He Was Her Man

James Cagney plays masculinely-named ex-con Flicker who rats out his criminal buddies because they were responsible for his going to prison. Now Flicker has to hightail it out of town so he escorts ex-prostitute Rose (Joan Blondell) to a small fishing village where she is supposed to marry Portuguese fisherman Nick (Victor Jory). Staying with Nick and his mother, Flicker quickly grows to like them. But Flicker and Rose have fallen in love, which complicates things. Meanwhile, Flicker's location is discovered and two hit men are sent to rub him out.

Cagney's character is a cocky ladies' man, as they typically were, but he does evolve throughout the movie. Cagney's also sporting a mustache in this one. At first I thought maybe he just drank some chocolate milk and forgot to wipe his mouth but nope, it's a 'stache alright! Victor Jory's Nick is the saintly salt-of-the-earth common man type that you saw so much of in Depression-era movies. It's style (Cagney) vs. substance (Jory) in the battle for Joan Blondell's heart. Nice supporting cast includes Harold Huber, Frank Craven, and John Qualen, among many other recognizable faces. It's a middle-of-the-road picture in the oeuvres of both Cagney and Blondell. The last of seven they made together. It's not a bad movie but the somber tone is a tough sell when you have two firecracker actors as leads.

Although James Cagney once again appears as a disreputable underworld figure, there is in this portrayal no strutting, twitching, snapping, or pushing people around. As a double-crosser on the run from his former cohorts, he maintains an extremely low profile - yet the menace he represents surfaces in a smirk here, a sly smile there, a barely poised but ever watchful presence with the potential for violence - perhaps the quietest Cagney criminal you will ever see.

Joan Blondell also plays a familiar type, the down-on-her-luck girl who will trade her charms for money, but here, too, the approach to the part is much more subdued than what we find in her wisecracking gold-digger roles. World-weary, somber, reflective, resigned: there is no contradiction in her projecting a streetwise yet vulnerable woman who, though still young, has seen too much of life.

If the two stars don't exactly set off sparks (as each did playing opposite others), they give solid, honest performances - as does Victor Jory in a key supporting role. This film does not deserve to be forgotten.

A young San Francisco woman, who's lived rough, is torn between the Portuguese fisherman she admires & the petty criminal she adores.

HE WAS HER MAN is a particularly good example of the sort of crime drama which Warner Bros. did so well in the early 1930's. Intelligent romantic dialogue and gentle humor, in addition to some very fine performances, are all ingredients which make this film a solid success - even though it is nearly forgotten now. This picture was produced just before the implementation of the Production Code and the climax, while completely appropriate, will surprise some viewers.

Jimmy Cagney is entirely irrepressible, strutting through each scene like a banty rooster, shouting attention to himself without ever having to raise his voice. As a fellow on the lam from vicious mobsters who want him dead, Cagney plays a character not in control of his own circumstances - a rarity for him, which makes him at once more vulnerable and more human. Joan Blondell nicely underplays her part as the tough luck lady he befriends, avoiding any of the sass & sizzle from her comedic films which would be out of place here.

At the other end of the spectrum from the grim roles with which he would become associated, Victor Jory is excellent as the quiet, decent fisherman who deeply loves Blondell. His performance is one of the major assets of the film.

Bradley Page, Russell Hopton, Harold Huber & Ralf Harolde play various Manhattan crooks & killers, with Frank Craven especially good as a genial, albeit sinister, shadow. Solid support is given by Sarah Padden as Jory's exuberant old-world mother & John Qualen as the local delivery man.

Outdoor location shooting took place around Monterey, California. While the film's setting, the seaside village of Santa Avila, is completely fictional, the Monterey Bay area has long enjoyed a strong Portuguese contingent as part of its fishing industry.

With James Cagney and Joan Blondell headlining the cast, what more can you want? A good screenplay, that's what! The disappointing ending had me shaking my head, especially after I finally got used to Cagney in a mustache. And I never figured out who the "he" in the title was. Either Cagney, with whom Blondell falls in love after he seduces her in San francisco and in Victor Jory's house, or Jory himself, who was going to marry Blondell knowing she used to be a prostitute. Jory plays a Portuguese fisherman, but his accent is very phony, and none of the supporting cast was exceptional. There's some good suspense at the end but the film let me down. Still, I did like watching the two stars.

The film was released a few weeks before the production code was more rigorously enforced. Blondell's character caused the Catholic Church to place the film on its "condemned" list.

