This uses a very different approach to story telling compared with its contemporary Warner Brothers gangster films. This shows how it is rather than explaining why it is.
Unlike James Cagney's Public Enemy, Paul Muni's character is not likeable in any way. It's impossible to empathise with him or develop any feelings for him. Empathising with him however is the last thing on earth you'd want to do, he is a vile monster, more horrific and terrifying than any of the monsters being made over at Universal because he is real.
If you watch films from this era you will encounter loveable rogues or bumbling gangsters possibly helping the likes of Joan Blondell to put on a show etc. But this is real life; it reflects the sickeningly brutal reality of organised crime making existing during the Great Depression even more unbearable.
Even though this is 'pre-code' because of censorship, you don't get any backstory from Ben Hecht's fabulous script explaining why this man is the way he is. This is about a moral sickness rather than a character and that does make this movie feel a little cold. Muni's flawless performance explodes onto the screen fully formed and utterly psychotic and violent and just to hammer home the point, he's even having an incestuous relationship with his little sister. All that makes him sound like a pantomime baddie but Hecht draws on his experiences as a Chicago journalist making this thug totally authentic and believable.
Unlike The Public Enemy which blames society for Tom Power's character, Tony (Capone) Camonte is just evil. Characters exactly like this were terrorising the very streets of Chicago as audiences strolled by to watch this very film in the picture houses. Innocent bystanders, women and children were being callously left dying in pools of their own blood in crossfire between rival gangs of thugs without a second thought.
It's not easy viewing but because it's so engrossing you cannot tear your eyes away from it. Like the 1983 gory (and horrible) remake with Al Pachino, it's got a strong message. It's just as bleak and soulless but there are a few touches of humour to make it more palatable. And also, thanks to Howard Hawks, you can have a little fun spotting the X motifs he has hidden in every scene signifying a death is about to happen - every death has got one!
Unlike James Cagney's Public Enemy, Paul Muni's character is not likeable in any way. It's impossible to empathise with him or develop any feelings for him. Empathising with him however is the last thing on earth you'd want to do, he is a vile monster, more horrific and terrifying than any of the monsters being made over at Universal because he is real.
If you watch films from this era you will encounter loveable rogues or bumbling gangsters possibly helping the likes of Joan Blondell to put on a show etc. But this is real life; it reflects the sickeningly brutal reality of organised crime making existing during the Great Depression even more unbearable.
Even though this is 'pre-code' because of censorship, you don't get any backstory from Ben Hecht's fabulous script explaining why this man is the way he is. This is about a moral sickness rather than a character and that does make this movie feel a little cold. Muni's flawless performance explodes onto the screen fully formed and utterly psychotic and violent and just to hammer home the point, he's even having an incestuous relationship with his little sister. All that makes him sound like a pantomime baddie but Hecht draws on his experiences as a Chicago journalist making this thug totally authentic and believable.
Unlike The Public Enemy which blames society for Tom Power's character, Tony (Capone) Camonte is just evil. Characters exactly like this were terrorising the very streets of Chicago as audiences strolled by to watch this very film in the picture houses. Innocent bystanders, women and children were being callously left dying in pools of their own blood in crossfire between rival gangs of thugs without a second thought.
It's not easy viewing but because it's so engrossing you cannot tear your eyes away from it. Like the 1983 gory (and horrible) remake with Al Pachino, it's got a strong message. It's just as bleak and soulless but there are a few touches of humour to make it more palatable. And also, thanks to Howard Hawks, you can have a little fun spotting the X motifs he has hidden in every scene signifying a death is about to happen - every death has got one!