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Bogart Vs. Cagney Vs. Robinson


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Virginia Mayo starred in a so-so 1952 comedy, *She's Working Her Way Through College*. Actually, maybe I shouldn't have saiid "so-so". Miss Mayo is quite engaging as a smart burlesque entertainer who's wasting her brains ( although clearly not her body !) in a strip joint and decides to earn enough at this taxing job to - well, work her way through college.

The professor who rediscovers her intellectual abilities is none other than Ronald Reagan !

 

I really am not in a position to talk any more about the film because just as I was getting really interested I had to stop watching it (forget why) and so only saw the first half. I'd love to watch it again sometime, all the way through.

Anyway, although *SWHWTC* is clearly a piece of fluff which, despite the film's own premise, showcases Mayo's physical rather than cerebral assests, what I saw of it looked to be a slightly more involved role for the lady than her usual other lightweight decorative characters.

 

I like Virginia Mayo a lot. I think one reason is her looks. I'm not talking about her beauty per sec...it's the fact that she's not perfect looking, I've always thought she had a very slightly cross-eyed look, which is in fact quite appealling. It makes her seem kind of vulnerable, kind of likeable looking somehow, even when she's playing a female louse like Marie or Verna.

 

Here's a lovely pic of the lovely Miss (hold the ) Mayo (sorry, couldn't resist - wonder how many jokes like that she had to put up with?) You can maybe see what I mean about that very mild "croos eyed " look, or maybe her eyes are a little too close together to be "perfect", I'm not quite sure what you'd call it, but it makes her more unusual looking than the average Hollywood beauty. In a good way.

 

Virginia-Mayo-02.jpg

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White Heat's premiere, September 2, 1949, at the Strand Theater in New York City. Little did audiences know what was in store for them:

 

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To be honest, I've never dwelled too much on that "What's holding him up?" line, since O'Brien was dealing with a psychotic killer who would've drilled him in a blink. My view of undercover moles in general depends on the purpose of the plant, and while there are certainly sympathatic sides to Cagney's character, the bottom line remains that when you get into armed robbery and murder, you don't have much standing to complain about police tactics.

 

When I think of great lines that end an O'Brien movie, though, I don't think of White Heat (that's Cagney's baby), but the final scene in The Killers, where O'Brien reports to his insurance company boss after wrapping up an investigation where he's dodged multiple muggings and bullets in a heroic (and successful) quest to find out what was behind Lancaster's murder. So after surviving all that, and perhaps awaiting a bit of a bonus for his saving the insurance company $5,000, his boss tells him *"This is Friday. Don't come in until Monday"* as O'Brien walks out the door with a sardonic grin on his face. It's about as fitting an ending as can be imagined for O'Brien's lunchpail character.

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I like WHITE HEAT but I think Cagney's best gangster part is Rocky Sullivan in ANGELS WITH DIRTY FACES. What great acting by Cagney twitches and all! And Cagney was still young and in shape in this movie. Ann Sheridan and Pat O'brien are also excellent in the movie as well as the rest of the cast! I love the gangster Cagney plays in this movie, reminds me of some guys from the old neighborhood. Cagney is believeable, bad but good, and exciting in the sense that he is not boring to watch. And Cagney and Sheridan have alot of OOMPH! [she was called the oomph girl]. What an ending, Cagney letting the audience decide whether he was yellow or not. Classic Cagney!

 

 

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Back to Edward G. Robinson for a moment:

 

One of my absolute favourite Eddie G. movies is Fritz Lang's *Scarlet Street* (1945.) I don't know why this one hasn't been discussed more when talking about Edward G. on this thread. I love this film ! For one thing, Lang really knows how to create mood and atmosphere in his work. I believe most if not all of *Scarlet Street* was filmed on a set. I don't usually like that look, but Lang pulls it off. In fact, in this particular movie, the sets somehow enhance the bizarre, almost nightmarish quality to this strange tale of a weak man who goes from one woman's domination to another's.

 

Everything about *Scarlet Street* is memorable, from those rain-soaked city streets ( all a set !) to the lurid story of a character enthralled by a woman who is blatantly using him for her own purposes, to the hugely enjoyable and very vivid performances from all involved, to the film's spooky, literally haunting conclusion.

