L'ennemi public

Larger than life classic that chronicles the life of a street hustler turned crime lord in prohibition Chicago, based loosely on the various antics of the Irish mega-hoodlums, O'Bannon and Moran.

While we may never literally create a time machine, these old movies give you the miracle of observation at least of what life was once like. Sadly many of the old films have been destroyed through neglect, so the pickings are very slim. Public Enemy is one of the best old movies available. For only the sheer pleasure of seeing what all the fuss was about in Cagney and Harlow, it's worth a viewing. Director Wellman creates some extremely lasting images you won't want to miss, and it almost makes me think of the original Frankenstein for that reason. The final sequence especially is a dramatic example of lasting imagery in film, quite an unforgettable experience. If you like Godfather, Scarface, Goodfellas, and who doesn't, you owe it yourself to watch what may be the patriarch of the entire genre. Interestingly, while the film has a campy disclaimer demonizing the subject matter and mandating public action in order to address the evils of organized crime, it's rather obvious that the producers new exactly what they were really doing by making a film like this. Brutal as some of the action is, Cagney's charisma glorifies the gangster as much as Coppola, Scorsese and all the rest glorify modern organized crime. See it for yourself!!!

"The Public Enemy" is one of the starting points of the great season of gangster movies, a very interesting work. It is not the story of the rise and fall of some big boss of crime. Tom Powers (James Cagney) and Matt Doyle (Edward Woods) are just small time crooks, and so they remain throughout the movie. Only, they make the big money that the circumstances of prohibition offer to any criminal. Tom is just a semi-illiterate, naturally violent thug. He is not even professional. He kills just out of stupidity or desire of a pointless revenge, that ultimately will severely damage himself. Further evidence of his cheap personality is shown when he instantly falls for the vulgar, tasteless girl Gwen (Jean Harlow). By the way, Harlow looks remarkably unattractive (to our modern eyes, at least). Was it a choice of director Wellmann? Matt is slightly better than Tom, but clearly he has not the guts to cross his mate.

In my opinion a major credit of the film is that it systematically avoids cliché. Neither Tom nor Matt are outcomes of poverty and social injustice. They come from simple but honest, decent and loving families. But they are both bad (that's the word) and they use the freedom and opportunities of their democratic country to make evil.

In "The Public Enemy" we find probably the first instances of the beautiful stylish cinematography and clever camera-work that will become the trade-mark of later gangster and noir movies. Some scenes are unforgettable, like the final one, or that under the rain, or that of Cagney abusing the girl. The brief scene of the killing of the horse is pure cinematic genius.

In the film there are also some naiveness and clumsiness, though. The way Tom undergoes the personality of his good brother is far-fetched. It is not clear why a gangster in a hospital, wounded in a gun-fight, is not under strict police control. The behavior of Tom's boss in the ending is illogical. Moreover, the part where Tom and Matt are kids is too long (we audience are all eager to see Cagney!), and action is a bit scarce for a gangster movie.

"The Public Enemy" was Cagney's breakout film, and really he makes a powerful and accurate job. Actually, a strong acting is provided by the whole cast. The director William A. Wellmann handles the movie with sound talent.

"The Public Enemy" is a beautiful and historically important movie. I recommend it to any cinema-lover

A young hoodlum (James Cagney) rises up through the ranks of the Chicago underworld, even as a gangster's accidental death threatens to spark a bloody mob war.

The script is loosely adapted from "Beer and Blood", an unpublished book from John Bright and Kubec Glasmon on the life of Dean O'Banion, Al Capone's biggest rival. We see a variety of references to Irish mobsters, including Samuel "Nails" Morton, who was famously killed by a horse. Just like the real-life mobster, Samuel "Nails" Nathan of the film is avenged when the horse is shot.

This is, of course, Cagney's breakout role. And what better role for him? Prior to "Public Enemy", he had been a hoofer on the New York stage. This experience really solidified him as a notable actor, as he had control over his movements that others might not have. Interestingly, he was originally cast as the good guy -- the last minute switch probably saved this movie as well as marked the decision that would catapult Cagney to stardom. (Some scenes were even filmed with Cagney in the other role before director William Wellman realized his mistake.)

