HOLLYWOOD’S GOLDEN AGE: THE “BAD” ACTORS

“The gangster film has always been one of the staples of the American cinema. Though the record shows that there were several motion pictures with a gangster theme as far back as the silent era, the genre did not really begin to flourish as a popular form until the thirties. Depression-era audiences responded strongly to all the action, violence and romance that these films contained, and were more than willing to get caught up in the colorful on-screen exploits of Edward G. Robinson,, James Cagney and Humphrey Bogart. In a sense, the movie gangster, with the rebellious breaking of society’s rules and regulations, and his aggressive drive to “get somewhere” regardless of consequences, became something of a hero to filmgoers of the period.”
“Robinson, Cagney and Bogart are, even today, the three actors most associated with films of this type, which isn’t surprising, since all three achieved their initial fame in a Warner Brothers [the king-of-the-hill gangster film studio] crime drama.”

–Robert Bookbinder, author of CLASSIC GANGSTER FILMS

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There were a lot of “bad actors” in Hollywood in those days. Robinson, Cagney and Bogart weren’t the only famous names to have become famous names playing bad guys in 1930s gangster films, but most (e.g. Peter Lorre) remained typecast as character actors. We will take a look at the “bad character actors” in our next post; this post will look to the stars.

Quoting further from Robert Bookbinder’s excellent book CLASSIC GANGSTER FILMS, “Little Caesar [1931] was the first of the great gangster films. It made a star of Edward G. Robinson, who had been working in films since 1923, and it laid the groundwork for all the fine Warner Brothers gangster movies that followed.” Here’s a clip from the film:

How tough was Edward G. Robinson? Tough enough to get Doris Day and Jack Carson out of a pickle:

Just as Little Caesar made a star of Robinson, Warner Brothers’ second gangster film (later the same year), The Public Enemy, made a star of James Cagney. In this scene, after Cagney’s friend is shot to death by a gang, he vows revenge and arms himself with two 38s:

By 1942, Cagney had made a clean break from the “gangs” — here he is in scenes from his Oscar-winning performance as showman George M. Cohan in Yankee Doodle Dandy:

As for Humphrey Bogart, he was the last of the three to attain stardom after years of supporting roles in gangster films. In The Roaring Twenties (1939), he is third-billed (Cagney stars):

All three, as we know, went on to bigger (if not badder) things in such films as Double Indemnity (Robinson), Mister Roberts (Cagney), and, of course, Casablanca (Bogart), among many other memorable performances. Who says crime doesn’t pay?

 

GANGSTER WRAP

I trust that you remember my March 30 post titled HOLLYWOOD, DEAD LEFT ON VINE. If not, maybe you could use a nudge from Police Lt. Frank Drebin to refresh your memory:

Maybe now you remember: my March 30 opus delicti distinguished between film noir (theme of that post) and gangster movies (this post’s theme), while allowing for crossover in films like WHITE HEAT (classified as film noir in one book, and gangster film in another). To anyone not ‘into’ such films, these thorny details may strike one as nothing more than a distinction without a difference….but I’ll assume you aren’t “anyone,” because I’ve got a job to pull — I mean, a post to write — and the subject ain’t roses.

That’s odd. I could have sworn the subject was not roses.

Wait a shrouded minute! Now I remember — the subject was supposed to be gangster movies. My bad. Sorry for the hold up.

In the introduction to his book CLASSIC GANGSTER FILMS, by (appropriately enough) Robert Bookbinder, he writes: “The gangster film has always been one of the staples of the American cinema. Though there were several motion pictures with a gangster theme produced as far back as the silent era, the genre did not really begin to flourish until the thirties, when it reigned throughout the decade as one of the public’s favorite kinds of “escapist” entertainment. Depression-era audiences responded strongly to all the action, violence and romance, and were more than willing to get caught up in the on-screen exploits of Edward G. Robinson, James Cagney and Humphrey Bogart. In a sense, the movie gangster, with his rebellious breaking of society’s rules and regulations, and his aggressive drive to “get somewhere” regardless of consequences, became something of a hero to filmgoers of the period.”

It is worth noting that, although the gangster film by no means passed completely out of the picture, its most productive period (1930 to 1941-42) led to the era of classic film noir (1941-59)….which began with THE (never-surpassed) MALTESE FALCON. The above three stars were equally without rival in both genres.

