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Bogart Vs. Cagney Vs. Robinson


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Wow! These 3 were the guys that drew me in to classic films. To me they are all wonderful. While I've always been a Bogart kind of girl, in the last few years I've figured out that Cagney and Eddie G were the best of their time..or any time.

 

I think Bogart was a more subtle actor and the other two are just plain in your face, especially in their gangster roles. They could do absolutely anything at all. They told the truth, as Cagney used to say. Little Caesar remains my most favorite of the many gangster roles played by any actor ever. Rico is such a complicated man and Eddie G just gets it.

 

Cagney in Public Enemy is riveting. His eyes are so full of the bravado and anger that his character just can't contain.

 

Love these guys.

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Dargo, I know what the song was about. But as a kid I remember others used it to tease all us short kids. So that's why I always hated the song. Yogi, My favorite gangster movie is Angels with Dirty Faces. Love Cagney as Rocky Sullivan! I thought his performance in it was the best!

 

 

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Thanks very much, mr6666.

 

When I created that career highlight rundown on Edward G. Robinson's career, I was hoping that it might bring out his fans a little more since I think he has received somewhat short shrift on this thread.

 

A film that has long been a Robinson favourite of mine is *THE SEA WOLF*. But this highly skillful adaption of the Jack London novel has always been a bit neglected, I strongly believe. It also has one of Eddie G.'s most convincing performances (and that is saying a lot, considering out brilliant he often was in his other roles).

 

Director Michael Curtiz and cinematographer Sol Polito are in peak form here, with a constantly moving camera always reminding the viewer, even if subliminally, that the action is set on board a vessel.

 

Robinson's brutish portrayal of Wolf Larsen, the sadistic captian who enjoys inflicting misery upon those hepless under his command, is no simple two dimensional characterization of a stock villain. Quite the opposite, the screenplay makes a point of a psychological study of him. He is portrayed as a well read, highly intelligent man who, in essence, failed to succeed on land so became the captain of a ship where he could rule with a iron (and, at times, very nasty) fist.

 

"Better to reign IN HELL than serve in heaven," Robinson proclaims, a line he borrows from John Milton's Paradise Lost, because it so sums up his own life and philosophy.

 

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Robinson has a magnificent supporting cast in the film, too. John Garfield and Ida Lupino are both highly effective, portraying two outcasts of society, now finding themselves under Larsen's tyranny, combining forces for survival. There is an tough unsentimental "love" scene between the two actors at one point in the film that is genuinely touching for the honesty of emotions so eloquently expressed by two hurting souls.

 

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Canadian actor Alexander Knox brings intelligence to his role as Van Weyden, the seemingly wimpy pulp fiction writer who finds himself as one of the helpless under Robinson's authority on the vessel. Knox realizes that some of his best chances for survival are if he plays up to Robinson's ego, as well as his intelligence, by trying to psychoanalyze the complex captain, who desires to better understand himself, in his cabin.

 

At first contemptuous of Knox, because he is "soft, like a woman," Robinson's respect for his character starts to grow as he realizes that Knox is the only person on the vessel with whom he can make an intellectual connection.

 

Two of the film's best performances, as well, come from the character support. There is Barry Fitzgerald, as the knife wielding, crackling "Cookie." A corrupt, evil little man who plays secretive informer on the crew in an attempt to curry the captain's favour, he would just as soon turn on the captain.

 

One of the film's most memorable scenes occurs when Robinson decides, much to the crew's joy, to teach Fitzgerald a lesson by tying a rope to him and throwing him into the sea, to be dragged, screaming, through the water. Suddenly the fin of a shark appears. I'll say no more but what follows is truly gripping.

 

And then there's another Canadian actor, Gene Lockhart, giving, perhaps, the performance of his career as the ship's doctor who has taken to drink and is the butt of everyone's humour. Lockhart remembers when he was on land, treated with respect. He at one point stops drinking, cleans himself up and in a sensitive moment pleads with Larsen to have the crew treat him with respect, an acknowledgement that he feels he deserves as ship's physician.

