TomJH

That photo shows that Cody could be very unforgiving. By the way, if you take another look at that scene in which Jarrett shoots Parker through the car trunk, there is a cutaway shot of Hank Fallon, the undercover FBI agent infiltrating the gang, as he opens his car door in reaction to the shooting. There is absolutely no facial response from Edmond O'Brien, who is playing Fallon, to the killing. To me, that means that either it was a sloppy piece of editing, and when it was filmed O'Brien didn't know what he was supposed to be reacting to, OR it was reflective of the fact that Fallon's FBI character, "good guy" or not, was as immune to the violence as Jarrett.

That's true, finance. Robinson was the only one of the three to appear in films that were gentle spoofs of the genre which had made them all stars. But think of the timing of those Robinson performances, too, starting in 1938 with A Slight Case of Murder, followed by Brother Orchid two years later and Larseny Inc. made during the war. I think that by that time Warners regarded Cagney as their premiere tough guy star so he was the one that was getting the big lavish star vehicles, Angels and Roaring 20s, while Eddie was in the smaller budgeted productions that were spoofs. Still, Eddie G. had the ability to pull it off. Additional Edit: Now that I think about it, Bogie did poke some fun at the genre once, in All Through the Night, in 1942. He played a Damon Runyonesque gangster named Gloves Donahue, surrounded by some comical gang members like Frank McHugh and a young Jackie Gleason. The film was early Warners propaganda as Gloves turns into an all-American hood by taking on and defeating Nazi infiltrators Conrad Veidt and Peter Lorre in melodramatic style. (Off screen, Bogart and Lorre were the best of friends). Edited by: TomJH on Oct 2, 2013 10:18 AM

*THEIR GANGSTER PORTRAYALS* Upon reflecting upon the careers of the three actors when they played gangsters, it strikes me that in each case there were only a handful of occasions in which they portrayed a hood on screen in a performance of _lasting significance and fame_. Because the occasions were so very few that, in turn, reflects the stunning impact made by those performances but the small numbers also points out that they were just a small portion of their overall careers. *EDWARD G. ROBINSON*: The first of the three to become a star, incredibly, gave only TWO gangster performances for which he is remembered today, TWO in a career of over 100 films! 1930: *Little Caesar*, as Caesar Enrico Bandello, the role that made him a star, with the most famous line of dialogue from his career: "Mother of Mercy, is this the end of Rico?" 1948: *Key Largo*, as Johnny Rocco. Robinson accepted second billing in this film at a time when his career showed signs of slipping. But, just like his portrayal almost two decades before, he gave a stunning performance as an egomaniac gang leader. *JAMES CAGNEY*: Cagney had slightly more significant gangster portrayals, I feel, than the other two actors: FOUR. 1931: *The Public Enemy*, as Tom Powers, the small time street hood that made him a star. 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! 1938: *Angels With Dirty Faces*, as Rocky Sullivan. One of Warners' two most lavish gangster dramas of the '30s, with the actor at his most charismatic in the role that perhaps best illustrates his man child appeal. 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! 1939: *The Roaring Twenties*, as Eddie Bartlett. The other truly lavish Warners production of the decade, this one a saga spanning from WWI to the depression years. 1949: *White Heat*, as Cody Jarrett. One of Cagney's most famous roles and a film that clearly reflected a greater post-war emphasis upon more realistic screen violence, as well as, in the actor's classic portrayal, psychological darkness. It was a long way from Rocky Sullivan with this portrait. *HUMPHREY BOGART*: There were THREE major gangster portrayals in Bogie's career, but, please take note, in only one of the three was he the film's star (even then he got second billing to the leading lady). 1936: *The Petrified Forest*, as Duke Mantee. An adaption of the stage hit and the film that put Bogie on the map. Unlike Robinson and Cagney, however, it did not make him a star but, instead, provided a contract at Warners which, during the next five years, allowed him to play supporting roles, sometimes to the other two actors, and most often in the role of a hood. 1937: *Dead End*, as "Baby Face" Martin. It was on a loanout to Samuel Goldwyn that Bogart had his best opportunity during the '30s to play a gangster. Unlike the two dimensional characterizations with which Warners were saddling him at this time, this sympathetic portrait allowed the actor to show more depth. 1941: *High Sierra*, as Roy Earle. Another sympathetic gangster portrayal, and the film which, in combination with The Maltese Falcon released the same year, helped to finally make him a star.