Bookbinder’s book binds together the above transition, providing a fascinating look back at 45 gangster films (several overlapping into film noir), complete with credits, cast, commentary, photos and synopsis for each film, ranging from LITTLE CAESAR in 1930 to BONNIE AND CLYDE in 1967 and THE BROTHERHOOD in 1969. Of the latter, Bookbinder states: “It was not especially successful, and it has been almost completely overshadowed in film history by the more expensive and elaborate Godfather films of the early seventies. The picture deserves a better fate….what a truly entertaining gem it is.”

Now, I will admit that, in general, I am not as big a fan of gangster films as I am of film noir. I have an affinity for the more tangled and convoluted plots (in most cases) of the latter, compared to the more macho and less sophisticated gangster films….but then, “sophisticated” is not a term one normally associates with gangsters — so, by Sam, let’s call a spade a Spade. It’s not a bum rap.

But there is one bailiwick in which gangster films win hands down — I mean, hands up! (ha ha) — and that is in gangster film spoofs such as the all-time classic, SOME LIKE IT HOT (1959), which lost out to (would you believe?) BEN-HUR in practically every Academy Award category for that year. Oh, well — nobody’s perfect. 😦

And that’s a wrap.

 

 

HOLLYWOOD, DEAD LEFT ON VINE*

The film noir of the classic period (1941-59) is normally associated with the so-called Golden Age of Hollywood and its aftermath. In truth, the creative impetus for its most influential literary content dates back a full century.
In April 1841, Graham’s Magazine in Philadelphia published the first detective story, The Murders in the Rue Morgue by Edgar Allen Poe and thus, mystery fiction was born. –
-Lawrence Bassoff, CRIME SCENES

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In my 11/30/16 post titled BOOKS RIGHT DOWN MY ALLEY, I wrote of finding a large cache of old movie books at a local library’s used book sale. One of those books was CRIME SCENES (subtitled Movie Poster Art of the Film Noir), from which the above quote is taken. How could I resist buying such a book, given that Film Noir has long been one of my favorite film genres, which includes such classics as THE MALTESE FALCON (1941), MURDER MY SWEET (1943), DOUBLE INDEMNITY (1944), LAURA (1944), THE BIG SLEEP (1946), SUNSET BOULEVARD (1950), and STRANGERS ON A TRAIN (1951). The introduction states it “is the first genre retrospective collection of movie poster art on the topic ever published in book form.”

Bassoff writes that in the summer of 1946, ten American films whose French releases had been blocked by WW II (including the first five of the above) arrived in Paris theaters to be viewed by “new product-starved French filmgoers”….films based on American novels the French called “Serie Noire” by such authors as Dashiell Hammett and Raymond Chandler. The term “film noir” (first attributed to Frenchman Nino Frank in 1946) literally means “black film” for the “often low key, black and white visual style of the films themselves.”

And what great films they are! Even after having seen some of these films more than once, I could return to the scene of the crime once again;  no doubt you could too — assuming you’re a film noir buff, which it would be a crime if you’re not. The test? Can you name at least half of the directors and stars of the above films? Answers (directors in CAPS):

THE MALTESE FALCON — JOHN HUSTON (making his directorial debut), Humphrey Bogart, Mary Astor, Peter Lorre, Sydney Greenstreet
MURDER MY SWEET — EDWARD DYMTRYK, Dick Powell
DOUBLE INDEMNITY — BILLY WILDER, Fred MacMurray, Barbara Stanwyck, Edward G. Robinson
LAURA — OTTO PREMINGER, Gene Tierney, Dana Andrews, Clifton Webb, Vincent Price
THE BIG SLEEP — HOWARD HAWKS, Humphrey Bogart, Lauren Bacall
SUNSET BOULEVARD — BILLY WILDER, William Holden, Gloria Swanson
STRANGERS ON A TRAIN — ALFRED HITCHCOCK, Farley Granger, Robert Walker

Moving on: if Basssoff’s book were not confined to Hollywood film noir, no such list would be complete without THE THIRD MAN (1949), a British-made classic directed by Carol Reed, starring Orson Wells and Joseph Cotton. And of course there are many other Hollywood tour de force classics worthy of being kept alive, including such killer-dillers as:

WHITE HEAT is considered by some to be in the gangster film realm rather than film noir, but there’s no law against crossover — in fact, WHITE HEAT is classified as film noir in CRIME SCENES and gangster film in CLASSIC GANGSTER FILMS (the latter being another used book sale find, which I may review in a future post). Meanwhile, I highly recommend the former — as Sam Spade (Humphrey Bogart) said of the bogus Maltese Falcon: It’s “the stuff dreams are made of.” And nightmares.

