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Cagney is a human dynamo as a drifter who helps save ailing Grace George from losing her newspaper. The pace is fast, and audiences of all ages will be pleased. The supporting cast, have all the small-town characterizations down pat -- with Margaret Hamilton a standout. Cagney himself, had genuine affection for this film, and listed it among his top five movie-making experiences at a retrospective the year before he died.

Tom Richards is an ex newspaper reporter who decided to quit the rat race and live life on the road in a vagabond existence. Breezing into town one day with only two dollars and a copy of his beloved Pickwick Papers to his name, Tom happens upon dear old newspaper owner Vinnie McLeod. Miss McLeod has a soft spot for tramps and urges Tom to get himself off the streets before he is arrested, but although he promises he will, he is soon rounded up and hauled before the court. Where Vinnie, upon learning of his reporting experience puts up the bond so Tom can keep out of jail and work for her at the Shield & Banner paper. It's here that Tom learns of corruption within the town and promptly sets about using the press medium to out the dirt and free the town of its bad elements.

When one hears the name James Cagney, it immediately conjures up images of gangsters and Yankee Doodle Dandy like ebullience. Yet as big a star as he was, Cagney still has films in his cannon that are not only unseen and forgotten, but also that showcase the other side of his acting coin. One such film is Johnny Come Lately. Adapted from the novel "McLeod's Folly" by the highly thought of Louis Bromfield (Winner of 1927 Pulitzer Prize for his novel, Early Autumn) the film sees Cagney relying on his reined in ability instead of blunderbuss histrionics. There are of course a couple of sequences where his character is called on to pack a punch {naturally when the piece is about corruption and less than stellar townsfolk} but by and large it's a sweet and affecting turn that really rewards those who have invested time with it.

It's not just about Jimmy tho. Grace George as Vinne is the films emotional axis, her interplay with Cagney has a tenderness that really gives the story some added weight. Boosting proceedings is the always delightful Hattie McDaniel, whilst Wizard Of Oz fans will no doubt be chuckling away at Margaret Hamilton's performance here. Which when one knows Cagney calls her "the dragon lady next door", well one can guess what Margaret is doing with the character. But standing out amongst the strong female cast is Marjorie Main as Gashouse Mary McGovern, a delightful turn that harks to a sort of Mae West homage. When she slinkily turns to Tom and says "if only I was thirty years younger" you just know she would have eaten him for breakfast! The score from Leigh Harline is easy on the ears, and William K. Howard's direction is smooth and at one with the pace of the story. This really is one that needs to be rediscovered by more classic cinema fans, not only for catching Cagney acting against type, but also because it has a feel good factor that could brighten the day of many. 8/10

This is a movie that not everyone will love or even like. One must remember it's a sentimental look at the turn of the century, 1906 the movie states, by filmmakers in 1943. So this is a review about a quaint film made 73 years ago, which was looking back nostalgically 37 years. Not to belabor the point, but it would like a movie today (2016) reliving a time 37 years ago, which would be 1979 and being reviewed 73 years from now in 2089. So you can see that when you consider this film in that way, all bets and our judgment are probably a little off. In that light I feel the flick holds up very well. Sure many of the movie's main stars are very one dimensional. Only Cagney and Edward McNamara made me feel that there was much depth to their characters. Many movie watchers of today will find it a little slow and without a lot of action. Some will say it's way too saccharine. The production values aren't the best and late in the movie, the transitions between scenes appears a bit jerky.

Remarkably, somehow this movie works. Through all it's faults it shines like a diamond in the rough. You feel the quaintness of 1906, whether it was like that or not, you FEEL it was. I really felt I was looking through a window to the past. In this movie you really like James Cagney. He is not the champion of the beautiful young girl, but of the aged older lady who is paying the price to fight the good fight. He does it with dash and style. "Johnny Come Lately" made me smile a lot and even cry a little for the good ole days, theirs and mine. In the end what more do you want from 73 year old movie?

Freed at last from his contract with Warners and with an Oscar in his back pocket from 'Yankee Doodle Dandy', James Cagney enjoys himself playing a romantic drifter in this independent production produced by his brother William. (Director William K. Howard had enjoyed a considerable reputation in the thirties but by the forties was fighting a losing battle with the bottle so the two Cagney boys probably had quite a bit of input behind the scenes.)

The general feyness of the piece is tempered by Cagney's obvious enjoyment at being permitted to show more sensitivity than he was accustomed to. (Among the supporting cast, as a sassy madam introduced in bare shoulders and answering to the name of Gashouse Mary Marjorie Main also extends her range displaying a retro glamour that gives Mae West a run for her money; admiring herself in a mirror and observing "I haven't been spoken to like that in thirty years!")

This curious film is one of the James Cagney films I like the best. For a Cagney film it's slow. I think Cagney was nostalgic for the period in time when he was growing up and Johnny Come Lately captures that slower pace of life people enjoyed before World War I.

Cagney plays Tom Richards who was a newspaperman before the life of the open road suddenly appealed to him. We first meet him, seedy and unshaven, sitting on a bench in the town square reading the Pickwick Papers. The town is in the grip of Boss Daugherty played by Edward McNamara. Daugherty has whittled whatever opposition he faced down to Vinnie McLeod who is a widow and owns a badly in debt town newspaper. Daugherty got the mortgage and he's about to close in the best tradition of 19th century villainy. Vinnie meets Richards and brings him to her home. One of her charitable traditions is to give passing hobos a decent meal and Cagney gets one and in turn learns about the town politics. By the end of the film all's right and Cagney moves on, having changed a whole number of lives in the process.

Vinnie McLeod is played by Grace George, a prominent stage actress who makes her one and only movie here. She's very good and other supporting players who acquit themselves well are Hattie McDaniel, Marjorie Lord, Robert Barrat and most of all Marjorie Main playing Gashouse Mary.

This film was obviously a labor of love for James Cagney and it shows.