Washington may grind to a halt and the stock market doesn't blink. But don't deny a movie fan his TCM!

Thanks for sharing that memory about your sister, lavenderblue. That's one of the wonderful things about the movies - that a performance or even, perhaps, just a scene or even moment, in a film may make a very personal connection with an individual viewer in a special way (hopefully positive). You have happy memories of your sister when you see Mame, and I think of Grandpa when I watch Jess Birdwell in Friendly Persuasion wanting to get into a buggy race.

mrroberts, some may well find some black humour in that moment in which Cody drills a hapless victim trapped in the trunk of his car. I think that there are two aspects to that shooting in the trunk scene staged by Raoul Walsh that help to make it so effective. One, of course, is the cold bloodedness of Jarrett as he casually munches on a chicken leg while shooting someone, indicating that it doesn't mean anything more to him than swatting a fly. The other is the fact that after the victim (Paul Guilfoyle) complains about the stuffiness inside the car trunk and Cagney says "I'll give it a little air," there is a moment's delay as he then pulls out his gun. The audience has just enough time to realize what this killer is about to do and there is nothing they can do to stop him. Call it black humour, if you will, but scenes like this in White Heat helped to usher Hollywood into a new era of grimmer reality in its depiction of violence on screen. In this case, the horror of this act is that Jarrett is so damn casual about it.

"Made it, Ma. Top of the world!" - Cody Jarrett, White Heat, at a moment when his head was just ready to explode.

lavenderblue, my grandfather was a soft spoken, humourous man with, at times, a mischevious gleam in his eye. In spite of his age, there was always a bit of a conspiratorial little boy quality about him which he needed, at times, because my grandmother was pretty straight laced without any humour. My mother always loved Friendly Persuasion because Gary Cooper reminded her so much of my grandfather in that film.

Mongo, that shot of those three stars together on the Julius Caesar set reminds me of a Steve Allen Show skit in which Greer Garson did an unexpected and hilarious mumbling, body scratching Brando impersonation.

Sorry, CB, I wouldn't know who won the ball game. I found the picture, though, at Silver Screen Oasis. http://silverscreenoasis.com/oasis3/viewtopic.php?f=22&t=5718&start=225

Yes, ThelmaTodd, there's no question that possession of a Duesenberg was a real sign of affluence and prestige in the glamour days of Hollywood. As much as he had a reputation as an outdoorsman, Gary Cooper also loved to tinker with his cars, gleefully working on their engines for hours in his garage. And, of course, he had, as stated previously in this thread, his own 1930 Duesenberg, posessing two and a half times the horsepower of the most expensive Packard. Carole Lombard once complained about Cooper that by the time he opens his mouth to start a conversation it's tomorrow (a typically pretty witty comment from the lady). However, he wasn't always slow. The wild side of Coop seemed to come out in him when he was behind the wheel of his car (at least, as a young freshed minted new star in Hollywood) because he loved to speed. He did so with his Duesenberg on the Mojave Desert and took a 125-mile-an-hour drive down Olympic Boulevard to see "how fast this baby will go," according to Jeffrey Meyers' book, Gary Cooper American Hero. Gable had a long standing competitive relationship with Cooper. When he had a custom built Duesenberg made he insisted that it be a foot longer than Cooper's. (I have to wonder if there was not something phallic about this - Lombard had had a brief relationship with Coop before meeting Gable and later gloated to Clark what a good lover the cowboy from Montana had been).