 

In a truly agonizing scene Robinson makes a point of humiliating Lockhart by tripping him in front of the ship's crew, who all burst into laughter. Lockhart, in one of the great dramatic moments of Mike Curtiz films, then starts to climb the vessel's mast to get away from his tormentors. When he gets to the top of the mast, Robinson and the crew, having had their fill of laughing at him, yell for Lockhart to come back down. Lockhart, instead, yells defiantly at Robinson.

 

Then, in what is probably the most electrifying closeup in the entire film, Lockhart proclaims, "I'll come down, Larsen. IN MY OWN WAY."

 

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Not to be forgotten, as well, is a moody, evocative musical score by the great Erich Wolfgang Korngold, which adds immeasurably to this atmospheric production.

 

In the true tradition of Warner Brothers, this film touches on the subject of oppression, a theme to which the studio returned time and again in its dramas. Even in a highly charged drama, set at sea, such as this, the human element is not lost, adding immeasurably to the power of the production.

 

The Sea Wolf is a great film, in my opinion, which, fortunately, does appear on TCM on occasion. I can't recommend the movie enough, not only to Robinson fans, but anyone who enjoys highly dramatic and, at times, even unexpectedly moving, filmmaking.

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Tom, that's an excellent highlight post of Eddie G's film career, and even at that, still doesn't hit all of his wonderful flicks, so many fine performances rendered by this amazing actor!!! Oh and I'd add THE LITTLE GIANT (1933) to the list of Eddie's fine gangster spoofs! That one totally rocked as well!!

 

Thanks again for a magnificent and radically cool thread!

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RETURN OF DR. X: Bogie Lugosi. Also known as An Actor's Got To Eat:

 

Unlike Robinson and Cagney, Humphrey Bogart had to wait a few years before he would be blessed with Hollywood stardom. After his terrific film performance as Duke Mantee in The Petrified Forest in 1936 (a role for which Warners had originally considered casting Eddie G.), the studio then cast the actor in a series of supporting roles, increasingly typecast as a hoodlum.

 

It wouldn't be until he worked with Raoul Walsh in High Sierra in 1941, a gangster part again, but this time a sympathetic one, that the actor would finally start to be recognized for his talent. Later that same year, the role of Sam Spade in The Maltese Falcon, would solidify his stardom.

 

It would be a long five year haul in mediocre parts for Bogie, though, between the desert of The Petrified Forest and the mountains of High Sierra. While he was definitely making a living there must have been a lot of frustration for him, as well, with the two dimensional parts that he played. With only a couple of exceptions, such as the factory workman who gets mixed up with a Ku Klux Klan-type organization in Black Legion or, on loan to Goldwyn, playing Baby Face Martin, a gangster who returns to his old stomping ground in Dead End, Bogart had few strong opportunities as an actor during the late '30s.

 

Bogie claimed that the low point for him was when he appeared in Swing Your Lady, a hillbilly-wrestling comedy, with Nat Pendleton. Surely rivalling that production, however, was when the actor appeared in his only horror film, The Return of Dr. X, in 1939. Keep in mind, that since it was a Warners production the treatment of the material was decidedly light and breezy, with virtually none of the attempts at atmosphere that had made Universal the studio that was king of the horror genre. The film ends, in fact, in typical Warners style, with a shootout right out of a gangster film.

 

(Spoiler Alert): Bogart plays Dr. Xavier, a character electrocuted for murder, later restored to life by a doctor with "synthetic blood." The synthetic blood only keeps him alive so long, however, so Xavier has to kill other people with his blood type and drain their bodies of the previous fluids in order to stay alive. Yes, this is the closest that Bogie ever got to playing a role that could have been played by Bela Lugosi. Too bad he didn't attempt a Romanian accent in the part. No, sorry, I take that better. I still have memories of his Mexican "accent" in Virginia City, a western released the following year.

 

Bogart's first appearance in the film, as a lab assistant, has him entering a room with the bizarre makeup that would be his for the entire production: wearing glasses, with a glistening pasty white face and, for some reason, also sporting a wide white strip of hair on his head giving him an appearance not completely unlike that of a skunk.

