Period between introduction of sound films in 1927 and enforcement of infamous MPAA Production Code in 1934 was the most exciting in history of Hollywood. Rapid technological progress went hand in hand with a lot of experimentation and creative freedom, resulting in entire genres being introduced or defined. For gangster genre, one of those defining moments happened in 1931 with not one, but two instant classics - Little Caesar, which was few months later followed by The Public Enemy, directed by William A. Wellman.
Like Little Caesar, this film was based on novel inspired by real life events and personalities in Prohibition-era Chicago. Beer and Blood, written by Chicago journalists John Bright and Kubec Glasmon, was never published and instead was directly adapted by Harvey F. Thew. The plot begins in 1900s Chicago where two young boys from Irish American neighbourhood – Tom Powers (played by Frank Coughlan Jr.) and Matt Doyle (played by Frankie Darro) – join the gang of thieves led by Putty Nose (played by Murray Kinnell) who would ultimately betray them. Years later, Tom’s brother Mike (played by Donald Cook) is still trying to discourage now adult Tom (played by James Cagney) from the life of crime. Tom doesn’t listen, and when Prohibition goes into effect in 1920, he and now adult Matt (played by Edward Woods) join bootlegging organisation led by Samuel “Nails” Nathan (played by Leslie Fenton). They work as “enforcers” and earn large amount of money, allowing them to have lavish lifestyle and beautiful girlfriends. However, when Nathan dies in horse-riding incident, rival gang boss “Schemer” Burns start war in order to take his territory. When Matt dies at the hands of Burns’ men, Tom is determined to avenge him.
Comparisons between Little Caesar and The Public Enemy shows how film technology managed to advance in a matter of months. Although it definitely looks dated even for Classic Hollywood standards, the latter film is much more polished than the former and William A. Wellman, one of the most experienced directors in Hollywood, is shooting exteriors and make shots in a way that allow actors to move more naturally. But even more important difference is in The Public Enemy approaching phenomenon of organised crime in America with more nuance. Unlike Rico Bandello and other characters in Little Caesar who were exotic foreigners with “strange” names, gangsters in this film are Irish Americans, people who grew up in America and were looking ordinary as children before growing up into vicious, violent criminals. The Public Enemy clearly tries to show how this had nothing to do with “wrong” ethnicity. Tom Powers grew up family that involved loving mother (played by Beryl Mercer) and brother who tried to set him straight.
The real strength of The Public Enemy lies in the performance of James Cagney, relatively unknown actor for whom the role of Tom Powers was fifth film appearance in the career. He played him as vicious, violent psychopath, thus cementing the image of “bad boy” and “tough guy” which would define much of his later career. Cagney and Wellman also benefited because of the absence of MPAA Production Code. The Public Enemy was rather violent for early 1930s standards, including the legendary scene when Tom displays his violent nature by throwing grapefruit in the face of his nagging girlfriend Kitty (played by Mae Clarke). There were other violent and disturbing elements in the film, including (offscreen) killing of an animal, cold blooded execution and finale in which Tom gets what had it coming in a way which is incredibly cruel towards his family. By showing what fate awaits those who live by the gun, Wellman in that way tried to prevent censors and moralistic public from accusations that The Public Enemy glamourised life of crime and gave bad example to impressionable youth. There was a serious debate whether Hollywood succeeded in turning the public from crime or whether the later stiffening censorship of MPAA Production Code was warranted, but the film’s commercial success paved the way for many great gangster films to come. As such, The Public Enemy with its 83 minutes of running time gives short and comprehensive insight into important era of film history, but also provides story that could be appreciated by today’s audience.
RATING: 7/10 (++)
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