*HOLLYWOOD, DEAD LEFT ON VINE is a play on the famous intersection of Hollywood Boulevard and Vine Street. I heard on the grapevine that the site was a ranch, and then a lemon grove, until 1903.

20161005_Hollywood_and_Vine_historical_marker

 

DRIVING MUSE CRAZY

“What’s the matter with you? Want to get your head full of lead? Get out of here.”
–James Cagney to Pat O’Brien in ANGELS WITH DIRTY FACES (1938 gangster movie)

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As you’ve probably heard, Flint, Michigan, has a problem. To save money, the powers-that-be in that distressed city decided to change the source of their water supply from the Great Lakes to the lead-laden Flint River….whereas they could’ve bitten the bullet (if they wanted to get their heads more full of lead than their constituents) and found a way to pay for safe drinking water for those with less desire to live dangerously.

More water problems in Flint, Michigan

Not to make light of man-made malfeasance, but humans aren’t the only ones who suffer. Suppose you’re a fish in that river –or other such stream or body of water. I think it’s safe to say you’d carp about any amount of brain-damaging lead, much less having our elected blowfish bargain for more. Holy mackerel — even a bullhead knows adding pollution is no solution! Can you imagine facing death floundering around like a crazed piranha because a bunch of political pikers don’t give a crappie about your well-being?

So I’m glad I’m neither a fish nor a resident of Flint….as if there aren’t already enough things that drive us crazy in this dogfish-eat-dogfish world, without having to worry about budget-balancers compromising our health. Now, I’m willing to allow that they dood it more out of ignorance than pure evil, but poison by incompetence is little comfort to its victims. Talk about a costly can of worms.

Of course, screw-ups aren’t the only thing DRIVING MISS DAISY crazy (you may think said film title is a stretch as far as a connection here is concerned, but take another look at this post’s title). Word play aside, I could probably come up with a plethora of pet peeves, but why go to all that trouble when I can sum it all up in four words: LIFE drives me crazy! — or, as my wife might call it, a short trip for a big drip. Well, love o’ my life, perhaps you’ve forgotten the words to our (some might say) fin-icky love song:

As for those of you who are drowning in pet peeves and want them spelled out, I hope the following will serve the porpoise:

76 Incredibly Accurate Pet Peeves That Will Drive. You. Nuts.

P.S. But after all is said and done….

NOBODY’S PERFECT

Fans of Hollywood’s Golden Age movies will recognize the above title as one of the classic last lines in film history, said by Joe E. Brown to Jack Lemmon at the end of Billy Wilder’s SOME LIKE IT HOT (1959). Today being Wilder’s birthday (June 22, 1906), and me being in the middle of a biography of Wilder by the same title, I thought I’d offer my own brief tribute to one of the great directors of all time, to be followed at a later date by a review of the book when I’ve finished reading it. Seeing as how I’ve owned the book for over a year and am not yet halfway through it, don’t expect the follow-up anytime soon. I may be retired, but I still can never seem to find time to catch up on my reading. Hey, nobody’s perfect.

Even the greatest directors made some films that weren’t so hot, and Wilder made a few such, but few directors and screenwriters have made more movies that bear repeated viewings (which is my standard for greatness) than Billy Wilder. Here is my Top Ten list of favorite Wilder films:

THE MAJOR AND THE MINOR (1942), starring Ginger Rogers and Ray Milland
DOUBLE INDEMNITY (1944), starring Fred MacMurray, Barbara Stanwyck and Edward G. Robinson
THE LOST WEEKEND (1945), starring Ray Milland
SUNSET BOULEVARD (1950), starring William Holden, Gloria Swanson and Erich von Stroheim
STALAG 17 (1953), starring William Holden

SABRINA (1954), starring Humphrey Bogart, Audrey Hepburn and William Holden
WITNESS FOR THE PROSECUTION (1957), starring Marlene Dietrich, Charles Laughton and Tyrone Power
SOME LIKE IT HOT (1959), starring Jack Lemmon, Tony Curtis and Marilyn Monroe
THE APARTMENT (1960), starring Jack Lemmon, Shirley MacLaine and Fred MacMurray
ONE, TWO, THREE (1961), starring James Cagney

When Wilder died March 27, 2002, he took his wit to his grave. His headstone reads:

    BILLY WILDER

     I’M A WRITER
         BUT THEN
NOBODY’S PERFECT