The story begins in the tenements of New York, with two brothers, one an aspiring musician and the other a fighter, who already has a yen for a pretty young neighbor who is an aspiring dancer. Cut to some years later, and the boxer is James Cagney, the musician's Arthur Kennedy, and the young neighbor is Ann Sheridan. All three of them are on the way to making it in their chosen careers, but in doing so, Sheridan's character falls in love with a sleazy ballroom dancer (Anthony Quinn). Cagney makes it big in boxing in order to help fund his brother's music career, before tragedy brings the three back together.
Cagney is Cagney as ever, but Sheridan seems a little too genteel as his tenement-bred girl - although that's partly the point - and I kept wondering why they didn't pick a dancer for the part. Whenever they need a dance number, they either shoot it from the waist down or cut to a long shot. It's too bad WB didn't have Rita Hayworth under contract - she would have been ideal, and a much better fit than the role she was doing over at Columbia at that time, in Ben Hecht's Angels Over Broadway (1940). Arthur Kennedy as the musical brother doesn't make a huge impression, but it's interesting to see Elia Kazan in a small role.
It has great camerawork with a great sense of the late 30s. I didn't realize until afterwards that the great James Wong Howe had a hand in this, but it figures. It's one of those films that feels like it fell a little short of its lofty ambitions, but it's so handsome that I hardly cared.
Cagney is Cagney as ever, but Sheridan seems a little too genteel as his tenement-bred girl - although that's partly the point - and I kept wondering why they didn't pick a dancer for the part. Whenever they need a dance number, they either shoot it from the waist down or cut to a long shot. It's too bad WB didn't have Rita Hayworth under contract - she would have been ideal, and a much better fit than the role she was doing over at Columbia at that time, in Ben Hecht's Angels Over Broadway (1940). Arthur Kennedy as the musical brother doesn't make a huge impression, but it's interesting to see Elia Kazan in a small role.
It has great camerawork with a great sense of the late 30s. I didn't realize until afterwards that the great James Wong Howe had a hand in this, but it figures. It's one of those films that feels like it fell a little short of its lofty ambitions, but it's so handsome that I hardly cared.