 

 

Joan Bennett has never been sexier or funnier. Yes, I find her openly greedy street trash persona very entertaining. I love it when characters are unashamedly "bad", there's something appealing and funny about it to me. And who can forget Dan Duryea doing what Dan Duryea does best, being a skunk who always just wants to get the maximum he can get in this world, with the minimum amount of effort. What a voice ! Snarky, bossy, full of unjustified self-confidence.

 

 

Then there's Robinson himself, playing the antithesis of his domineering gangster persona. He plays the meek weak milquetoast (love that word !) just as convincingly as he does the ruthless mob leader. Again, as we've noted on this thread several times, Eddie does so much with his eyes. The scene where he is discovered to be embezzeling and is disgraced ( this after 25 years with the same company) is extremely moving, largely because of the look on Robinson's face.

 

 

It's a great film, in my opinion. *Scarlet Street's* often compared to a very similar movie made a year or so earlier, *The Woman in the Window* - same director, same cast, even a simliar story.

But *Scarlet Street* is in my opinion the far better of the two.

 

 

What an ending ! I should add it to that "Great Movie Endings" thread.

 

 

"Jooohhhny...oh Jooohhhny..."

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I wasn't comparing the two characters in the movie. I was comparing how the producer and director of both films 'frame' the ending. The Hays code required that crime be punished. Studio bosses don't like their major stars to look bad at the end of the picture. So in both pictures the star does a final act that helps him retain some degree of dignity. Of course in Angels he pretends to be a coward so kids don't follow in his foot steps. Only us viewers and the priest are in on that.

 

In White Heat he goes out at the top of the world with the actual hero looking like a weasel. (so I still say that Fallon's actions were driven by the need to fool viewers that Cagney was a borderline super hero that just wouldn't go down).

 

In more realistic crime gangster movies (e.g. Goodfellows), the bad guys just get whacked in a way that doesn't leave the viewer with a lasting image like these Cagney classics.

 

 

 

 

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*jamesjazzguitar wrote: In White Heat he goes out at the top of the world with the actual hero looking like a weasel. (so I still say that Fallon's actions were driven by the need to fool viewers that Cagney was a borderline super hero that just wouldn't go down).*

 

James, I think a lot of people might question your assessment. While I obviously agree that Edmond O'Brien's character is extraordinarily cold blooded at the end, others may think that it's necessary for him to be so. And Cagney's lunatic is hardly a borderline super hero. (I'm quite sure the actor himself would have probably been appalled that anyone would have thought that of Jarrett).

 

However, I do see where you're going. Certainly at the end of the film Cagney's death scene does make a Warners star appear larger than life (compared, as crazyblonde did, to King Kong), almost (I said almost) a precursor to those characters in ridiculous modern films that just can't be destroyed. Fortunately, in the case of White Heat, Jarrett is killed, so the film remains rooted in reality and the ending, while fantastic, is still credible.

 

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Now I'm confused. It was my understanding that you also felt the line 'What's holding him up' as well as Fallon taking the shots were not creditable. That they were unrealistic and give the vibe of being 'added on' for effect.

 

I guess that is only my view.

 

 

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crazyblonde, I'm a big fan of Angels With Dirty Faces, as well.

 

While I think that White Heat has Cagney's greatest performance, I believe that Rocky Sullivan in Angels is probably the most quintessential role of the actor's career. He was truly at his peak as a charismatic star with great dramatic ability in this elaborate production, whether bantering with priest pal Pat O'Brien, playing big brother to the Dead End Kids, ready to slap guns with George Bancroft, or displaying great screen rapport with a great screen partner in the form of a young Ann Sheridan, in her break through role.

 

Cagney was also fortunate that a highly dramatic director like Michael Curtiz was at the helm, a man who loved to have great tracking shots in his films, such as he did with the remarkable street set that opened this picture:

 

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Just by showing this street scene at the beginning (and what a truly marvelous set it is), Curtiz has immediately established the poverty setting that will be the background for this poverty-drove-them-to-crime drama.

 

I've always been a bit amused by the gall and hypocrisy of Warner Brothers, though, for their message at the end of Angels with Dirty Faces. Rocky goes to the electric chair pretending to be a coward so that the Dead End Kids won't idolize him and consider him to be a hero.

 

But what about the audience watching the movie? Since they all know that Rocky is, in fact, noble by pretending to be a coward (which he clearly is not), they will, in turn, regard Cagney's character in the very heroic terms that the film claims it doesn't want him viewed. And many of them, including street kids, will leave the theatre with their own little fantasies of being just like Rocky Sullivan!

