Never Steal Anything Small

'Never Steal Anything Small' is a curiosity, a collector's item, and a seldom screened rarity.

Based on Maxwell Anderson's rejected play 'The Devil's Hornpipe', with new songs by Allie Wrubel, 'Never Steal Anything Small' tells of Jake MacIllaney, an irrepressible rogue who climbs to the top in the Trade Union racket. No trick is too dirty, no strategy too low for this scoundrel, and it fortunate for the movie that he is played by James Cagney whose effervescent screen presence makes the character bearable. It is also fortunate that the married woman for whom Jake develops an uncontrollable yen is played by Shirley Jones. 'Oklahoma!' may have been her break-through movie, but this is her break-out movie. For the first time Shirley was allowed to play a full-grown woman on screen, and she presents a new Shirley Jones, full-bodied and sexy, strong-willed and argumentative. Those who were startled by Shirley's performance in 'Elmer Gantry' cannot have seen 'Never Steal Anything Small'.

The movie is a puzzle. Allie Wrubel wrote several other songs which were not used, and Hermes Pan is the choreographer. Yet there is almost no dancing in the film and hardly any songs. This raises the question of whether Universal-International lost their nerve, and tried to make it a non-musical. Certainly Universal is not a studio associated with musicals, least of all in Cinemascope.

The film provides a chance to see Robert Wilke and Royal Dano, two regulars in Universal westerns, in a modern setting, plus another view of Cara Williams, Cyd Charisse's unsuccessful rival in 'Meet Me In Las Vegas'.

'Never Steal Anything Small' is such an uneven movie, and the leading character so unprincipled, that many people will dislike the film. However those with a cynical sense of humour or an appetite for Shirley Jones will find much to enjoy.

"Never Steal Anything Small" showcases the enduring charm and comedic talent of James Cagney, even as he adopts a slightly more tempered approach in comparison to his earlier, more energetic roles. The film proves that, despite a diluted version of Cagney's trademark cockiness and pugnaciousness, the actor still possesses an undeniable charisma that adds zest to this hilarious cinematic offering.

The script of "Never Steal Anything Small" complements Cagney's performance, providing a solid foundation for the comedic elements to flourish. While perhaps not reaching the heights of some of Cagney's earlier works, the narrative holds its own, offering a blend of humor and entertainment that keeps the audience engaged from start to finish.

Cagney, though exhibiting a milder version of his former self, demonstrates that he hasn't lost his touch. The actor's ability to infuse the character with charm and wit ensures that the film retains a sense of dynamism. His on-screen presence, even in a less energetic state, remains a driving force behind the film's success.

The film's humor is undoubtedly a highlight, and Cagney's knack for delivering comedic lines with impeccable timing contributes significantly to its success. While the cockiness may have mellowed with time, the film is a testament to Cagney's enduring comedic prowess and adaptability.

In conclusion, "Never Steal Anything Small" may showcase a slightly tempered James Cagney, but the film is a delightful and hilarious romp that underscores the actor's enduring talent. The script, while not groundbreaking, serves as a solid platform for Cagney's comedic performance. With a well-deserved 8/10 rating, the film is a testament to the enduring appeal of both Cagney and the timeless charm of classic comedies.

Charming Damon Runyon flavored semi-musical crime comedy driven by Cagney's magnetism.

Only Jimmy could make the strong arm racketeer he's playing so appealing and he sails through this minor film with the assurance of the star he was. Shirley Jones is lovely and sings beautifully but it's the brassy Cara Williams who really stands out.

The songs may not be too memorable but they fit the spirit of the story well and the zippy "I Want a Ferrari" duet between Cagney and Cara Williams is a classic car lover's dream.

Special mention should also go to the production designer who uses an almost exclusively muted palate of colors to create a rich harmonious look that gives the film a very stylish appearance without ever drawing the audience's eye away from the action.

Full of wonderful character actors and a jaunty attitude this is an under-known gem from the latter part of Cagney's career and he owns the film.

One of Cagney's last pictures before his extended retirement (he returned in Ragtime). Like On The Waterfront, Never Steel Anything Small deals with a corrupt longshoreman's union on the U.S. east coast. That's where the similarity ends, as one is a straight drama and the other a musical comedy. Cagney, with his roots as a vaudeville hoofer, dances and sings in some neat production numbers choreographed by Hermes Pan, Fred Astaire's (mostly) off-screen collaborator. The movie also sends up television commercials; an unusual thing in the 1950s when Hollywood was loathe to acknowledge the upstart TV medium. Shirley Jones does a nice job as the good wife who inadvertently tempts the wiley union boss/climber-with-a-heart-of-gold Cagney.

James Cagney in his autobiography said that he never ran his old films at home with the exception of the musicals. Those he ran continuously and he regretted he didn't do more of them.

Which is probably why towards the end of his film career he decided on a musical which had a certain amount of potential, but went sadly awry. Labor Unions were a big news back in the day. The hearings held by the McClellan Committee in the Senate made the doings of the Teamster's Union presidents, David Beck and Jimmy Hoffa front page headlines. There were any number of exposes showing how organized crime was muscling into honest unions. The Taft-Hartley law was a perennial issue back then with Democrats wanting to repeal it and Republicans staunchly in favor.

The songs by Allie Wrubel and Maxwell Anderson were singularly unmemorable and the comedy in Never Steal Anything Small is forced. However James Cagney is such a dynamic performer that he's put over far worse.

Roger Smith who played a straight arrow lawyer was a protégé of Cagney's back then. He played Cagney's son in Man of a Thousand Faces and after this film with a plug from Cagney to his old boss Jack Warner got cast in the television series 77 Sunset Strip.

My favorite in the film is Cara Williams. She's got the part that Joan Blondell or Gladys George would have played opposite Cagney back in the day. Williams is a worthy successor to both those women.

There is one true incident in Never Steal Anything Small. At one point Cagney nearly gets acid thrown in his face. There was just such an incident involving columnist Victor Riesel which was more successful and left him blind. But Riesel was a far more noble character than the one Cagney plays here.

Though in the end Cagney does show he has some scruples where women are concerned.