Jimmy the Gent

Con man Jimmy Corrigan (James Cagney) runs an agency that finds heirs of those who died without a will and he's not above providing phony heirs in order to collect his fee. His girlfriend (Bette Davis) didn't approve of his underhanded techniques so she left him to go work for his supposedly honest and respectable competitor. In order to win her back, Jimmy tries to prove he can go straight and become a respectable gentleman.

Cagney and Davis are both enjoyable in this snappy comedy, each getting plenty of good lines. Cagney, with his bow-tie, crew cut, and nasal accent, is different than most other pictures I've seen him in from this period. Another fine example of what an underrated actor he was, even doing these WB programmers. They're backed up by a fine supporting cast including Allen Jenkins, Arthur Hohl, and Alan Dinehart. A fun one for fans of Jimmy and Bette.

Aesthetically speaking, this is a pretty average Jimmy Cagney film. It stars Cagney as the pretty typical fast-talking but likable schemer and Bette Davis in a rather forgettable role she probably detested. Miss Davis reportedly liked Cagney but longed for roles where she was more than just "the girlfriend". In this film she is slightly more, as she's bright and pretty assertive, but once again it was the type of role that would neither hurt nor help her career to get to the next level. She was quite good in the film, but indications of her future greatness just aren't all that obvious.

However, despite the film's averageness and Miss Davis' limited character and the film only earning a 6, I actually enjoyed the film quite a bit. It's exactly the type of formulaic Warner Brothers film I enjoy and I try to see every Cagney, Pat O'Brien or Edward G. Robinson film of this era I can find because they are just a lot of fun to watch. Yes, they are rather predictable, but somehow Warner still made the characters likable and compelling. In this case, Cagney plays his typical guy skirting the edges of larceny in the form of a guy running a company that seeks out lost relatives to inherit fortunes. I also thought that juxtaposing this unsophisticated lout of a character with the classy charmer who is wooing Bette was an excellent move--particularly in how this played out in the end.

A typical Cangey film with some very unusual plot elements and twists, this movie is just plain fun.

Cagney was tired of playing mugs by this point in his career, but he played this one comically.(Humor is a Cagney trait in any of his roles.) He intentionally had the studio barber put bottle scars on his head just to annoy Hal B. Wallis!!! Ya gotta love that. His attitude towards Warner's was getting worse,understand? He could play a thug like DaVinci could draw a dame named Mona. But in spite of his frustrations with the studio,I personally view this as one of his most memorable performances of the 30s!!

A delightful example of 1930's comedy, with James Cagney on fire as a tough and uncultured geneologist-scam artist who matches wits with an assortment of shady types in pursuit of a dead rich woman's fortune.

The dialogue is snappy and frequently laugh-out loud, the supporting cast led by Bette Davis is fine, and James Cagney is particularly hilarious in his portrayal.

One of the subplots involves Cagney's attempts to learn a little class with which to impress his love/nemesis Davis, and there is a sustained scene of hijinks concerning this that will have you laughing and commending Cagney's acting at the same time. All I can say is that I will never look at tea the same way again!

Finally, this movie is worth seeing just because it was directed by the great Michael Curtiz. This was the first time Curtiz was entrusted with a really major film project, and he makes the most of it. Of course, Curtiz would later direct Cagney in arguably his greatest role, that of Rocky in Angels With Dirty Faces (1938). Curtiz also directed such classics as Casablanca (1942), Captain Blood (1935), The Adventures of Robin Hood (1938), The Sea Wolf (1941), The Sea Hawk (1940), Yankee Doodle Dandy (1942 - which won James Cagney an Oscar) and many many other great films.

Between Curtiz, Cagney, Davis, and the rest, there is a lot to like about this movie. It's not Heavy Drama, but if you like the kinds of witty and lighthearted comedies that flourished in Hollywood during the 1930's, you will enjoy this example.

Jimmy the Gent (1934)

As an old-film lover, I'm going to have to disagree with the majority of reviewers here and say this film is too flawed and formulaic to rise above its peers. Even its star, James Cagney, is a bit rote and predictable, taking on a harsh edge that prevents any depth to his supposedly complicated character. The other star is in retrospect—this is an early Bette Davis appearance, and she's wonderful to see so unformed, but she, too, is playing a common role.

All is not disaster here, for sure. The pace is terrific, and turns of plot, which are a problem overall in their quick succession, keep you on your toes. There are stock characters in secondary roles who will be familiar to early Warner Bros. fans, and the filming is generally solid, if bright and a bit dull, too.

Yes, there are hesitations at every turn. Director Michael Curtiz has been cranking out films by the dozen for Hollywood by now, after emigrating from Europe, and many of those are frankly better and worth seeking out. But he's a long way from the mastery of "Casablanca" or "Mildred Pierce," as a director above all.

The story here seems workable—Cagney and Davis play characters who scheme a complicated scam involving a huge inheritance. The twists are basically a farce because there are so many and they happen without warning. In fact, I think the style of the film is to have everything just "happen" in a madcap way, and the audience is to be dazzled and impressed by the audacity of the writers. But there is a little sense of involvement that would help very much, a wanting the characters to win or lose at their efforts. One example is how two court cases are reduced to a single sentence each: the judges reading their conclusion.

That seems dandy in a way, a hugely streamlined plot. But it defines superficial, too. In these two cases, there is time spent watching the courtroom crowd reacting to the news, but we don't really care about that. We aren't made to care.

Not that this should be a drama, of course. It's a comedy plain and simple. And a slip of romance sneaks in as our two leads brush past each other now and then. All of it is interesting, and it's never quite boring. But for a fast pre-Code or early Code era movie, there are many examples that are fast, funny, and engrossing and inventive, too. Expect only the effects here.