Prohibition is an idea that many other countries around the world have, and some continue to, enact in their cultures. Basically, it outlaws the creation, sale, and distribution of alcohol. Prohibition in the U.S. started in 1920 with the passing of the 18th Amendment and was repealed by the ratification of the 21st Amendment in 1933. This was one of those issues in American history that had many supporters on both sides. Eventually, the prospect for revenue became too great to keep this product off lawful store shelves, ergo 21st Amendment. Imagine no more tobacco products in today’s society, crazy huh? Well such a world is the backdrop for this collection of four films: Little Caesar, Smart Money, The Public Enemy, The Roaring Twenties. And while all the movies exist in this “liquor free” America, only two of them tackle the issue head on.
Little Caesar (1931) is comparable to Scarface in a few aspects. No, there isn’t the gratuitous violence and mountains of cocaine, but the rise of a nobody to a somebody is found in the character of Rico portrayed by Edward G. Robinson. He, and friend Joe Massara (Douglas Fairbanks, Jr.) move east to get serious about organized crime. But upon arrival to the big city, Rico and Joe go their separate ways. Massara becomes infatuated with the idea of his name in lights for his dancing talents. Such prospects don’t deter Rico from his intentions, and he takes up with mob boss Mr. Vettori. Quickly, he becomes his “number one guy” and leads the other henchmen on a heist of luxurious night club The Bronze Peacock. But during the getaway, Rico knocks off a very important person, and vaults him from small potatoes to the big time. What follows is his twisted journey to crime prominence and Joe’s struggle to decide what path he should take.
Smart Money (1931) is the second film that features Robinson as the focal character. In this flick, he portrays Nick “The Barber” Venizelos, a barber from the small community of Irontown who just can’t seem to lose any game of chance. After ringing the normal crowd at the weekly shop dice game, all his pals suggest the should take his show on the road and try to make it big. After taking an unknowing “sucker” for $100, he decides that’s a swell idea and takes a train to the big city and tries to “strike it rich.” He learns of the notorious Hickory Short and the illegal poker games he run in the hotel he’s staying at. The first time he plays, he didn’t bring his luck with him, and they take him for all he’s worth. While that had all but busted Nick The Barber, he gets a visit the next day by some of his guys from the shop including fellow barber Jack (James Cagney), who tell him not to give up on them and himself. After being a quick study from the first time, he goes back and tells them what’s what. This gives him the confidence to go on and become a “main man” in the underground gambling scene, but will his quick rise and love for blonds lead to his demise?
The Public Enemy (1931) stars James Cagney as Tom Powers, a tough kid raised on the “mean streets.” Even as a child, Tom is a menace in the town. From petty theft to simply being a nuisance to some of the other kids in the neighborhood, he was one that was destined to be a “jail bird” by the age of 18. The film quickly moves from this part of his life, to adulthood (within 10 min.) And much like the plot in Little Caesar, he and partner Matt Doyle (Edward Woods) get put on the fast track from the minors to the big leagues, and start playing bit parts in running alcohol for pub owner Mr. Paddy. When the U.S. enters World War I, Tom’s older brother Mike (Donald Cook) gets called to duty, which leaves Tom as “the man of the house.” Upon this responsibility, Tom takes it upon himself to become a “main man” and what follows is yet another rise of an organized criminal, with a beautiful blond at the epicenter of this life on the edge. How long can Tom keep up his “lifestyle” and will the devilishly good looking dame assist in this possible fall?
The Roaring Twenties (1939) is the last of this film collection and starts Cagney again (who has a role in three of the four films) along side legend Humphrey Bogart. Eddie Bartlet (Cagney) and George Hally (Bogart) are squad mates in WWI (the movie actually opens up with them in the trenches avoiding grenades). And it becomes apparent that the two of them are quick witted, smooth talkers who sometime act like degenerates. During a recon mission, a discussion arises as to what they’ll do after the war; George plans to return to the saloon despite the impending prohibition prospect while Eddie says he’s going back to the auto shop he worked at before going overseas. The war ends, and the two buds go their separate ways. Upon this divide, the film follows Cagney back home and his attempt to get his old job back. And although his boss said it would be waiting on him, he is denied his former position. Out of work, and down on his luck,he decides to try his hand at trafficking alcohol, and lands himself in the slammer. He is bailed out by a Ms. Panama Smith (Gladys George) who proposes that Eddie come work for her. The running liquor game gets deep for the two of them, so much in fact, that they need the assistance from an old friend (wink, wink) to help build their empire. But again the question becomes, how long can they stay aboard the gravy train in the crime world’s cloud 9?
Despite only knowing Bogart before viewing these movies, I was quite impressed with most of the other performances. Robinson does a bang up job in Little Caesar and Smart Money as does Cagney in all of his roles. Humphrey Bogart graces the screen (of course) but I felt that he wasn’t in …Twenties enough to suit me, considering his greatness in other classic films I’ve seen him in like Sabrina. The movies themselves where actually quite entertaining despite their age (classic doesn’t quite cut it when your talking about releases from the ’30s). And one can really see where the heritage of many other great gangster films come from in the framework of these. So much so, that I think someone should try to work with the script from Smart Money and modernize it for today’s Hollywood (are you listening Ridley Scott or Antoine Fuqua?). In the way of special features, the only conventional ones that exist in these movies are commentaries, that are done by historians that are experts in this time in American history. But the one that is unconventional, and really add a nice touch to these films is Warner Bros. Night at the Movies in which the viewer can watch the movie as if they were in the theater watching it when it was released, complete with a newsreel, live action short, and a Merrie Melodies cartoon. Each of the four films include this feature and is a surprisingly nice touch to this set of films.
For some reason, I really enjoyed Little Caesar and Smart Money more so that the other two. And while I’m not exactly sure why, considering all of these films are very similar, it probably has a lot to do with my first exposure to Edward G. Robinson and his acting prowess. All in all, this is a nice collection of movies that really takes one back to an almost unimaginable era of history for most of us. From the vernacular spoken by great characters like Rico, to the newsreel style narration of …Twenties, this is a cool set of films. Especially for the asking price of $19.99.