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Notes

1Modernity and theClassic Film

1 For a fuller discussion of the gangster film in the silent era, see McCarty (1993:1±49) and Everson (1998:227±34). 2 See Griffith, 1976:111±18 for a discussion of the role of the production cycle in classic Hollywood production. 3 Mitchell, (1995:203)discusses the gangster in exactlythis way because, heargues, all need to be studied in terms of their `repetitive patterning'. 4 Studies of modernity have produced contradictory responses as a result of this diversity. Giddens argues that modernity entails the creation of systems that can control risk and unpredictability(Giddens, 1991:3) whileLyon sees it as a sphere of plurality (Lyon, 1994:30). 5 For further discussion and analysis of the flaneurr, see Tester (1994) and for discussions of the predominantly male gendering of the flaneur figure, see Friedberg(1993:33±7) and Wilson (1992:90±100). 6 Ruth(1996:74) also comments on theway in which the gangster's social `mixing with refined men and women from the upper echelons of society' suggests a similar `upheaval in a social order that...had seemed stableand enduring'. 7 See Clarens (1980:88±92) and Munby (1999:58±61) for details of the censor- ship of the film by the Hays Office. 8 See Ruth (1996:90) for a discussion of the ambiguous gendering of gangster consumption. 9 See Clarens (1980:84) for details of the production process.

2 The Post-Code Gangster

1 The classic cycle's influence is so pervasive that the gangster film in the post- Code era of the 1930s has received scant critical attention. Only Yaquinto (1998:48±64);Roddick(1983:107±16, 121±43; and Clarens (1980:116±59) cover the period of the late 1930s in any detail. Munby (1996:101±18; 1999:66±82) offers detailed discussion of Manhattan ;McCarty (1993:102±5)discusses The Petrified Forestt; Schatz (1981:99±102) offers some discussion of Manhattan Melodrama, G-Men and ;and Shadoian (1977) ignores the periodbetween theclassic cycleand The Roaring Twenties entirely. 2 See Neale (2000:78±9) for an analysis of the critical tendency that raises the early cycle to `classic' rather than `generic' status with the effect of marginal- ising other variations. 3 Joseph Breen took over as director of the Production Code Administration in 1934.

165 166 Notes

4 See Doherty (1999:156±7) and Black (1994:107±32) for details of the role of the Legion of Decency in the censorship of the gangster movie in the early 1930s. 5 See Roddick (1983:112), for a discussion of this motif in . 6 Of all the gang's crimes kidnapping was the one that signalled their absolute evil for audiences in the 1930s who would have the Lindbergh case in mind as they watched. Kidnapping was `a crime so distasteful to the Hays Office that it had been barred from the screen since early in 1934, when Paramount had tried to cashin on the Lindberghcase withMiss Fane'sBabyIsStolen'(Clarens,1980:125). 7 Invisible Stripes is also interesting as a generic variation because it articulates a tropethat was to become popular, and which was also used in (1939): the gangster as guarantor of official and heterosexual society (generated by the hero's self-sacrificing death which gifts his younger brother the money he needs to establish his own business and to marry his sweetheart). Later films that used this device include The Big Shot, Johnny Eager and The Glass Keyy. 8 Coppola drew extensivelyon The Roaring Twenties in creating the Epic dimen- sions of TheGodfather trilogy, while the film influenced Scorsese from the beginning of his directorial career; see Grist (2000:16). 9 Many critics have noted these aspects of the film. Clarens (1980:155) notes the film's `romantic revisionism', Krutnik (1991:198) its `summing-up of the con- ventions of the early 1930's', while Hardy (1998b:90) comments on its influ- ence on film noirr.

3The Death o f the Big Shot

1 For a discussion of genre trends in wartime Hollywood, see Schatz (1997:221±32). 2 See Neale (2000:78±9) for an analysis of the critical trend which sees the classic narrative cycle of the early 1930s as effectively the only available expression of the gangster film aesthetic. 3 As well as re-visiting the family plot in its representation of the gangster trying to blackmaillegitimate society into giving it its sanction, Johnny Eagerr,like The Glass Keyy, offers an image of the cerebral gangster who thinks and schemes rather than using his body, a gun, or his will to assert authority over others. 4 See Marling (1995:201±2) for a discussion of the this cross-social corruption in Chandler's The Big Sleep. 5 McArthur (1972:26), for example, notes how Cagney's ruthless physical dyna- mism was re-interpreted as `psychotic' when it entered the post-war years. 6 This act of subsuming the self in undercover work became quite prevalent in versions of the undercover narrative, most notably in T-Men when one of the undercover agents has to deny his `real' self by pretending not to know his wife whenhe meets heronthe street. 7Shadoian (1977:199) notes how Fallon resembles an automaton, so drained is he of identity.