As for how the dance background helped his acting, critic Lincoln Kirstein noted Cagney "has an inspired sense of timing, an arrogant style, a pride in the control of his body and a conviction and lack of self-consciousness that is unique. No one expresses more clearly in terms of pictorial action the delights of violence, the overtones of a subconscious sadism, the tendency towards destruction, toward anarchy, which is the base of American sex appeal." Beautifully said.

Playwright Robert Sherwood expressed how Cagney's character was the ideal anti-hero. He wrote that Cagney "does not hesitate to represent Tom as a complete rat -- with a rat's sense of honor, a rat's capacity for human love; and when cornered, a rat's fighting courage. And what is more, although his role is consistently unsympathetic, Mr. Cagney manages to earn for Tom Powers the audience's affection and esteem."

In its own time, the film was thought of as a bit too violent, and there are a few moments that might still be considered shocking today. However, with the changing norms between the 1930s and today, what really stands out is the misogyny that barely earned a mention upon release. The most memorable scene, of course, is Cagney smashing a grapefruit into Mae Clarke's face. But his abusive language to her, suggesting his desire to drown Clarke, is hard to take and still remain empathetic with the gangster.

There are very few films that can be said to be really inspirational to the gangster film. This one, Howard Hawks' "Scarface" (1932) and "Little Caesar" (1931) are at the top of that short list. If it is not evident enough from watching the film itself, the special feature interview of Martin Scorsese should cement the deal. Author TJ English feels this is "perhaps the most influential gangster flick in the history of American movies", but that may be overstating it a little.

Some credit must be given for "Public Enemy" succeeding and remaining a top film, however. As strange as it sounds, there were at least 25 gangster movies in 1931 and at least 40 in 1932. So being among the one or two remembered almost a century later is actually quite a feat. Even William Wellman, who directed a staggering nine gangster films between 1928 and 1933 is really only remembered for this one.

THE PUBLIC ENEMY (Warner Brothers, 1931), directed by William A. Wellman, is a prime example of how a motion picture produced in the early sound era can still hold up today. A worthy follow-up to the studio's most recent gangster outing, LITTLE CAESAR (1930), that elevated Edward G. Robinson to stardom, THE PUBLIC ENEMY brought forth another new screen personality, James Cagney, displaying a different kind of movie thug: rough, with guys who betray him; tough, with women who get on his nerves or play him for a sucker; and ready, to succeed by socking, punching, slapping or killing anybody who gets in his way. His only soft spot for his mother, but far from being a "Momma's Boy."

Through its passage in time element starting in 1909 Chicago, THE PUBLIC ENEMY plays in the biographical mode, displaying the origins of its main characters, Tom Powers and Matt Doyle, as boys (Junior Coughlan and Frankie Darro), leading to their adult lives (James Cagney and Edward Woods) as tough thugs. Tom Powers character, regardless of his fine upbringing, indicates he was born ... to be bad. He has a brother, Mike (Donald Cook) who knows of his activities, while their mother (Beryl Mercer) may suspect but overlooks his actions. As things start going well for Tom and Matt in the bootlegging racket under Paddy Ryan's (Robert Emmett O'Connor) leadership, Scheiner Burns, a rival gang leader, attempts on taking over Ryan's establishment, leading to more gun-play, especially for Tom, quick on the trigger, only to have things backfire on him.

