In the 1930s, Warner Brothers became the go-to studio for making films involving social drama themes---particularly stories about crime and its effect on society. Its three principal male actors who developed a specialty in playing roles in this genre were Humphrey Bogart, James Cagney and Edward G. Robinson. They achieved major fame from the realistic and often violent way they depicted criminal behavior during this period of economic unrest brought about by the Great Depression.
However, in the midst of starring in many "gangster-type" movies, each of these actors departed from being type-cast and chose to "spoof" their other work by tackling comedy. Cagney was the first with a pair of comic criminal satires---"Lady Killer " (LK) (1933) and "Jimmy the Gent"(1934). Robinson soon followed with "A Slight Case of Murder" (1938). Finally, Bogart appeared in "All Through the Night" (1942). LK may be the best of this group of films because of its energetic pace, nonstop action, inspired combination of comedy and melodrama and the sheer fun Cagney and the other actors seemed to have at poking holes in their usual anti-social characters.
In particular, Cagney excelled in projecting wit, vitality, cockiness and optimism at a time when life was especially hard on members of the underclass. Just as Footlight Parade (1933) captures the young Jimmy Cagney in a definitive example of his unique and under appreciated dancing skill---LK gave him a rare opportunity to demonstrate his special aptitude for physical comedy. This was often missed because so many of his hit movies dealt with serious social issues.. Cagney was so believable as the theater usher/criminal/movie actor character in LK that many in the audience actually felt that they were watching the "real" Cagney on the screen---a transformation perhaps more dramatic than any realized in the work of either Bogart or Robinson.
The idea that a mobster would move to Hollywood to escape the law and successfully adopt the guise of an actor in the process is outrageous yet compelling in its audacity. That Cagney would then become a real star as part of the narrative only adds "icing to the cake." Was Cagney really.what he pretended to be--and if so---which role reflected his true character?
Hollywood often took itself quite seriously when it engaged in self-satire. Cf. A Star Is Born.(1937) and. Sunset Boulevard (1950). In LK, the narrative borders on the outlandish, which only adds to its enjoyment as movie entertainment. All the actors seem inspired by participating in this thoroughly offbeat.and delightful film. It is our loss that the multi-talented James Cagney never was given another similar opportunity to play.a zany comic character.
In any event, we have LK---and that is a major plus in a long career that had so many others!
However, in the midst of starring in many "gangster-type" movies, each of these actors departed from being type-cast and chose to "spoof" their other work by tackling comedy. Cagney was the first with a pair of comic criminal satires---"Lady Killer " (LK) (1933) and "Jimmy the Gent"(1934). Robinson soon followed with "A Slight Case of Murder" (1938). Finally, Bogart appeared in "All Through the Night" (1942). LK may be the best of this group of films because of its energetic pace, nonstop action, inspired combination of comedy and melodrama and the sheer fun Cagney and the other actors seemed to have at poking holes in their usual anti-social characters.
In particular, Cagney excelled in projecting wit, vitality, cockiness and optimism at a time when life was especially hard on members of the underclass. Just as Footlight Parade (1933) captures the young Jimmy Cagney in a definitive example of his unique and under appreciated dancing skill---LK gave him a rare opportunity to demonstrate his special aptitude for physical comedy. This was often missed because so many of his hit movies dealt with serious social issues.. Cagney was so believable as the theater usher/criminal/movie actor character in LK that many in the audience actually felt that they were watching the "real" Cagney on the screen---a transformation perhaps more dramatic than any realized in the work of either Bogart or Robinson.
The idea that a mobster would move to Hollywood to escape the law and successfully adopt the guise of an actor in the process is outrageous yet compelling in its audacity. That Cagney would then become a real star as part of the narrative only adds "icing to the cake." Was Cagney really.what he pretended to be--and if so---which role reflected his true character?
Hollywood often took itself quite seriously when it engaged in self-satire. Cf. A Star Is Born.(1937) and. Sunset Boulevard (1950). In LK, the narrative borders on the outlandish, which only adds to its enjoyment as movie entertainment. All the actors seem inspired by participating in this thoroughly offbeat.and delightful film. It is our loss that the multi-talented James Cagney never was given another similar opportunity to play.a zany comic character.
In any event, we have LK---and that is a major plus in a long career that had so many others!