 

Bogie may have played a few skunks in other films, but that was a different kind. The actor also, for reasons unexplained, has an immobilized left hand, which he clutches to his chest like a claw. And, in that first appearance of his, he is also carrying a small white rabbit. Poor little bunny.

 

But also poor Bogart - which pretty much describes his robot-like performance. There isn't a lot of future star potential visible here, at least to my eyes. Well, he's supposed to be a strange bird, anyway, particularly in comparison to wholesome all-American Wayne Morris and Dennis Morgan, who play the heroes in the film.

 

To Bogart fans, however, while The Return of Dr. X can provide a few laughs, those laughs are strictly unintentional, as far as Bogart's performance is concerned. It's a little embarassing to see how bad he is, though, to be fair, with this particular screenplay, pretty much any other actor would have floundered in the role, as well. Vincent Sherman directed this film. I rather doubt that in his memoirs Sherman tried to take much "credit" for Bogart's performance.

 

The Dr. Xavier that Bogie plays, by the way, has nothing in common with the Lionel Atwill character sporting the same name in the Warners hit, Doctor X, of seven years before. Well, that horror film had synthetic flesh. They should have just stuck with the flesh of that film and skipped this synthetic bloodfest. At least, I'm sure that Bogart wished they had.

 

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!

 

Bogie applying some of his own makeup? It didn't help.

 

Well, better days lay ahead.

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TomJH-you seem to start a lot of threads asking for opinions, then ignore the posts and instead write long soliloquies in your own thread.

Really, one day I logged on and there were no fewer than 5 threads "authored" and "last post by" TomJH.

 

You strike me as a frustrated classic film critic/historian.

 

images?q=tbn:ANd9GcR8f4cYRloYjvMU2G7WU4U

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There are probably a lot of us who are frustrated classic film critic/historians, just as on sports forums there are a lot of frustrated baseball managers. What of it? Speaking for myself, I've always found TomJH's posts to be among the most informative offerings around here, and I hope he continues them. I'd sure rather read his takes on Bogart/Cagney/Robinson than some mindless diatribe against foreign movies or films made after 1965.

 

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TikiSoo, thanks for your observation.

 

Any thread I've created is on a topic of interest to me that I hope may be shared by others on these boards. The lengthy descriptions sometimes provided I fully know will be ignored by some. And that's fine with me. It's my hope that those interested enough to read them may be stimulated enough by something I've written to respond. Whether the response is an agreement or disagreement with my assessment (or possibly a correction of my "facts"), doesn't really matter. The main thing on these boards, as far as I'm concerned, is to share our love about movies.

 

You call me a frustrated film critic/historian. There's probably some truth to that observation but, if in my writing on these boards others are interested in the topic (and I've received some correspondence to indicate such), what is the harm in that? Must every thread on these boards be primarily small talk? This is, after all, supposed to be a message board for movie fans, is it not?

 

I have to take exception, however, to your comment that I ignore other posts on my threads. Many people make a comment that I simply don't think warrants a response. They've stated their opinion on the subject, and I feel that it stands as such on its own. They don't require an answer from me, nor do I think they're looking for one. When I strongly agree or disagree with a statement made on a thread of mine, believe me, I will respond.

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Thanks for your comments, Andy. I'm glad you've enjoyed the thread.

 

And thanks for referring to some of my threads as informative. But when it comes to really informative threads, I miss seeing the postings made by the Movie Professor. I think we were all very lucky that he chose to share some of his encyclopedic knowledge about the movies with us.

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crazyblonde, I know you're really crazyforcagney. But I'm glad you like Eddie G. and Bogie, as well. These were three actors who proved that they were so much more than just tough guys. And thanks very much for your contributions to the thread, as well.

 

I always hope to exchange information on these threads because there will never be such a thing as too much knowledge for any of us.

