Most of the early William A Wellman movies I’ve written about here are little-known – and the same goes for a lot of the James Cagney movies I’ve written about up to now. I often find it’s easier to find things to say about films which haven’t already been discussed endlessly. By contrast, The Public Enemy is one of the most celebrated of 1930s films – Wellman’s gangster masterpiece, and the film which made Cagney a star. It’s also the film which got me interested in both its star and director. Since I first saw this movie, I’ve watched it repeatedly and also gone on to see almost all of Cagney’s other movies, plus as many of Wellman’s silent and pre-Code films as I can get my hands on.
I hoped that after doing all this I would have something new to say about this film, yet I am still daunted, and can really only come up with some rambling comments rather than a full review. Anyway, I agree with everybody else that it is a masterpiece, and a film where you can find something new every time you watch it. In case anybody reading this hasn’t seen the movie, I will be talking about the whole film, including the famous ending.
First of all, I’m sorry not to have posted here for ages – my working life has been busy and I’ve let blogging slip as a result. I’ll try to do better!
James Cagney walked out on Warner Brothers in the mid-1930s partly because he was fed up with being typecast as a tough guy. So it comes as a surprise that his starring role in Great Guy – the first of two movies he made with Grand National, a poverty row studio – seems such a typical role for him.
Typical at first glance, anyway. His character, Johnnie Cave (the hero of stories by James Edward Grant published in the Saturday Evening Post) is an ex-boxer, now fearlessly enforcing the law for New York’s Department of Weights and Measures. However, the very fact that he is working for such an unglamorous department suggests a certain distance between this character and the gangsters, G-Men and dashing pilots Cagney had played in his recent films.