4 Outside Society, Outside the Gang

1 For an analysis of the function of the narrative dominant, see Todorov (1990:36±8). Notes 167

2 See Neale (2000:151) for further details of the noir criticism. 3 The articulation of desire also works the other way, as Krutnik (1982:34) notes in relation to the novels of James M Cain: `narrative disruption is desire itself, manifested through the hero's reaction to the body of the woman'. 4 See Davis (1990:38±41) for a discussion of both the bourgeois and left wing tendenciesofnoir fiction and film noir and Jameson (1993:37) for an analysis of the reactionarypolitics embedded in Raymond Chandler's version of the noir aesthetic. 5 See Neve (1992:145±70) for a fuller account of the relationship between film noir and society. 6 See Huyssen (1986:44±55) for an analysis of modernism's relationship to a feminised mass cultural space and Dekoven (1991:32±7) for a discussion of modernism's fears of the feminine cultural flows that assail male identity and threaten to fracture it. 7 It can be argued that the syndicate film, while being a development of film noir is also its inversion in that while noir focuses on the collapse of system in post-war culture and suggests the end of modernity and the onset of a post- industrial, or even postmodern, society, the syndicate film offers a nightmare of modernist systematisation where there is too much structure and too little freedom. The two forms thus articulate contradictory responses to modern- ity, one seeing nothingbut chaos and theother seeing nothingbut system. 8 See Woodiwiss (1988:14), for a discussion of the endemic violence that seemed to afflict eastern cities, in particular. 9 Doris' role also places the film within its generic history because she repre- sents the saintly woman from the silent gangster who redeems the criminal hero. In this respect, the seminal position of Force of Evil stems from its re-capitulation of previous gangster narratives (the rackets, the rise of the gangster, one-man-against-the-mob, the family narrative, and the Cain and Abel formula) and because it draws attention to the fact that all of them are derived from capitalist ideology (the legitimation of capitalist rules of acquisition, the American Dream, the ideology of the individual, the paternalism of the family, or the ideology of individual choice respectively). 10 The film again stars John Garfield and also involves Polonsky, this time as scriptwriter. 11 Two other gangster-boxing films share similar noir concerns: The Set Up (1949), a small town version of Body and Soul, in which an agingboxer wins a fight without knowing that his manager has agreed a fix and suffers punishment for an unwitting crime against the mob as a result; and Killer's Kiss (1955) which is more interested, like Gun Crazyy, in mapping the sexual- ity of criminality and violence.

5 Order and Chaos, Syndicates and Heists

1 As a result these cycles have sometimes been ignored in accounts of the gangster film. Shadoian (1977) mentions the existence of the heist and syndicate variations in the 1950s, but offers no discussion of individual films, preferring to discuss relatively minor films in the classic tradition () or examining the pseudo-gangster genre, the expose film (The Phenix City Storyy, The Captive Cityy). 168 Notes

2 Heist films also often articulate a nostalgia for the lost American values of self- reliance in the face of a totalising corporatisation of society, as is the case with the character of Dix in TheAsphalt Jungle who represents a yearningfor Jeffersonian ideals in his desire to return to his rural roots. Syndicate films, on the other hand, often express the triumph of un-American ideas and are not only a response to corporatisation or the Kefauver hearings, but also locate themselves in a culture of paranoia created by the earlier HUAC investi- gations so that syndicates come to embodythe totalitarian principles attrib- uted to Communism. 3 The expression of desire, for example, is what causes the downfall of Doc whose predilection for teenage girls prevents his getaway when he waits too long in a diner to watch a girldance. 4Implicit within this is a link between death and money which the film flirts withbut ultimately represses because while it wants to highlighttheaberrance of killing for money it does not want to suggest that capitalism itself is deathly. 5 See Kerr (1983:59) for a discussion of the importance of TheBig Heat as an influence on TheBig Combo.