Thelma Todd, as you probably already know, Gable's personal anguish over the loss of his wife must have been tremendously heightened by the fact that the last time they saw each other they had an argument over his relationship with Lana Turner. That, in turn, was instrumental in Lombard's decision to return to their California home by plane, rather than train, because she was eager to make up. Lombard's mother, who was with her on the bond drive, hated planes and wanted to return by train. I believe that the final decision regarding transportation was made by a coin toss. The result, of course, was a tragedy for all involved. If it was any solace to Gable (and it must have been) the scene of the crash was so devastating that everyone must have died instantly. Today, over 70 years afterward, sections of the plane are still scatttered at the crash site on Mount Potosi. Even pieces of bone have still been found on occasion. There are still tours to the crash site for the hardy (one of which was taken by author Robert Matzen in preparation for his book). By apologies for sidetracking this thread devoted to Duesenbergs but, I hope you all realize, it is Gable-Lombard related.

James, while I gather that you don't have a large collection of Pat Boone records, I also assume that you wouldn't leave Friendly Persuasion off the list of great Wyler films just for that reason. I think it's an utterly charming film, full of gentle humour, as well as some poignant drama as it deals with the moral quandry of pacifists (in this case, Quakers) in a struggle with their religious beliefs when war threatens their own homes and families. Gary Cooper seemed to rediscover the charm and gentle humour of his earlier screen characterizations in this film. Anthony Perkins is quite remarkable, too. And Marjorie Main as the Widow Hudspeth, with her three man hungry daughters, is the comedic highlight of the production. Oh, yes, there's also Samantha the Goose. If the film seems a little rambling and long, that is a forgivable flaw, I feel, considering the virtues provided by the film. (Including "Thee I Love" by Dimitri Tiomkin and sung by you know who). I'm with lavenderblue on this being a major Wyler production.

By the way, a new book is scheduled for release in January, Fireball, by Robert Matzen. It deals with Carole Lombard and the circumstances of her death. To this day no one has really explained why her plane crashed. The title, by the way, not only refers to the actress but the explosive impact made by the plane she was on when it collided into the side of a mountain near Las Vegas. http://www.goodknightbooks.com/Carole-Lombard.html

Really fascinating stuff about Gable's Duesenberg, Thema Todd. Thanks very much for the rundown and the link.

I selected those three actors, finance, because they were initially the best known actors to play gangster roles, in combination with the fact that all three also possessed the depth of talent to convincingly play other types of roles, as well. In an overall appraisal of their careers, they were far more than just expert portrayers of hoods, as we all know. If any of them had only played gangsters I doubt that they would have as much of a fan following as they had (their careers would have suffered, for starters, when gangster flicks were no longer in fashion). Actually, looking at the career of Cagney, for example, he only played a gangster six or seven times. I suspect the same is true of Robinson. Bogie did it more often because he was type cast in supporting mug parts for a long while before becoming a star. After High Sierra, however, Bogart was only cast as a gangster again twice in the rest of his career. There's no question that all three actors became stars as gangsters but they remain celebrated today for their overall careers, not just their film career beginnings.

I completely disagree with your initial statement, finance. The vast majority of films of all three actors' careers WERE non-gangster. While viewers remember all three for their landmark portrayals of film hoods, we also recall and even cherish them for their versatility in other roles, whether it be as a song-and-dance man or a paranoid gold prospector or a tyrannical sea captain. That, in fact, is even more reason to appreciate their tremendous talents as actors. The thread is called Bogart Vs Cagney Vs Robinson, not Gangster Bogart Vs Gangster Cagney Vs Gangster Robinson.

matey, thanks for sharing your opinion. This thread has had so many contributions from Cagney fans (and lovers) that, in a way, it's sort of refreshing to hear from someone who ranks him as his least favourite of the three (though I also realize that you do like him). These three actors had quite varied careers, I feel. It's possible to enjoy all three without liking gangster films since most of their films were, in fact, non-gangster, even though those were the roles that provided all three actors with their initial hits. I have always maintained that Bogart appeared in the largest number of outstanding productions of the three actors. However, matey, on behalf of Cagney, I wonder if you have had the chance to see the film just discussed, The Strawberry Blonde. If not, the next time it comes on TCM, I would strongly suggest that you give it a try. (And, no, it's not gangster or war drama or musical).

