Review of He Was Her Man

I'm really glad to see the many thoughtful, positive comments about this film on IMDb, because it's one of my favorite pre-Code era films. The film books don't give it good marks: Halliwell ("not quite smart enough"), Hirschhorn's Warner book ("pallid stuff"), Homer Dickens ("not a very good film"), Maltin ("disappointing"). Don't believe these folks! Perhaps part of the problem is that this sentimental tale, while not an unfamiliar story, is nothing like the Cagney action films and comedies that preceded it. It just isn't what critics and viewers would expect. Interestingly, one critic, Howard Barnes, writing at the time the film was released, comes a little closer: "It is James Cagney's gift to execute a characterization with such clarity and conviction that (the film) becomes exciting and engaging through his participation ... he moves with fine restraint and assurance, making the screen drama a rather effective hodgepodge of melodrama and sentiment." Effective it is, but far from being a hodgepodge, the story is constructed unusually well for Warners at the time: no padding, no abrupt truncated bits, each sequence weighted properly in terms of the others. The melodrama is kept to a bare minimum: one can imagine a big action shoot-out scene at the end, with Cagney dying in her arms, and numerous other chances for standard melodrama, all avoided. Certainly, a key to the success of the film is Cagney's immensely subtle, nuanced performance; always charming, but never for a moment not a heel. As with the similar character in CEILING ZERO, Cagney knows to play the role as though he's a good guy and let the story tell the truth about the character. Blondell's performance, too, is extraordinary; the usual archetypical brassy blonde is here unexpectedly vulnerable. But the script is a full partner in these characterizations. Blondell's past is not glossed over: "I met him right here in this hotel, he was in the big city for a good time, the bellboy introduced us, you can figure it from there." There's Cagney's predatory request for sex in their first scene, taking advantage from the first moment of the fact that she likes him and that she's almost obligated and really has little choice. Of course, one looks ahead and can assume that Cagney will probably be killed and she'll marry Jory. But there are so many possible bad paths to this conclusion, and none taken here. In fact, it's a measure of the film's success that there's considerable tension built, and one isn't really sure during the watching exactly how it will play out. Not only is the story well told, but the dialogue is excellent, with the characters speaking their mind, though often indirectly. Exposition is masterfully integrated with the characterization in the dialogue. There's a large cast of fully drawn minor characters, too. Perhaps some would find Jory's Portuguese fisherman a bit much (though I am glad to see the IMDb comments are generally very favorable), but in the context the character works. And it's so nice to see Jory not the villain for once. What I love about the better early-Thirties films is that they don't point the viewer to an obvious interpretation of each scene, and their structure is fluid and not predictable in its details. The subtle moments don't call attention to themselves and may be missed by viewers used to a more straightforward style. This is a fine film with outstanding performances from Cagney and Blondell, and if you avoid it because of the "experts" you'll be missing a rewarding film.