6 Post-Classical Gangster Film: Nostalgia and Renewal

1 The phenomenon of Cinema is a contested affair, some critics associating it with the rise of the blockbuster (Schatz, 1993:17±25) while others identify it with cinema and a new generation of maverick directors (Cook, 1998:11±37). 2 See Everson (1998) for an account of the American Silent Cinema and the development offilm grammar and genre structures. 3 Many cultural theorists locate the origins of postmodernism within this period, Jameson (1992:125±51) arguing that the fragmentation of culture and the rise of the commodity in the 1960s marks its inception, while Harvey and Jencks both locate the rise of postmodernism in the 1970s, Jencks (1987:9) and Harvey (1989:141±59). 4 For a discussion of the parallel processes of modernisation and postmoderni- sation in the spheres of culture and economics, see Crook etal. (1992). For a counterview which argues that there is a distinct shift from modern to post- modern production principles, see Harvey (1989). 5The issue at stake in postmodernist texts' ability to comment on culture is whether, because of the loss of textual critical distance, there can ever be a postmodern avant-garde or whether the avant-garde is the domain only of modernism. See Best and Kellner (1997:135) for a discussion of the difficulty of distinguishing between modernism and postmodernism in their avant- gardemodes. 6 See Carr (2000:86) and Leong et al. (1997:77) for a discussion of a similar process that co-opted the film itself through its cultural commodification. 7 See Man (1994:13±18) for a discussion of the way that the modulation of this shift from optimism to disappointment is focalised through `subjective real- ism' as the narrative mimics the mood of the characters. 8 See Brode (1995:85) for further discussion of the film's existential outlook. Notes 169

7 The Postmodern Spectacle of the Gangster

1 For fuller accounts of postmodern aesthetics and cultural forms, see Connor, (1989); Wakefield (1990) (Denzin) (1991) Jameson (1991) Best and Kellner (1997). 2 See Brode (1995:169) for a discussion of the self-reflexive qualities of this scene. 3 See Davis (1990:265±323; 1993:29±54) for a discussion of the postmodern fragmentation of space in which, he argues, results in a new form of `postmodern feudal indenture system' for those living outside the contemporary American dream of unlimited consumption (African- Americans and Chicanos). 4 See Dyson (1993:215, 219±22) for a discussion of masculinity in the film which, he argues, marginalises the female role in holding black communities together byplacing such a high stake on the importance of the return of patriarchal values. 5 Hoodlum (Bill Duke, 1997) offers a similar vision in its historically based representation of the black gangster, ending with the redemption of the criminal and his return to official society with the image of his arrival at church. 6 A comparable development in the gangster genre, in the aftermath of the Cold War, was an interest in new white ethnic immigration, in the form of Russian gangsinRomeo Is Bleeding (Peter Medak, 1994) and LittleOdessa (James Gray, 1994). The former represents the intersection of legitimate and gangster society with the story of a corrupt police officer being hired to murder a mob assassin while the latter features another assassin, Joshua, who returns to his childhood home to perform a hit. 7 For a fuller discussion of the taxonomy, history, and sources of the black gangster film, see Reid (1995:456±73). 8 This is actually a metaphorical displacement on the part of the film to foreground the monolithic nature of Brown's racket, as corporate strategy in a contemporary globalised and postmodern economy is to decentralise rather than to centralise; see Waters (1995:13±19 133±57) for a discussion of corporate `differentiation' and the cultural fragmentation this produces. 9 Critics have implicity noted this by commenting on the film as a gangster version of Hamlet (Brode 1995:227; Yaquinto, 1998:231), a figuration con- tributed to by the interior monologue conducted in voice-over which expresses Carlito's desire to distance himself from the society around him. 10 See Brode (1995:227) for a discussion of Carlito's historic roots in the honest gangster who lives by his code. Bibliography