 

 

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Great take about the ending. Good things those guys reviewing movies for the Hays Code didn't figure out they were being played! (of course those guys might of believed he really was a coward since that would fit their POV).

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James, I'm sorry if I wasn't clear. I never said that Fallon shooting at Jarrett wasn't credible, from a realistic point of view. I said that it took an incredibly cold blooded individual to do that, and, if he had to do it, it would have been more emotionally satisfying, as suggested by MissW, that Fallon show signs of mixed feelings about killing Jarrett or even just seeing him die. As it stands now, White Heat's ending has Fallon seeming as cold as Jarrett. (And since Fallon's a "good guy," I'd like him to be better than that).

 

But, then, that may just be the foolish romantic in me. Heroes in movies were becoming harder and tougher after the war (looking at Jimmy Stewart in his '50s westerns as an example). It was undoubtedly a greater reflection of reality, I suppose. Still, that doesn't make me like Fallon any more, even though he is a gutsy, smart guy.

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*jamesjazzguitar wrote: Great take about the ending (of Angels with Dirty Faces).*

 

Yes, it really is brain numbingly hypocritical of a studio to turn out a great professional product like this film with a feigned message of concern that gangsters not be idolized. Yet the film does everything it can to turn its lead gangster into a hero!

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MissW, thank you for bringing up the great Edward G. Robinson (who seems to have gotten sidelined from this thread for a while) and Scarlet Street.

 

It's been a while since I've seen either this film or Woman in the Window but, for me, they are the two films that represent Joan Bennett at her sexiest and Dan Duryea at his sleaziest. I have a great affection for Duryea in one of his pin striped suits (he does wear those, doesn't he, in these films), a smug, smirking, woman slapping heel of the first order. Duryea played these semi-pimp types with a relish.

 

He was a fine actor who could also very effectively play a flawed semi-hero, as well, as he did when we recently saw him in The Burglar (now there's a good little "B" that few know). But when Duryea was a rat to Bennett (and trying to take advantage of poor innocent Eddie G.), well, the man's a pure joy to watch.

 

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Street sexy - watch out!

 

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Not much doubt who's in control here

 

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They're together, behind Eddie G.'s back. That's my man Dan, one of the great sleazy rats of the screen.

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TomJH, I always thought the movie[Angels..] was set in New York but I guess it's suppose to be Chicago. In one scene you see Chicago Hotel in the background, also Dock Street where Sullivan lives. I don't know of a Dock Street in NYC. Is there one in Chicago?

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crazyblonde, since I'm Canadian, I'm not the one to ask about American cities. However, in Michael Curtiz' second tracking shot in Angels of that same street scene that I posted, the shot starts off with a closeup of someone reading a paper called The New York Mail.

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*I've always been a bit amused by the gall and hypocrisy of Warner Brothers, though, for their message at the end of Angels with Dirty Faces. Rocky goes to the electric chair pretending to be a coward so that the Dead End Kids won't idolize him and consider him to be a hero.*

 

* But what about the audience watching the movie? Since they all know that Rocky is, in fact, noble by pretending to be a coward (which he clearly is not), they will, in turn, regard Cagney's character in the very heroic terms that the film claims it doesn't want him viewed. And many of them, including street kids, will leave the theatre with their own little fantasies of being just like Rocky Sullivan!*

 

Well, at least they got a great line (or headline) out of it. *ROCKY DIES YELLOW* is one of the all-time unforgettable streamers.

 

Now if you really want to talk about a sappy ending to end all sappy endings, John Garfield's closing tribute to ironic justice that concludes The Postman Always Rings Twice wins the all time prize. That may be one of the dumbest and least believable endings ever (Garfield getting religion and cheerfully accepting the frying pan: Yeah, right. Just picture Cagney or Bogart doing that!), and given the number of impossible endings forced upon movies during the Breen era, that's saying quite a bit. Even the use of the movie's title as the final coda can't rescue it, as it comes off as more of a lame cliche than any great moral lesson.