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*JAMES CAGNEY - HIGHLIGHTS OF A LEGEND'S CAREER*

 

*Public Enemy (1931)*

 

*images?q=tbn:ANd9GcRRdRsLLrJdtaBFLOveCe4*

 

After small parts in four minor films, James Cagney was elevated to the lead role of small time hoodlum Tom Powers in director William Wellman's surprisingly still hard hitting gangster drama. This film, along with the previous year's Little Caesar and Scarface, a Capone-inspired masterpiece to be released by Warners in 1932, ushered in the gangster cycle, to the delight of audiences and consternation of religious and morals groups. It is also the film that made Cagney a star, and there's little wonder why.

 

While the performances in this film are dated, to say the least (in particular, an incredibly stilted Jean Harlow, who acts as if she's from another planet), Cagney is pure street. There's an instinctiveness and rough charm to the actor's playing that makes him totally convincing in his role. Afterwards Cagney's characterizations would be softened by Warners, and it wouldn't be until White Heat that the actor would play a hood even nastier than this one. The film has at least one scene of immortality, that in which a grouchy Cagney pushes a grapefruit into the face of hapless girlfriend Mae Clarke.

 

*Footlight Parade (1933)*

 

images?q=tbn:ANd9GcQg8_UG4fFdFDUqjjG6v1I

 

Cagney was undoubtedly delighted to get a break from his tough guy roles when he appeared in one of the most delightful of the Busby Berkeley-choreographed musical extravaganzas. The actor also had the opportunity to show off his dancing moves in "Shanghai Lil," last of the Berkeley numbers in the production, and one of the very best. A film of sexy chorus girls and snappy street wisecracks, the knockout supporting cast includes Joan Blondell, Ruby Keeler, Dick Powell, Guy Kibbee and longtime Cagney buddy and comic foil, Frank McHugh. Cagney's own performance is a high energy joy.

 

*G Men (1935)*

 

images?q=tbn:ANd9GcQgEbwg_3DxuAoBH23_zVh

 

A reformed Cagney, now cast on the side of the law, as one of Hoover's men taking on some of the street hoods he had previously played. William Keighley directed one of the most action-packed and violent films of Cagney's career, which somehow didn't bother the moralists quite so much at the time of the film's release. This film, which is still most entertaining, was a big hit at the box office.

 

*Angels With Dirty Faces (1938)*

 

images?q=tbn:ANd9GcSXwFo7lJRTKBvg-kA0BML

 

Two slum friends, separated in their teens, one escaping the law, the other going to prison. One becomes a priest, the other a renowned gangster. Director Michael Curtiz in peak form, along with some of the most magnificent street sets the studio ever created, at times moody photography and a superior cast breathe life into this social conscience gangster saga. Rocky Sullivan remains perhaps Cagney's most quintessential characterization, the most lovable gangster of his screen career, and a film representing the actor at the zenith of his charisma and dynamic appeal.

 

His final walk to the electric chair remains one of the most emotionally gripping sequences of Warners melodramas, as well as a scene of continuing controversy. Did Rocky turn yellow or was he faking it? The supporting cast is truly a knockout: Pat O'Brien, in his best co-starring effort with Cagney as his priest friend, Humphrey Bogart, George Bancroft, and, in a role that would lead to her own stardom, Ann Sheridan as the good hearted street-wise girl who would soon bond with Rocky. Cagney also has memorable rapport with the Dead End Kids, no matter what their friction on the film's set may have been. This remains one of the classic gangster sagas, even if the hard street edge of The Public Enemy has been replaced by blatant sentimentality. Cagney received his first Oscar nomination and would be named best actor that year by the New York Film Critics.

 

*Roaring Twenties (1939)*

 

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!

 

Warners' farewell to the gangster sagas, dripping in lavish production values, one of the studio's prestige releases of the year. Raoul Walsh directs a superior cast through a sentimental screenplay set during the Prohibition era. Speakeasies never looked quite so glamourous on film, after Cagney and Bogart as rival bootleggers team up. Cagney is tough but sensitive; Bogie, hard edged and not to be trusted. The rest of the cast includes Priscilla Lane, Jeffrey Lynn, Frank McHugh and Gladys George, who has the film's memorable final line.