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Across 110th Street (1972), xi, 136, 137, Black Caesar (1973), xi, 122, 136±7, 138 138 Black gangster film, 122, 136±8, 141, (1959), x, 122±3, 151 169n5 Aldrich,Robert, 94 TheBlack Hand (1949), x, 107 Alger, Horatio, 8 , 136, 138 Alibi (1929), ix, 5 Blondie Johnson (1933), ix, 31 All Through theNight (1942), x, 51, 54 Blue Velvet (1986),146 American Dream, 7, 9, 10, 23, 93, 137, TheBlues Brothers (1980),153 147, 167n., see also Opportunity Body and Soul (1947), x, 78, 92±4, Analyse This (1999),164 167n11 Angels with Dirty Faces (1938), ix, 10, Bogart, Humphrey, 37, 40, 43, 45, 49, 30, 32, 34, 40, 41, 42, 44±7, 51, 55, 58, 64, 107, 158 165n1 Bonnie and Clyde (1967), xi, 123, 125±7 Armored Car Robbery (1950), x, 99±100, The Bonnie Parker Story (1958), x, 122±3 101, 102 Boorman, John, 127 Arquette, Patricia, 159 Booth,Elmer, 1 The Asphalt Jungle (1950), x, 97, 99, Bootlegging, 11, 20, 32, 49., see also 100±2, 168n2 Prohibition Assassin film, 141, 162 Boss of Big Town (1942),90 Boxing films, 92±4, 167n11 Baby Face Nelson (1957), x, 122±3 Boyz `nthe Hood (1991), xi, 141, 154±5 Bacall, Lauren, 66 Brando, Marlon, 130 Bacon, Lloyd, 41, 53 Breen Office, 30, 31±2, 63., see also Bandit film, 52, 55, 59 Hays Office; Production Code Barth,John, 121 Brode, Douglas, 128, 129, 144, 155, The Battleship Potemkin (1925), 144 168n8, 169n2 Baudrillard, Jean, 50 (1993),xi Belafonte, Harry, 104 Brooker, Peter and Will, 162 Bergman, Andrew,6,7,35 Brother Orchid (1940), ix, 52, 53±4 Berman, Marshall,13 The Brothers Rico (1957), 167n1 Besson, Luc, 162 Brown, Rowland, 5 Best, Stephen, 168n5, 169n1 Bugsy (1991),141 The Big Combo (1955), x, 78, 107, 113, Bullets or Ballots (1936), ix, 30, 36±8, 115±17, 118, 168n5 166n4 TheBig Heat (1953), x, 34, 106, 112±15, Byrne, Gabriel, 152 118, 168n5 TheBig Shot (1942), ix, 32, 51, 52, Caan, James, 131 58±60, 70, 166n7 Cagney, James, 16±17, 22, 35, 42,44, The Big Sleep, film (1946), 52 45, 48, 68, 70, 92, 166n5 The Big Sleep, novel, 60±1 Cain and Abel formula, xvi, 32, 51, 78, TheBig Steal (1949), 104±5 86, 167n9 Billy Bathgate (1991), xi, 141 Cain, James M., 167n3 Black, Gregory D., 166n4 Cameron, Ian, 74

176 Index 177

Capitalism, xvii, 8, 40, 59, 64, 74, 75, Corman, Roger, 123 89±94, 98, 125±6, 130±5, 157, 162, Corporatisation, xvii, 74, 90±1, 100±1, 167n9 106, 118, 124, 137 Corporate, 90±2, 105±6 Corporatism and corporations, xvii, Global, 128, 131, 135 37±8, 98, 124, 127±8, 136, 155, Capone, Al,29 163, 169n8 The Captive City (1952), x, 97, 107, The Cotton Club (1984), xi, 143 167n1 Coupleonthe run, xv, 102 Carlito'sWay (1993), xi, 141, 147, Counter-culture, 123, 125, 127 157±9, 163 Cowie, Elizabeth, xiii±xiv Carnegie, Andrew, 7 Crawford, Broderick, 110 Carr, Steven Alan, 123, 168n6 Crime and Criminality, 19, 29±30, Casablanca (1942), 158 41±2, 44, 47, 52, 64, 84, 86±7, 100, Casino (1995), xi, 163 102, 122, 124, 126, 127, 143, 157; Cassavetes, John, 136 see also Cultural economy; Law; Chandler, Raymond, 60, 74, 166n, Official society 167n4 Criss-Cross (1949),x,105 Charley Varrick (1973), xi, 136, 137 Cromwell,John, 110 Christopher, Nicholas, 74 Crook, Stephen, 168n4 City, the, 9, 14±15, 76±7, 87., see also Cry of the City (1948), x, 78, 86±7 Urban space Cultural economy vs country, 9, 10±11 Gangster, 7, 16,41, 60±2, 74, 78±9, streets, 12±13, 17±18,46±7, 140 81, 83, 88±9, 90±1, 111, 112±13, City for Conquest (1940),92 118, 130, 148±50, 161, 162±3 City Heat (1984), xi, 142 Official, 16, 49, 53, 59±62, 74, 88, Clarens, Carlos, 40, 43, 51, 55, 58, 63, 118, 161 64, 68, 87, 107, 165n, 166n9 Curtiz, Michael,44 Classic gangster, xiv, xvi, 1, 5±30, 31±2, Cycles, xvi, 6, 51, 165n2 46, 51, 55, 72, 73, 77, 79, 87, 91, 100, 108, 117, 124, 138, 140, 151, Dargis, Manohla, 24, 78 165n1 Davis, Bette, 41 Coen, Joel and Ethan, 141, 151 Davis, Mike, 167n, 169n3 Cohan, Steven, 113 De Carlo, Yvonne, 105 Cohen, Larry,136 De Niro, Robert, 134, 138, 143, 144, Commodity, the, 75±6, 77, 121, 156, 149 160, 161, 168n3 DePalma, Brian, 144, 145, 148, 156, Commodification, 75, 94±5, 112, 147, 157 168n6 Dead End (1937), ix, 34, 40, 42±4, 51, Confidential (1935), ix, 39 55 Connor, Steven, 169n1 Dead End Kids, 34, 43, 44, 45 Consumption, 4, 15, 17, 26, 29±30, Death of the big shot, xvi, 47, 50, 51, 75±6, 156±7, 165n8 52, 63±71,72,73, 81 Conte, Richard, 86, 115 Dekoven, Marianne, 167n6 Cook, Pam, 168n1 Deleuze, Gilles, 89 Copjec, Joan, 74 Denzin, Norman K., 169n1 Coppola, Francis Ford, 133, 135, 141, The Desperate Hours (1955), x, 110 166n8 Deterritorialisation, 77±8, 89, 100, 105, Cops-and-robbers, 3, 54, 97, 144, 155, 107, 131±4 163 Diary of a Hitman (1991), xi, 141 178 Index