If not the most famous of the early gangster films, THE PUBLIC ENEMY is one of the most revived. Quite frank in its actions, and adult for its intentions, much of the then so- called violence occurs out of camera range. Yet, whatever is displayed on film is something not to forget. These days, there isn't a year that goes where THE PUBLIC ENEMY isn't televised. Whenever a topic pertaining to THE PUBLIC ENEMY arises, it's not the story that immediately comes to mind, but Cagney's individual scenes consisting of squirting beer from his mouth into the bartender's face; Tom's cold-blooded killing of Putty Nose (the man who let him take the rap for a crime) while playing his last song on the piano; and Tom's off-screen shootout with a rival gang in a fancy nightclub, stumbling out in the pouring rain saying to himself, "I ain't so tough." All these scenes pale in comparison until reaching its most chilling climax ever recorded on film. Yet, the one where Tom, at the breakfast table, pushes a grapefruit into his mistress Kitty's (Mae Clarke) face, never has such a brief scene have such an long impact. Other than Clarke's famous few minutes of grapefruit glory, Mia Marvin (whose face resembling Maureen "Marcia Brady" McCormick from TV's 1970s sit-com, "The Brady Bunch") playing a slut named Jane, is one who gets her face slapped after getting Tom drunk enough to seduce him. The second billed Jean Harlow doesn't get any abuse from her leading man as did the other two actresses receiving no screen credit for their trouble. While Harlow's performance has been criticized as one of her worst, chances are her portrayal might have been intended to be enacted in that manner. Harlow's Gwen Allen is an uneducated blonde floozy with her gift for attracting men. What possibly hurts the film is not Harlow herself, but the inane dialog she recites, ("Oh Tommy, I can love you to death!". Joan Blondell's limitations on screen is mostly one involving her relation with Tom's pal, Matt. Edward Woods, whose has almost equal screen time with Cagney, is a Hollywood name very few recollect today. Several documentaries profiling gangster films have indicated Woods as the initial star of THE PUBLIC ENEMY with Cagney assuming the subordinate role, with director Wellman seeing an error with the casting and wisely having these actors switch roles. While a smart move on Wellman's part, he failed to switch roles on the boy actors who portrayed them, especially a keen observer noticing Frankie Darro playing Matt, not Junior Coughlan playing Tom, performing in the Cagney manner. Donald Cook, Beryl Mercer and Robert O'Connor appearing in subordinate roles, are essential with their parts, but never outshine Hollywood's finest movie thug, a/k/a Public Enemy, James Cagney, whose tougher roles, ANGELS WITH DIRTY FACES (1938) and WHITE HEAT (1949) were years into his future. With limited underscoring, the theme song, "I'm Forever Blowing Bubbles," like Cagney and his grapefruit, has long become associated with THE PUBLIC ENEMY.

THE PUBLIC ENEMY, which has become one of the first major movies from the Warner Brothers library to be distributed on video cassette (consisting mostly of prints from slightly edited reissues), and later on DVD (with either edited or restored prints), can be seen quite frequently on Turner Classic Movies. It might not have the realistic violence as any crime film of today, but THE PUBLIC ENEMY presents itself as a gangster drama that doesn't have to be all blood and guts to become successful. Good acting, fine story, interesting characters supplied with tight action is all what is needed to make a good movie. Being a natural talent, Cagney makes THE PUBLIC ENEMY all it's worth. (***)

... They both saw something in James Cagney. Jolson saw Cagney in a stage production he liked so much that he bought the rights. He would only sell the film rights to Warner Brothers if Cagney (and Joan Blondell) reprised their roles. The result was the film "Sinners' Holiday", and Cagney and Blondell stole the picture out from under the actual leads. Yet Cagney remained in supporting roles afterwards. . Bill Wellman was the director of 1931's "Public Enemy" about two boyhood friends who become Prohibition era hoods. Originally, Edward Woods was supposed to play the more volatile of the two, but Wellman quickly figured out that relatively unknown James Cagney was the versatile dynamo he needed for the lead, and the roles were reversed. To do otherwise would be to imagine Little Caesar with Douglas Fairbanks Jr. As the gangster with a fast rise and a hard fall instead of Edward G. Robinson.

There was no production code at the time, but even for 1931, this film is jarringly violent. Tom Powers (Cagney) is shown growing up in Chicago with a brutal father, a moralizing older brother, and an enabling doormat of a mother. Not finding any role models at home, Powers and his childhood friend Matt find them - and easy money - by befriending the neighborhood gangsters. They also find early betrayal - a score they settle later. When Prohibition becomes law, the real money and the real violence begin. Meanwhile, Tom's brother has returned from war a broken man, just reinforcing Tom's view that his brother is a chump. The violence escalates to the shocking conclusion. And all I can say is that you'll never listen to the song "Forever Blowing Bubbles" quite the same again.

One leg of the plot that just seems rather wedged in, but is interesting and even amusing today is Jean Harlow as Tom's love interest. This is before she went to MGM for the remainder of her career and short life. She just doesn't have her trademark screen persona down yet and strangely enough she is supposed to be a ....Texan???? She sounds like somebody from Brooklyn who was being voice coached to sound like the Queen of England, but she can't quite make the jump.

This film would probably be just a 5 or 6 out of 10 without Cagney - an interesting and adequate precode. Seeing Cagney explode on the screen for the first time in the lead makes it jump to an 8/10.