 

*Fighting 69th (1940)*

 

images?q=tbn:ANd9GcQ39FzzE-HuFM38f6cffrF

 

Cagney as a cocky mutt who thinks he knows it all (the kind of role played countless times previously by the actor) joins a New York Irish brigade during WWI in this preparedness for war (WWII, that is) drama by Warner Brothers. Pat O'Brien plays the real life brigade chaplain, Father Duffy. Cagney, as always, is compelling, even if his sudden conversion from coward to hero does seem rather abrupt.

 

*Torrid Zone (1940)*

 

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!

 

A fast paced banana republic comedy, ludicrous but fun, with some memorable dialogue zingers. It's a variation on The Front Page, in many ways, set in Guatemala, with plantation boss Pat O'Brien shouting and manipulating hot shot James Cagney into battling revolutionaries and getting those bananas shipped out. However, forget the plot. This zesty frolic is all about fun, much of it coming in the form of Ann Sheridan as a nightclub singer who gets romanced (naturally) by lady killer Cagney. Sheridan steals the film, with the assistance of some of the film's best one liners. She and Cagney are a great screen team.

 

*City for Conquest (1940)*

 

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Sentimental street drama, with Cagney delivering one of his most heart felt, nuanced performances as a trucker driver-turned-boxer, driven harder to succeed by his ambitious dancer girlfriend. Cagney locked horns with director Anatole Litvak during production, later claiming that much of the film's best footage was left on the editing room floor. What is left on screen, however, is, at times, a little self consciously poetic but, ultimately, touching, even if the ending is a bit over-the-top. Ann Sheridan is effective as the girlfriend, and Arthur Kennedy has an impressive film debut as Cagney's pianist kid brother. Beautifully photographed and musically scored by Max Steiner, the rest of the cast includes Donald Crisp, Frank McHugh and a smooth, oily Anthony Quinn as Sheridan's dance partner.

 

*Strawberry Blonde (1941)*

 

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Director Raoul Walsh's remake of Paramount's One Sunday Afternoon is superior to the original in every respect. A sentimental valentine to Gay '90s New York City, with music, comedy, and, at times, poignant drama, this film boasts one of the great Cagney performances. As the man child Biff Grimes who finally matures and realizes that his "dream girl" was an illusion and his "plain wife" the real prize, Cagney is funny and touching and at his most lovable. The scene in which Grimes is reunited with his wife after his release from prison is the beautifully restrained emotional highlight of the production. Cagney is immeasurably assisted by Olivia de Havilland, a model of grace and sensitivity in her role as his wife. The outstanding cast includes Rita Hayworth as the title character, a conniving Jack Carson, and Alan Hale as Biff's laughing scalawag father.

 

*Yankee Doodle Dandy (1942)*

 

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Cagney's favourite film and role, as George M. Cohan, a sentimental flag waving musical biography which was a triumph, both critically and commercially, winning the actor his Academy Award. It probably remains his most famous film, and it's great to see his high energy stiff limbed dancing. Walter Huston and Rosemary De Camp play Cohan's parents, with Cagney's own sister, Jeanne, playing his screen sister. Joan Leslie is his perky leading lady, under the direction of Michael Curtiz.

 

*White Heat (1949)*

 

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Cagney's return to his old studio, Warners, in his most audacious screen performance, as Cody Jarrett, a psychotic gangster with a mother fixation. Hard hitting drama, directed by Raoul Walsh at the peak of his powers, the film still retains maximum impact, even upon repeat viewings. The two highlight scenes, one set in a prison cafeteria, the other in an oil refinery, are both the stuff of gangster film legend. The most chilling performance of Cagney's career, he never tried to top it. "Made it, Ma! Top of the world!" may well be the actor's best remembered line from a film climax impossible to forget.

 

*Love Me Or Leave Me (1955)*

 

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A middle aged Cagney, now at MGM, playing real life gangster, Marty the Gimp, to Doris Day's Ruth Etting. A high powered drama, with Cagney playing one of his nastiest characters, yet still, in the film's final scene, providing the audience with a glimpse of the man's humanity and emotional vulnerability. Day is dramatically a knockout, the performance of her career, possibly inspired by the actor who was her co-star. Cagney received his third and final Oscar nomination for this role.