Dillinger, John, 33, 55, 63, 127 Fordism, 14, 22 Dillinger (1945),x,64 Friedberg, Anne, 165n Dillinger (1973), xi, 123, 127 The Friendsof Eddie Coyle (1973), xi, Doherty, Thomas, 166n4 136, 137±8 Donlevy, Brian, 115 Fuller, Samuel, 117 Donnie Brasco (1997), xii, 162±3 Doorway to Hell (1930), ix, 5, 31 G-Man film, xvi, 32, 33±9, 40, 54, 72 DoubleIndemnity (1944),75 G-Men (1935), ix, 33±6, 37, 144, 165n1 Douglas, Gordon, 70 Gable, Clark, 32, 33 Douglas, Kirk, 67, 82 Gambler, 31, 33 Duke, Bill, 169n5 Gang, the, xvii, 20±1, 22±4, 35±6, 38, Duvall,Robert, 131 41, 56±7, 68, 78, 80, 87±8, 99, 102, Dyson, Michael Eric, 169n4 128, 150 Class system of, 55, 101 Each Dawn I Die (1939), ix, 53, 166n7 as family, 8, 18, 91 Eight HeadsinaDuffel Bag (1997),164 Loyalty to, 10, 18, 45, 55±6, 85, 100, Eight Men Out (1988), xi, 143 101±2 Ellis, John, 29 and society,59 The Enforcerr, a.k.a. Murder Inc.(1950), Gang films, 97 x, 97, 106, 107±9 Gang warfare, 2, 11, 27 Enlightenment project, 14±15 Gangs, 2, 11±12, 159 Epic, 7, 34, 47, 130, 166n8., see also Gangsta film, 141, 154±6 Gangster Epic Gangster, vii, xvii, 1±2, 6±8, 10±12, Ethnicity, 9, 32, 104, 136±8, 154±6, 13±16, 17, 25±6, 29, 33, 38, 40, 42, 169n6 52±3, 57±8, 67, 73±4, 80±1, 99, Everson, William, 1, 165n, 168n2 105±6, 114±15, 116, 128, 146, 153, Expose film, 72, 97, 107, 109±10, 141, 153, 160, 161 163, 167n1 Cerebral, 63, 64, 152, 166n3 and clothes, 9, 76 Family, 8, 17±20, 27±8, 34, 53, 60±3, as cop, 32±3, 34, 35 113, 130±2, 134±5, 142, 167n9 as detective, 52 Federman, Raymond,121 Discipline, 10, 15±16, 34±5, 45, 132, Female desire, 75 150 Female gangster film, 31, 52, 54 Excess, 5, 8, 11, 14, 16, 20, 24±8, 36, Femme fatale, 58, 75±6, 79, 81±4, 98, 38, 44, 47, 70±1, 108, 145 152 and the family, 8, 17±18, 60., see also Ferrara, Abel, 141 Family Film noirr, xiv, xv, xvii, 50, 51, 54, 58, as gambler, 31, 52 72±9, 98, 105, 141, 143, 167n4 and the gang, 20±1, 22±4, 34, 55±6, Criticism, 74±5, 166n9 73±4, 97, 99±100, 105±6, Cultural context of, 75±7 114±15, 139±40, 148±50, 159 Finney, Albert, 151 Good-bad, 30, 34, 37, 41, 44±5, 47, Flaneurr, 14±15, 73, 85, 165n5 84 Fleischer, Richard, 99 Hero, 3, 7, 87 Flynn, John, 136 and ideology,2.See also Ideology Foot soldier, 12, 17, 57, 63, 106, 141 and individual will, 12, 21, 34, 41±2, Force of Evil (1948), x, xvii, 4, 34, 77, 69±71, 86±7, 117. See also 78, 79, 80, 90±2, 167n9 Individual Ford,Glenn, 113 as loner, 34, 43, 44±5 Index 179

