girlfriend Loretta Young (always very appealing here.) He's funny, believable, and violent.

I like Guy Kibbee in the sort of sympathetic role he plays here. He is Young's father. Leila Bennett is an unlikely movie presence. She's gawky and goofy. But as Young's roommate, she's fun and adds to the general excellence of "Taxi."

The early 1930's in New York City is the scene for this movie where men fight one another for advantage in the taxi business. The women in their lives get embroiled in the crime wave that breaks out. Jimmy Cagney is Matt Nolan, the pugnacious rabble rouser and the little guy with a chip on his shoulder in a role that defines his mannerisms and style as the lovable tough guy. Loretta Young is Sue Riley, the daughter of a driver who gets killed in the working class warfare, who Cagney falls in love with. She is every bit as spunky in her effort to stop the vicious rivalry that took the life of her father. Young became one of the most loved actresses of her time. She made this movie in her late teens and is brilliant. Leila Bennett is Ruby, Sue's close friend, who delivers a large measure of humor and her New York twang gives it that extra zing. The movie takes us through the streets and into the ballrooms and apartments of depression era New York. Judging by the names, the characters are mostly Irish, with Irish cops and priest to complete the picture. However, it is Cagney and Young who shine. When he falls for Sue, Matt is putty in her hands but when his temper gets the better of him, the romance wanes. Sue is every bit as lovestruck when Matt kisses and flirts with her. This is a crime movie with lots of fun and a great slice of New York City life but most of all, I liked the match-up of the two stars, who are at their best.

Taxi! is most famous as an early starring role for James Cagney and more so for the fact he shows off his Yiddish-speaking skills. A great factor in this film is the variety of genuine New York accents on display throughout. Music to the ears! The plot line is a bit fractured, zipping from cab wars, to romance, to murder, and all that jazz. Cagney is an independent driver trying to rally the other cabbies to fight the big taxi company trying to violently run them all out of business. A fracas in a nightclub on his wedding night results in the stabbing death of his brother and he vows revenge.

Cagney plays a sometimes likable, sometimes obnoxious guy with a rotten temper. His violent outbursts are a sign of things to come in Cagney's cast of characters. He is electric even with subpar material. And, of course, he dances on screen for the first time. A very young and beautiful Loretta Young is a smarter romantic partner than Cagney usually got. By the way, her hairstyle is lovely. Leila Bennett steals the movie as a droning chatterbox who could have an hour-long conversation by herself. Most people know someone exactly like her.

Cultural points: We are treated to an early version of Hoagy Carmichael's "Georgia On My Mind" at the Cottonpickers Club. The Warner Bros. film takes a slam at Paramount's Fredric March - whose early film roles were more than reminiscent of John Barrymore. For the brief foxtrot contest, Cagney suggested producers hire George Raft as his main competitor because he remembered his dancing ability from their time in Vaudeville. Raft was in Hollywood as a bit dancer and had no notion of becoming an actor - that would change within a year. This is one of only two films these very good friends appeared in together (See "Each Dawn I Die" nearly 10 years later).

TAXI takes the James Cagney persona to extremes in the context of showing him as a tough guy with a fist in love with a girl (Loretta Young) who abhors violence. The love you/hate you relationship between Cagney and Young is what keeps the movie interesting as the story develops, but the stupid things that Young's character does to keep her man from killing the thug who killed her brother-in-law is too incredible to swallow.

Thankfully, we have some funny and romantic moments that Cagney and Loretta Young manage to do beautifully. She looks lovely throughout and it's her sweet natured temperament that makes it hard to understand why she would be attracted to a man like Cagney in the first place. He's promising to stop his hot tempered violence in an attempt to convince her to marry him, but never manages to cool it.

Despite all the loopholes in the script and many flaws, this is a tidy little melodrama, very dated in its subject matter, with Cagney stealing the spotlight all the way through. Most annoying feature of the film is the so-called comic relief of Leila Bennett whose nasal voice and flat one-liners are supposed to invoke laughter. It doesn't work.

Worth a view to see early Cagney, but the motivations for Young's character are unbelievable.