CAGNEY, RAFT AND FRANKIE As a young boy growing up on the streets of New York, Jimmy Cagney had dreams of one day being a major leagues ball player. Here's a shot of him with old pal George Raft and Lee Tracy at a charity event at Wrigley Field. (Tracy, by the way, was one of the few actors in Hollywood, who could keep up with Cagney as a speed talker, inheriting the role of a sleazy columnist in Blessed Event after Cagney went on one of his temporary walkouts from Warners). Years later, 1974, at the AFI awards with a lifetime achievement recognition of Cagney, Raft is back. Frank Sinatra, a huge Cagney admirer, helped to host that memorable tribute evening for Jim. Cagney loved the peace and solitude of his retirement, however. One time, while Cagney was at his Martha's Vineyard home, Sinatra came to the island. He had rented a huge yacht, everyone was going crazy because Mr. Show Business was there, and Frank kept asking for Cagney. When a friend, who took Cagney on trips on a ketch, asked the retired actor where he wanted to sail, Cagney's response was to the point: "Wherever Frank isn't."

James, I think that The Roaring Twenties, released in 1939, was really intended by Warners as a farewell to the gangster saga, at least as a big scale production. In the years immediately afterward, outside of a couple of gangster spoofs featuring Eddie G. and Bogie playing an old time gangster living beyond his time in High Sierra, that was pretty well it with the genre for a long while from the studio most known for them. To which Cagney, I suspect, would probably have said, "Thank goodness." Of course, it's suitably ironic that after his financially unsuccessful bid at independent filmmaking, Cagney's comeback at Warners would be in the most vicious gangster role of his career - Cody Jarrett. (The result, though, would be the last great classic film of the actor's career, in my opinion).

Thanks very much for your comments, mrroberts, as well as your pertinent observations. Yes, just two years before Cagney left Warners to go independent with his brother William as producer, that brother shared associate producer chores with Hal B. Wallis on The Strawberry Blonde. In retrospect, of course, it was a shame that Cagney left the studio when he was at the very prime of his career to make that ambitious effort but it was an artistic siren call within him at the time that he couldn't resist. And, yes, his mother did visit the set of that film. In fact, Cagney later wrote that his mother had been a "strawberry blonde" in her youth in NYC, dating a fellow named Eddie Casey. The film's theme song, The Band Played On, coincidentally had the lyrics, "Casey would waltz with the strawberry blonde . . ." As a result of all this, the actor wrote, the film was renamed The Strawberry Blonde in honour of his mother. Over thirty years after the fact Cagney wrote the following about his Mom on the set of that film: "The day we shot the scene where I waltzed with my strawberry blonde, Rita Hayworth, my mother came. There it all was - 1890, just as she remembered it: waiters with handlebar moustaches and colored vests, and the foaming beer steins. There were even pretzels on the table. She made only one comment, and an authoratative one, too. 'Jim,' she said, 'pretzels didn't come in until later!"