and themale pair, 9±10, 25, 28. See Gangster Epic, 47±50, 129±35, 141, also 143±4 as outsider, 10, 34, 45, 46, 55, 58 Gangster-loser, 136±40 Nietzchean, 86 Gangster noirr, xvii, 47, 50, 51, 63, 72, as patriarch, 56, 60, 100 77±96, 97, 111, 163 Post-human, 129 The Gangsters and the Girl (1914), ix, 1, Post-social,146 3 Psychopathic, 64, 68±71, 84±5, 105, Gardner, Ava, 79 122, 153 Garfield, John, 90, 92, 167n10 Redemption of, 2±3, 53, 54, 87, 91±2, Gass, William, 121 139±40, 169n5 Genre, xiii±xvi, 6, 31±2, 39 Rise and fall of, 6±7, 8±9, 14, 47, Criticism, xviii±xiv 167n9 Hybridity, xviii, 58, 121, 145, 146, Schopenhauerian, 86 155, 161±2 Tragic, 6±7, 51 Ghost Dog: The Way of the Samurai Gangster biopic, xvii, 122±3, 141 (2000), xii, 141, 162 Gangster film, 9, 31±2, 39, 47, 50, Giddens, Anthony, 165n4 51±2, 53±4, 55, 72±3, 79, 90, 95, Gish,Lillian, 1 97±8, 120±2, 141, 142, 144, 162±4 TheGlass Key (1942), x, 52, 60±3, 151, and Censorship, xvi, 28±30, 166n4 152, 166n7 Fragmentation of, 51±3, 120 Gledhill, Christine, 6±7 Genre criticism, xiii±xv, 6±8, 55, Gloria (1980), xi, 136 166n9 TheGodfather trilogy, 129±35, 136, History, xiv±xviii, 34±5 141, 166n8 Iconography, 6, 25, 39, 51, 97, 142, TheGodfather (1972), xi, 129±33, 134, 161 135, 142 Melodrama, 2±3, 51 TheGodfather, Part II (1974), xi, 130, Metanarrative, xiv, 6, 8±9 133±5 Moratorium on, xvi, 30, 32, 52 TheGodfather, Part III (1990), xi, 135, andparody, 26±7, 142, 164 141 Post-Code, xvi, 31±50 (1990), xi, 141, 147±50, 151, Revisionism, 124±7 153, 156, 161 Silent, xiv, 1±4, 165n1, 167n9 Grahame, Gloria, 114 Sound, xvi, 3±4, 31 Grant, Barry Keith, xiii see also Bandit film; Black gangster Gray, James, 169n6 film; Cain and Abel formula; Griffith, D.W.,1 Classic gangster; Cops- Grist, Leighton, 82, 140, 166n8 and-robbers; Death of the big Guattari, FeÂlix, 89 shot; Female gangster film; Gun Crazy (1950), x, 167n11 G-Man film; Gangsta film; Gunning, Tom, 113 Gangster biopic; Gangster Epic; Guysand Dolls (1955),x Gangster-loser; Gangster noirr; ; Postmodern Hall,Alexander, 38 gangster film; Rackets and Hammett, Dashiell, 74 Racketeering; Socialgangster Hanson, Curtis, 163 film; Syndicate film; Undercover Hardy, Phil, 95, 99, 117, 128, 166n9 narrative Harlow, Jean, 17 Gangster vs Nazi, 51±2, 54 Harvey, David, 168n3 The Gangster (1947), x, 67±8, 152 Hathaway, Henry, 53, 84 180 Index

