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Prior to the Breen code being put into place, Gangsters
had it easy in the movies--they could gamble on screen and
not be punished for their evil deeds. What's more they could
be complex, multi-dimensional characters that had an element
of good in them in addition to the overwhelming bad elements.
The quality of the films varies but the best here more than
hold their own against the best in the genre. More importantly,
most of these films were made prior to the code taking effect
(which was in 1934 when Breen could enforce the strict guidelines
of the code making sure there was "morality" on the screen
and that the wicked were punished). ***
First up is "Smart Money" the only film to feature
Edgar G. Robinson, James Cagney and, in a supporting role,
Boris Karloff (post-Frankenstein pre-fame when it was shot).
Robinson plays Nick Venizelos a man who runs much more than
his barber shop; he's got plenty of gambling and other parlor
games running on the side. When Nick is ripped off in a
big stakes poker game, he plans his revenge to get the $10,000
that he and his pals put up as his stake. Cagney primarily
has a supporting role. "Little Caesar" had become a big
hit but "Public Enemy" had yet to be released so while his
star was on the rise, it wasn't quite as high as Robinson's
at the time. ***
Well made with a breezy pace and some particularly
nice camera dollies and shots (remember, this was early
in the days of sound films when doing a dolly shot was like
moving a mountain). It's a very good film in spite of some
flawed plotting on the part of the (four credited) writers.
***
Cagney gets center stage for "Picture Snatcher" where
he plays an ex-con who gets a job as a newspaper photographer
(!). He'll do anything for scoop and sometimes that "anything
goes" attitude can cost him. Featuring able support by Ralph
Bellamy, "Picture Snatcher" is a surprisingly strong programmer
with a breakneck pace for a 1930's picture. Unfortunately
due to a flaw in the original disc (some sort of manufacturing
snafu I'd imagine) I couldn't view the entire film. ***
"The Mayor of Hell" is, perhaps, the most dated of
the package. Directed by Archie Mayo (best known for the
radio drama "Lights Out" and for directing one of the first
3-D movies in the 50's), "The Mayor of Hell" has a major
Achilles Heel--the writing. The writers provide us with
a "moral" story dealing with social commentary but stumbles
with the racial stereotypes of the time. Cagney stars again
but he's clearly in a supporting role here as well; he plays
***
"Lady Killer" and "Black Legion" are up next and are
memorable as much for what we see as what we don't because
of the Code. The former is a parody of Hollywood mixed with
a gangster film in a bizarre genetic monstrosity directed
by Roy Del Ruth. When former movie usher Dan (Cagney) has
a con pulled by a grafter (Mae Clarke), Dan tracks her down
and forces his way into the gang that her brother (Douglas
Dumbrille) runs. ***
"Black Legion" deals with prejudice with Humphrey Bogart
as a down-on-his luck guy who loses his a promotion and
hears a radio broadcast attacking the foreigners that are
stealing jobs from able bodied Americans. In this case,
the film is a less than subtle jab at the Klu Klux Klan
or any other hate group. Frank joins this "Black Legion"
an organization much like the Klan. He finds friends and
others with a chip on their shoulder and hits the high life
again able to buy all those things he always wanted but
at what cost? It's an interesting film in that "Black Legion"
does deal with racism but doesn't point the finger at the
Klan nor does it bring up the victims of this form of racism.
***
"Brother Orchid" is probably the best known of the
films in this set and while it is enjoyable it isn't Robinson
or Bogart's best film by a long shot. Robinson plays Johnny
a gangster who left the "business" behind in the charge
of his second in command Buck (Bogart). When Johnny returns,
he wants what is rightfully his and gets shot in the process.
He doesn't die however and is found by a group of monks
who treat his wounds and allow him to stay at the monastery
they call home. Turns out that while Johnny plays his racket
at the monastery when Buck tries the same thing Johnny becomes
protective of his new "brothers". ---
Image & Sound:
All the films look quite good with a minimal amount
of grain and artifacts. The films have been cleaned up and
the best available prints have been used to reconstruct
the films from this set. Audio sounds as you would expect
period audio to sound--it doesn't have a lot of life to
it but just the right amount of noise reduction is used
to reduce the crackle of the period soundtrack. ---
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