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Tom, Getting back to WHITE HEAT. Margaret Wycherly deserves some mention here.I thought she was great in the part of Cagney's mother.A Wow Factor! Some of the parts I like in the movie- When Cagney grabs Verna by the neck in a choke hold. Virginia Mayo said he really scared her when he did that. When Cagney shoots Big Ed and points to his dead body to show Verna he took care of him. When Cagney peaks with one eye through the door to spy on Big Ed. The jail scene when Fallon realises that he's been sent of photo of a woman who is suppose to be his wife. I could go on and on. There are so many moments that really grab you in this movie. I understand how you feel about movie when I think about all these special scenes and how they make up this calssic movie.

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Andy, while Warners hypocrisy regarding their final message in Angels with Dirty Faces is mind boggling, the film itself still has one of the great classic finales of all gangster movies. A combination of Cagney's performance, Michael Curtiz's direction, Sol Polito's stunning black and white photography with those incredible shadows (a Curtiz-Polito specialty), plus Max Steiner's music made Rocky Sullivan's last mile walk one of the most memorable experiences of all '30s melodramas.

 

You know, James Cagney was known to dislike the gangster roles with which he was associated, and he had no use for those street thugs that he had seen as a kid (though some of them were clearly colourful characters that had an influence upon his characterizations, to a degree). I wonder, though, much as Cagney disliked real gangsters, how much he ever pondered upon the fact that his screen activities as them glamourized those thugs as much as they did.

 

I suppose that he was, ultimately, ambivalent about it. After all, he liked and got along with George Raft, whose underworld associations were a secret to no one. And the reality is that there were underworld activities in Hollywood impacting the studio systems, whether Cagney or others liked it or not.

 

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As far as the ending of Postman Always Rings Twice is concerned, I suspect that part of the reason for that death house dialogue by Garfield was an attempt to explain the meaning of the film's title. It's been too many years since I read the Cain novel to remember if it also ended that way, but I rather suspect that it didn't.

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TomJH, I love the use of shadows and lighting in Angels... Even the very end when Father Jerry is on the steps in the basement talking to the kids with the rays of light[from heaven] shining down on him. The kids follow Father Jerry up the steps. They follow Father Jerry on the right path toward God, toward the rays of light showing the way. Beautiful! Throughout the whole movie the shadows and the lighting are done beautifully!

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crazyblonde, it's true that the visuals of Angels with Dirty Faces are very striking. It was a film in which director Mike Curtiz was working with Sol Polito, his favourite cinematographer. Among the other great looking movies that they made together, both in black and white and colour, were Adventures of Robin Hood, Dodge City, Sea Hawk, Sea Wolf with Eddie G. and, another Cagney, Captains of the Clouds.

 

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Angels with Dirty Faces

 

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Sea Hawk

 

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Sea Hawk

 

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Sea Wolf

 

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Captains of the Clouds

 

 

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> {quote:title=crazyblonde7 wrote:}{quote}TomJH, I love the use of shadows and lighting in Angels... Even the very end when Father Jerry is on the steps in the basement talking to the kids with the rays of light[from heaven|http://forums.tcm.com/] shining down on him. The kids follow Father Jerry up the steps. They follow Father Jerry on the right path toward God, toward the rays of light showing the way. Beautiful! Throughout the whole movie the shadows and the lighting are done beautifully!

 

 

 

 

That's precisely what I love about the black & white 30s films, as you mentioned "the use of shadows and lighting " and as well how "throughout the whole movie the shadows and the lighting are done beautifully!"

 

This is so typical of 30s movies and why we love them so much, obviously Angels is one of them ! :)

 

Twink

 

 

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candid-bogart9_zps2b1b2b88.jpg

 

Bogie reading a copy Dark Passage, the David Goodis novel upon which his third (and least well known) film with wife Lauren Bacall will be based. This is a 1947 film noir thriller that, aside from director Delmer Daves' use of a subjective camera technique keeping its star out of view for the first third or so of the production, is also distinguished by some wonderful character turns by the supporting cast. This includes Tom D'Andrea as a talkative cabbie, Houseley Stevenson as a bizarre plastic surgeon, toothy Clifton Young as a blackmailer, and a scheming Agnes Moorehead.

 

Although seemingly a typical hard boiled Bogart film on the surface, it actually has the actor experimenting with his "cool" screen image to a degree by playing an often frightened man on the run from the law who is not in control of his situation, often having to rely upon the support of others. While the film has its share of plot contrivances, it also remains intriguingly dark in tone, with one of the most splendidly romantic of all final scenes in any '40s production. The film further benefits from some splendid on-location shooting in San Francisco.

 

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