Hawks, Howard,24 Industrialisation, 99, 102 Hayden, Sterling, 100 Industrialised society, xv, 7, 8, 14±15, HaysOffice, xvi, 24, 29±30, 31, 52, 70, 76, 101 166n6., see also Breen Office; Invisible Stripes (1939), ix, 10, 32, 41, Production Code 166n7 He Ran All theWay (1951),x,110 Heat (1995), xii, 141, 163 Jackson, Samuel L., 162 Hecht, Ben, 24 Jameson, Fredric, 75, 130, 156, 168n, The Heist (1971),97 169n4 Heist film, xvii, 63, 72, 73, 97±105, Jarmusch, Jim, 162 107, 137, 141, 153, 163, 167n, Jencks, Charles, 77, 168n3 168n2 Johnny Apollo (1940), ix, 52, 53 Heynen, Hilde, 76 Johnny Dangerously (1984),142 High Noon (1952),86 Johnny Eager (1942), x, 4, 32, 51, 52, 53, High Sierra (1941), ix, 51, 52, 54±8, 59, 63, 152, 166n7 60, 157, 158 Johnny O'Clock (1947),52 Hirsch, Foster, 74 Jones, Emrys, 14 History, 8, 47±50, 143 Homo-eroticism, 10, 18, 21, 152 Kaleidoscope (1966),97 Mythic, 6±7 Kane, Joseph,109 Hoodlum (1997), xii, 169n5 (1952),x, Hoodlum Empire (1952), x, 107, 109±10 104±5 Hopper, Dennis, 160 Kaplan, E Ann, 74 Horst, Sabine, 151 Kefauver hearings, vxii, 97, 105, 106, Hughes, Allen and Albert, 154 110, 112 Hughes, Howard,29 Keighley, William, 35, 36, 87 Huston, John, 54, 64, 100, 141 Keitel, Harvey,138 Huyssen, Andreas, 167n6 Kellner, Bouglas, 168n, 169n1 Kerr, Paul, 168n5 IAmThe Law (1938), ix, 38±9 KeyLargo (1948), x, 64±7 IWalk Alone (1947),x,67 (1937),92 Identity, xv, 75±6, 78, 88, 92 Killer (1994),141 Ideology, 4±5, 7, 10, 14, 17, 19, 22±3, The Killers (1946), x, 78, 79±81, 83 29±30, 32, 37±8, 39±41, 44±5, 47, Killer's Kiss (1955), x, 167n11 48±50, 68, 73, 75, 92±3, 104, 110, TheKilling (1956), x, 98, 99, 102±3 115, 120, 126, 137, 144, 147, TheKilling of aChinese Bookie (1976), 158±9, 161, 167n9 xi, 136, 137 Ince, Thomas, 1 (1990), xi, 141 Individual, 22±3, 34±5, 54±5, 73, 93±6, Kiss Me Deadly (1955), x, 75, 94±5 98±9, 103, 109, 115±16, 127±9, Kiss of Death (1947), x, 78, 79, 84±6 137, 167n9 Kiss of Death (1994), 141 Death of the, 78, 80±1, 92, 98±9, 103, Kiss Tomorrow Goodbye (1950), x, 70±1 105±7, 121, 125, 128±9, 133, 154 Krutnik, Frank, 54, 55, 70, 74, 76, 82, Desire, 16, 18, 22, 27, 35, 38, 67, 98, 166n9, 167n3 101, 108, 134, 168n3 Kubrick, Stanley, 102 Nomadic, xvii, 57, 85, 105., see also Mobility L.A. Confidential (1997), xii, 141, 163 and society, 14, 22±3, 34, 40±2, 48±9, Lady Gangster (1942), x, 52, 54 56 Lady Killer (1933),ix Index 181