 

*Mister Roberts (1955)*

 

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Warners big budget adaption of the hit stage comedy, with an all star cast, headed by Henry Fonda as the title character. Cagney's characterization as the Captain is surprisingly two dimensional but the film does provide him with his first comedy role in years and the opportunity to utter one of his most famous lines. After the disappearance of the Captain's prized palm tree, Cagney is on the ship's P.A. system with his most memorable line of the film, "Whooooooooo did it?" Jack Lemmon won an Oscar for his performance as Ensign Pulver, while William Powell is steady-as-she-goes as wise Doc, the final role of his illustrious career.

 

*Man of a Thousand Faces (1957)*

 

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!

 

Cagney is effectively subdued in this sincere biography of silent film great Lon Chaney. Dorothy Malone plays his tragic first wife, along with Jane Greer and Roger Smith, the latter cast, incredibly, as Chaney's son, Creighton. Anyone who has seen the real Lon Chaney Jr. knows that his resemblance to Smith was virtually non-existent.

 

*One Two Three (1961)*

 

images?q=tbn:ANd9GcS4rmw9tdFYIIgJi70d9dY

 

Director Billy Wilder's frantically paced comedy with Cagney as a West Berlin Coca Cola executive, eager for promotion, who has to deal with his boss' ditzy daughter. Cagney is in great form with perhaps the fastest dialogue of his career, but the actor found the filmmaking experience an unpleasant one during this production. Quietly, upon its completion, he decided to retire. Cagney would remain in that retirement for twenty years, returning in the '80s for two final film appearances, in Ragtime and Terrible Joe Moran. James Cagney died in 1986.

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I love this post Tom. Just shows why I love Cagney so much.. So much presence that he can make any movie watchable for me and while he wasn't in many romantic films, he did shine with a few female cohorts, Ann Sheridan I believe was his best fit.

 

As for your orignal post, again has to be Cagney for me. I like Eddie G but I haven't seen many of his movies..Still, I don't get the same feeling I have with Cagney.

 

Finally, bogart.. I just never have gotten into him or his movies..I don't think I like his acting style..

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Thanks very much, Lazyking. I'm glad you enjoyed the rundown on Cagney's career, and I see that we're in agreement about Cagney when he was teamed with the very beautiful and sassy Ann Sheridan.

 

You say that you're really not into Bogart. But have you seen him in either African Queen or Treasure of the Sierra Madre?

 

Most Bogart fans seem to agree that those two John Huston films rank among his very best. Both could be classified as adventure films, except that the first has a huge abundance of humour thrown in, as it gradually develops into a middle aged love story, while the second can be considered to be a morality tale.

 

In any event, both films have very strong characterizations which really pull you into their narratives. And Bogart was experimenting with his screen image in both, which is why his performances here may appeal to you more since he is NOT playing the usual Bogart anti-hero. And, I must say, I think that Bogie shows his greatness as an actor in both productions, as well.

 

Anyway, just a suggestion.

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Edward G. Robinson did not like George Raft. And George Raft, I understand, was not exactly in love with Edward G. Robinson. As a result of this mutual animosity there was actually a physical altercation between the two stars on the Warners set while they were making Manpower in 1942.

 

robinson&raft19410512.jpg

 

What I get from this photo, aside from Robinson's obvious anger, is this: I hope that nobody EVER expected Ward Bond to break up a fight! Nope, by the look of pure joy on his face there, I'd say that Bond was a guy who liked to see a good brawl. (By the way, those white hairs on the head behind Robinson, I suspect, belong to co-star Alan Hale, who looks like he is trying to pull Eddie G. away from Raft).

 

As for the reason for the mutual dislike, I'm not certain. Perhaps somebody else knows. I think I've heard some talk of both actors actually being interested in Manpower leading lady Marlene Dietrich at the time. (Somehow, though, that sounds a little out of character for Eddie G. but, then so does this fracas).