mrroberts, no, I'm not a wannabe dentist but The Strawberry Blonde has long been one of my favourite films anyway. Much of the charm and appeal of Cagney as a great star during his '30s films had been that of the man child, that impulsive, at times explosive incorrigible full of energy and refusing to ever grow up. Although he was over 40 when he made this film it would be pretty much the last time that the actor would play that type of role. And it would be one of the most memorable, in my opinion. The Strawberry Blonde is a warm, sentimental comedy-drama, a rose coloured nostalgic look at the Gay '90s as they never were but should have been. Biff Grimes, to me, may well have James Cagney's most lovable characterization. This remake of Paramount's One Sunday Afternoon is superior to the original in virtually every aspect. And one of the key reasons for that was to have Raoul Walsh as its director. Walsh had grown up in the New York City of the late 19th Century and getting this material gave him the opportunity to have a nostalgic glimpse back upon his childhood years, at least as he might have wished they had been, I suspect. Walsh was always ready to explore characterizations in his films, and this is particularly true of this production. First, of course, there's Cagney, ideally cast as the pig headed, not too-bright little tough guy who's always sporting a shiner. There's perhaps a greater warmth to this Cagney performance, however, than had been seen on the screen before. Biff spends most of the film fantasizing about the strawberry blonde, that ultimate vision of perfection from his youth that he failed to marry, only to later realize that she was no bargain, and the "plain" girl he got was, in fact, the real prize. Walsh and Cagney gently explore middle aged melancholy only to have the lead character finally mature and discover, much to his surprise, that he hadn't realized how good he had it. And the cast supporting Cagney is truly a marvel. Olivia de Havilland, as the not-so-plain "plain" girl he marries, brings a warmth, intelligence and sensitivity to her role, making her one of Jimmy's best leading ladies in the process. There is a quite divine chemistry between these two actors, I feel. But de Havilland is entirely different from the Blondells and Sheridans off whom Cagney had memorably bounced on screen before. There is a greater depth in Cagney's scenes with Olivia, particularly that magnificent, poignant sequence set in the park in which they are reunited for the first time in years after Biff's release from prison. As the film's title character, Rita Hayworth is attractive and understandably desirable, and more than a little shallow, just right for this role. She doesn't bring the depth to her performance that Olivia does but, after all, her character proves to have no depth. Jack Carson is terrific as Waldo, the conniving sharpie "friend" of Cagney, always ready to take advantage of him and anyone else in his ambitious climb upward. There's an engaging klutziness about Carson, though, so that you can never really dislike him. Also memorable in the film is big, lovable Alan Hale, as Cagney's unemployed "Pop," a charmer with the ladies about town, and a man who is always complaining about his teeth (which Cagney, as a mail correspondence dentist, will proceed to make even worse). Of course, The Strawberry Blonde benefits from the great costumes and Gay 90s New York street sets. And, periodically playing in the background throughout , is that great nostalgic tune, The Band Played On, which is so instrumental (pardon the use of that word) in capturing the charm and "innocence" of the times. Walsh, by the way, also directed what can be seen, in many ways, as a Gay '90s companion piece to this film the following year when he was at the helm of another Warners treat chockful of humour, Gentleman Jim. This one is set primarily in Frisco, as opposed to NYC, but it is high in atmosphere and antics, following, in fictionalized form, the career of the ambitious pugilist who would fight the mighty John L. Sullivan under Marquis of Queensberry rules. Instead of Cagney, this Walsh romp has Errol Flynn as the cocky lead. The supporting cast includes two of Strawberry Blonde's players, Jack Carson, and Alan Hale, once again playing the lead character's father. Hale, if anything, has even more of a showcase for his Irish charm and comedy technique in Gentleman Jim than he did in the Cagney film. Walsh would direct Cagney in three other films, two of them gangster classics, The Roaring Twenties and White Heat. Seeing, by contrast, this gentle turn that the two of them made together, has me believing that Cagney achieved a series of career peaks with this particular director that would be rivalled only by the actor's work with one other man, Michael Curtiz. It's the barber shop boys checking out the strawberry blonde. Four wonderful stars all in great form. The scenes between Cagney and de Havilland in this film are often quite sublime.

I like both McCrea and Wayne but when it comes to a comparison of their westerns, there's not much doubt who appeared in the better ones. Wayne was highly fortuntate that both John ford and Howard Hawks wanted to work with him. McCrea didn't have that same luck (though, of course, Colorado Territory and Ride the High Country, both done by master western directors themselves, are fine efforts). A look at Wayne's non-Ford and non-Hawks westerns puts him closer to the level of McCrea's work in that genre. (The one noteworthy exception to that for Wayne would be Hondo, a genuinely fine effort with the Duke at his best, in my opinion).

Mongo, it sounds so strange to read that Wilford Brimley and Claude Jarmen Jr. are the same age.

Boys from Brazil is not my idea of Gregory Peck at his best. But he must have loved the challenge as an actor. And I certainly agree with you that Peck's matured, lined face and that absence of youthful beauty and earnestness from his early years helped him to pull off a villainy performance more successfully in the late 1970s than he had in Duel in the Sun. He was also, of course, a far more seasoned actor, and there was a harsh ruthlessness to his performance absent when he was playing charming Lewt.