EACH DAWN I DIE (Warner Brothers, 1939), directed by William Keighley, is a powerful story revolving around two men of different backgrounds who meet while serving time behind prison walls. Taken from the novel by Jerome Odlum, this adds to the many prison related themes commonly produced by the studio at that time. Aside from its fine direction and assortment of familiar stock players, the major draw happens to be on two most notable tough guys of the silver screen: James Cagney and George Raft. Although they initially appeared together, ever so briefly, in a dance marathon sequence from Cagney's starring film, TAXI (1932), EACH DAWN I DIE, their only real collaboration together, is certainly a worthy offering for them both. As their individual styles and distinctive mannerisms combined make up one solitary movie, it's Raft who gets both the best notices and a much-needed career boost after previous mediocre assignments from his former home base studio of Paramount.
The plot opens on a stormy night as Frank W. Ross (James Cagney), reporter for The Banton Record, arrives at a construction company where he witnesses through the window Jesse Hanley (Thurston Hall), district attorney running for governor, and assistant, W.J. Grayce (Victor Jory), burning up their books and documents. After the news reached the front page, and before gathering enough evidence that could send the corrupt politician to prison, Hanley beats Ross to the punch by hiring thugs to abduct and have him placed drunk inside a moving car that crashes and kills three innocent people. Found guilty on charges of manslaughter, Ross is sentenced from one to twenty years in Rocky Point Prison. The news leaves his fellow reporter associates, Joyce Conover (Jane Bryan), Bill Mason (William B. Davidson) along with his poor mother (Emma Dunn), in total disbelief as they watch the handcuffed Frank being taken away. While in prison, Ross (Convict # 14517) finds himself under strict rule by Warden Armstrong (George Bancroft), while he and the other prisoners under the mercy of Pete Kassock (John Wray), a sadistic guard. Because Ross has saved the life of fellow inmate, "Hood" Stacy (George Raft), an underworld thug (Convict # 14520) sentenced to 199 years, the two eventually become good friends. Knowing the men who framed Ross, Stacy promises to help him regain his freedom. The only way to accomplish this is to be on the outside. With Ross's help, a well-staged escape is planned. Although Stacy's escape proves successful, a slight mishap on Ross's part has Stacy going back on his promise. Convinced of playing part of the Stacy's breakaway, Ross goes through the motions of brutal punishment and endless time in solitary confinement. As each dawn he dies, Ross continues to wait and wait and wait for a promise from Stacy that may never be fulfilled.
George Raft, an truly underrated actor, shows how good he can be when offered a role to perfection. Though Raft did win critical praise and attention as Stacy, Cagney, too, is equally convincing as Ross. His distinctive Cagney trademark shines through with crucial scenes as his confrontation with the warden as he shows how hard-hitting and rebellious he's become while in solitary, along with his element of surprise and emotion when face to face with the new head of the parole board. Powerful stuff.
Regardless of frequent television revivals over the years, EACH DAWN I DIE doesn't seem to be as well known as it should be, or maybe that's how it currently appears. The film itself is well-constructed as it is suspenseful. Though essentially original in premise, the routinely used elements of prisoners working in juke mills, taking recreation time in the courtyard, well-staged fist fights, prison break attempts and unpleasant punishment methods are commonly found here. There's even time out at the movies where inmates come together in the prison theater with the orchestra of cons playing the hit tune originated from SHIPMATES FOREVER (1935), "Don't Give Up the Ship," prior to the presentation of an actual 1939 Warner Brothers release, WINGS IN THE NAVY. While Jane Bryan is the only major female member in the cast, the film does refrain from any cliché romantic angles. Also among the list of tough-guy types in active support include Stanley Ridges, Maxie Rosenbloom, Alan Baxter and Paul Hurst.
Though EACH DAWN I DIE may have flaws, the story and fine acting by all makes up for it in the long run. Distributed to home video and available on DVD, look for it next time it's broadcast on Turner Classic Movies and see the film responsible for earning George Raft a newfound studio contract for Warner Brothers. (***1/2)
The plot opens on a stormy night as Frank W. Ross (James Cagney), reporter for The Banton Record, arrives at a construction company where he witnesses through the window Jesse Hanley (Thurston Hall), district attorney running for governor, and assistant, W.J. Grayce (Victor Jory), burning up their books and documents. After the news reached the front page, and before gathering enough evidence that could send the corrupt politician to prison, Hanley beats Ross to the punch by hiring thugs to abduct and have him placed drunk inside a moving car that crashes and kills three innocent people. Found guilty on charges of manslaughter, Ross is sentenced from one to twenty years in Rocky Point Prison. The news leaves his fellow reporter associates, Joyce Conover (Jane Bryan), Bill Mason (William B. Davidson) along with his poor mother (Emma Dunn), in total disbelief as they watch the handcuffed Frank being taken away. While in prison, Ross (Convict # 14517) finds himself under strict rule by Warden Armstrong (George Bancroft), while he and the other prisoners under the mercy of Pete Kassock (John Wray), a sadistic guard. Because Ross has saved the life of fellow inmate, "Hood" Stacy (George Raft), an underworld thug (Convict # 14520) sentenced to 199 years, the two eventually become good friends. Knowing the men who framed Ross, Stacy promises to help him regain his freedom. The only way to accomplish this is to be on the outside. With Ross's help, a well-staged escape is planned. Although Stacy's escape proves successful, a slight mishap on Ross's part has Stacy going back on his promise. Convinced of playing part of the Stacy's breakaway, Ross goes through the motions of brutal punishment and endless time in solitary confinement. As each dawn he dies, Ross continues to wait and wait and wait for a promise from Stacy that may never be fulfilled.
George Raft, an truly underrated actor, shows how good he can be when offered a role to perfection. Though Raft did win critical praise and attention as Stacy, Cagney, too, is equally convincing as Ross. His distinctive Cagney trademark shines through with crucial scenes as his confrontation with the warden as he shows how hard-hitting and rebellious he's become while in solitary, along with his element of surprise and emotion when face to face with the new head of the parole board. Powerful stuff.
Regardless of frequent television revivals over the years, EACH DAWN I DIE doesn't seem to be as well known as it should be, or maybe that's how it currently appears. The film itself is well-constructed as it is suspenseful. Though essentially original in premise, the routinely used elements of prisoners working in juke mills, taking recreation time in the courtyard, well-staged fist fights, prison break attempts and unpleasant punishment methods are commonly found here. There's even time out at the movies where inmates come together in the prison theater with the orchestra of cons playing the hit tune originated from SHIPMATES FOREVER (1935), "Don't Give Up the Ship," prior to the presentation of an actual 1939 Warner Brothers release, WINGS IN THE NAVY. While Jane Bryan is the only major female member in the cast, the film does refrain from any cliché romantic angles. Also among the list of tough-guy types in active support include Stanley Ridges, Maxie Rosenbloom, Alan Baxter and Paul Hurst.
Though EACH DAWN I DIE may have flaws, the story and fine acting by all makes up for it in the long run. Distributed to home video and available on DVD, look for it next time it's broadcast on Turner Classic Movies and see the film responsible for earning George Raft a newfound studio contract for Warner Brothers. (***1/2)