 

Anyway, fast forward 16 years. Raft has agreed to Billy Wilder's suggestion that he be cast as gangster Spats Columbo in the director's upcoming big screen comedy, Some Like It Hot. It is my understanding that the role of Columbo's gangland competitor in the film, Little Bonaparte (to eventually be played by Nehemiah Persoff) was originally offered to Edward G. Robinson. Robinson, though, turned the part down. I stand to be corrected on this but that is my understanding, some claiming that Robinson did so because Raft was going to be in the film. Who knows, maybe it was a billing issue for him regarding his old nemesis. Whatever . . .

 

In any event, there is still inside joke irony in the film (and you just know that Billy Wilder's mind had to be behind this). Do you recall the scene in which a gangster with a tommy gun pops out of a gigantic cake at a reception for Spats and sprays him full of lead? And just who played that gangster? Edward G. Robinson Jr.!

 

Wilder may not have been able to get the services of the old man so he settled for his kid to do the job. Kinda gives new meaning to that moment in Some Like It Hot, in which a dying Raft's last words are, "Some joke."

 

Here's a shot of Robinson Jr. and Raft together earlier in the film, after Robinson has been caught flipping a coin, a parody, of course, of Raft's own screen image as a coin **** from his appearance in Scarface, 25 years before:

 

04be8e1d-0a77-4bf6-b462-24fc83df25a8_zps

 

I think this is all fun to know. Still, a very large part of me wishes that Edward G. Robinson had played Little Bonaparte.

 

If anyone knows any further specifics about Eddie G., regarding either his dislike of Raft, or non-appearance in the Wilder classic, it would be great if you could share your knowledge here.

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I'm a little late to this party, but my absolute favorite actor of all time is James Cagney. I'm quite fond of Robinson as well. The rest of you can have Bogart, even though I'll concede he was very good in The Caine Mutiny. Most of the time I can't stand him. Surprisingly, I find Robinson the most versatile of the three.

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You know, helenbaby, you're far from alone. It seems to me that there has been more enthusiasm over Cagney in the responses to the thread than the other two actors.

 

Cagney was an amazing performer, particularly during his first two decades in the movies, I feel. His performance in White Heat continues to amaze me, no matter how many times I see the film.

 

Thanks for joining in with your comments.

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> {quote:title=finance wrote:}{quote}I think a lot of people are scratching their heads about how Bogart made it to become the AFI #1 most legendary actor ever.

At first I thought it was ballot stuffing by people who only know the sort of classic movies that get shown on PBS and TCM prime time, and voted for Bogart solely on Casablanca, The Maltese Falcon, and The African Queen. But then I saw that the voting was limited to 1,500 "artists, critics, and film historians", and now I'm not so sure. Right now I'd barely put Bogie in my top 10, if that, but before I started getting into TCM's full repertory and not just the same old same old, I probably would have listed him as #1 myself. It takes awhile before you realize that the world of film doesn't begin and end with the AFI top 100.

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Andy, it's apparent that Bogart is not one of your very favourite stars. The same with finance.

 

Even though as I stated in my original posting Cagney is my favourite of the three actors, off hand I can't think of another male star of the 1940s who appeared in a stronger collection of films than Bogart.

 

Aside from bonafide classics like Maltese Falcon, Casablanca and Treasure of the Sierra Madre, take a look at some of the other titles: High Sierra, Across the Pacific, Sahara, To Have and Have Not (which undoubtedly many regard as a classic), Big Sleep (ditto on that previous classic comment), Dark Passage, Key Largo.

 

And that's just the '40s alone, without touching on the fact that Bogie had a far stronger career than most of the top male stars of the '30s and '40s during the '50s, as well, in spite of the fact that death cut it short for him sooner than almost anyone else.

 

That's a pretty impressive list of titles, in my opinion. Whether he deserves to be ranked as #1 I don't even want to go near because I wouldn't know who to pick myself. But if someone had to get it, the quality of those films certainly helps. And, let's face it, Bogart was an integral part of the success of those films, too.

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