HE WAS HER MAN (Warner Brothers, 1934), directed by Lloyd Bacon, in spite of its torch song sounding title for a musical film, is actually an offbeat melodrama starring James Cagney (with mustache) and Joan Blondell for the seventh and final time on screen. With Cagney naturally playing a vengeful tough guy with good qualities, it's Blondell, usually bright eyed and sassy, going against type as one of the most saddest characters ever portrayed. Often classified as their weakest collaboration, the Cagney and Blondell pairing still contains their usual star chemistry mainly because they're two of a kind.

The plot gets underway at a Manhattan Turkish Bath where "Flicker" Hayes (James Cagney), a professional safe-cracker just released from prison, makes negotiations with crooks, Dan Curly (Bradley Page) and Frank "Red" Derring (Ralf Harolde) for their latest job. Because they're the ones responsible for sending him up, Flicker pulls a double-cross by notifying the chief of police (Willard Robertson) about the upcoming robbery that's to take place at the warehouse of the Empire Wholesale Drug Company. Caught in the act, Hayes makes his escape out the window as Curly is killed in a shoot-out with the law and Derring arrested for the killing of Patrolman Arthur Murphy. Because Derring was sentenced and executed for the crime, Curly hires fellow mobsters Ward (Harold Huber) and Monk (Russell Hopton) to get Flicker. In San Francisco, "Pop" Sims (Frank Craven), an informer for the mob, spots Flicker, now going under an assumed name of Jerry Allen, registered at the hotel, and notifies Curly of his whereabouts and instructions. Seeking refuge in Room 419, "Jerry" comes across a woman named Rose Lawrence (Joan Blondell) entering his room with the hotel key to retrieve a wedding dress she had hidden under the mattress before her eviction for lack of money to pay her bill. Because Rose is desperately broke and hungry, Jerry supplies her with food and assistance. Told of her upcoming wedding to Nick Gardella (Victor Jory), a man she met through a bellboy while boarding at the hotel, Jerry accompanies her by bus to an obscure fishing village in Santa Avila, unaware that he's being followed by Sims. Once there, Rose finds her love towards Jerry getting stronger and decides on going away with him after telling Nick that she can't go through with the wedding. Realizing both his gun and Pop, going under the assumed name of Jim Parker, have both disappeared, Jerry decides to leave town without telling Rose. He heads on over to the bus station the very same moment Ward and Monk arrive at Rose's bunk house asking about Jerry's whereabouts, with intentions on doing her harm if they don't get the information they want.

Taken from a story by Robert Lord, HE WAS HER MAN lacks the general humor and excitement commonly found in many Cagney films thus far. No doubt this was an attempt in trying something more dramatic and entirely different for its leading stars, even to a point of lifting that memorable love theme from the 1932 success of ONE WAY PASSAGE (Warners) starring William Powell and Kay Francis. For being a Cagney film, Blondell is the one who gets full attention this time around. Although not clearly indicated, her character is that of a former prostitute who's fallen to hard times, using a kind-hearted fisherman for financial support. Her performance might have lead to stronger parts in latter films, but really didn't, for now anyway. She then returned to her usual sassy comedies the public loved so well. Co-star Victor Jory, best known for his villainous types, is unusually cast or miscast as an understanding Italian accented fisherman, a role that might have best suited that of a J. Carroll Naish whose Italian dialect would appear more natural than Jory's. Also in support are Sarah Padden as Jory's mother; George Chandler and James Eagles. John Qualen, who specializes in playing Swedish characters, is laughable here with buck teeth that appears to have been borrowed or stolen from a rabbit.

Being the least known and overlooked of the Cagney and Blondell collaborations shouldn't be the reason to avoid viewing HE WAS HER MAN whenever it turns up on Turner Classic Movies. Often classified as one that was never be sold to commercial television might be true to some degree. Not counting other states that televised classic movies on the late show, HE WAS HER MAN did get a rare television broadcast in 1974 as part of the afternoon movie on Philadelphia's own WPHL, Channel 17, a home of obscure and famous Warner Brother films prior to 1975. Over a decade later, HE WAS HER MAN turned up on a public television's WNJM, Channel 50, in Montclair, New Jersey, around 1989-90, before becoming one of several Ted Turner cable channels in later years. Regardless of slow pacing and certain scenes to leave viewers wondering than satisfied, it's the agreeable combination of Cagney and Blondell that makes this 70 minute production worth while. (**1/2)