Lady (1941), ix, 52, 54 Melodrama, 2±4, 51 Lancaster, Burt, 67, 79, 105 Menace II Society (1993), xi, 141, 154, Lang, Fritz, 112 156±7 The Last Gangster (1937), ix, 34 Metropolis (1926), 136 Law, 28, 32, 39, 52, 69, 86±7, 110±14., Mickey Blue Eyes (1999), 164 see also Crime and criminality; Milestone, Lewis, 1, 88, 110 Cultural economy; Official society Milius, John, 123 Legion of Decency, 32, 166n4 Miller's Crossing (1990), xi, 141, 151±3 Leon (1994), xi, 141, 162 Mitchell, Edward, xiv, 165n3 Leone, Sergio, 142, 144 Mitchum, Robert, 82, 110 Lepke (1975),xi TheMob (1951), x, 109±10 Lewis, Joseph, H., 115 Mobility, 4, 15, 19, 73, 105, 107 LittleCaesar (1930), ix, 1, 5, 8±13, Modernism, xviii, 121, 125, 167n6 16±17, 20, 25, 28, 29, 31, 138 Modernity, xv, xvi, 4, 8, 10, 13±16, 17, LittleOdessa (1994), xi, 141, 169n6 19, 22, 26, 28±30, 32, 35, 42,48, Liotta, Ray, 147 50, 64, 75±6, 101, 162, 165n4, Lock, Stock and Two Smoking Barrels 167n7., see also Consumption; (1998),162 Social fragmentation; Lucky Jordan (1942), 51, 54 Systematisation; Technology; Lucky Luciano (1973),xi Tradition vs. social change Lyon, David, 165n4 Money, 9, 15, 57, 75, 84, 96, 98, 168n4., see also Capitalism; Power McArthur, Colin, xiv, 6, 8, 76, 79, 113, Munby, Jonathan, 26, 32, 47, 63, 64, 166n5 67, 68, 77, 90, 91, 94, 98, 100, 106, McCarthy hearings, xvii, 106 155, 165n7 McCarthy,John, 145, 165n1 Muni, Paul,24 McKelly, James, 156 Musketeers of Pig Alley (1912), ix, 1±2 (1958),x,122 The Magnificent Seven (1960),153 Naremore, James, 74, 106 Maltby, Richard,6 Narrative, 4, 16±17, 33, 34, 55, 79±80, Man, Glenn, 132, 133, 168n7 93, 102, 108, 123, 143, 156, 166n1 Mann, Michael,163 Neale, Steve, xiii, xiv, 74, 165n, 166n2, ManhattanMelodrama (1934), ix, 32±3, 167n2 51, 165n1 Neve, Brian, 167n5 Mann, Anthony, 87 New Hollywood cinema, 117, 120±1, Marginality, 11, 98, 136±8 168n1 Marked Woman (1937), ix, 41, 51 New Jack City (1991), xi, 141, 154, Marling,William, 166n4 155±6 Married to theMob (1988), xi, 142 New York Confidential (1955),x,97, Marvin, Lee, 114, 127 110 Masculinity, xv, 5, 18, 20±2, 34, 36, Newell, Mike, 162 57±8, 59±60, 65±6, 73, 76, 80, Nicholson, Jack, 142 81±4, 85±6, 98±9, 103, 112±15, Nightclubs, 3, 15, 157±8 145±6, 150, 169n4 Nightfall (1956), x, 94, 95±6 Mature, Victor, 84, 86 Nobody Lives Forever (1946),67 May, Lary,90 Nosseck, Max, 63 Mayo, Archie, 5, 40 Nostalgia, 5, 52, 55±6, 59, 67, 122±3, (1973), xi, 138±40 125, 141, 142 Medak, Peter, 169n6 Numbers, 38, 74, 89, 90 182 Index

O'Brien, Edmond, 68, 79 Nostalgia film, 142±3, 144 Ocean'sEleven (1960),153 Pastiche, 145, 146, 161 OddsAgainst Tomorrow (1959), x, 98±9, Schizophrenia, 156 103±4 Self-reflexivity, 151, 161 Oedipal narrative, 6, 10 Simulation, 50, 121, 147, 151, 153±4 Official society, 5, 32±3, 34, 49, 53, 56, Waning of affect, 75, 154, 156 70, 84, 95, 98, 111±13, 126, 159., Postmodernity, xv, 121, 146±7, 152±3, see also Crime and criminality; 154, 162 Cultural economy;Ideology; Law; Power, 9, 13, 18±19, 23±4, 44, 78 Tradition vs social change (1960),x,122 Once Upon a Time in America (1984),xi, Prizzi's Honor (1985), xi, 142 142±4 Production Code, 4, 34, 144 One man against themob, 72, 78, 92, Prohibition, 6, 19., see also 122, 167n9 Bootlegging Opportunity, 9, 10, 39±40., see also ThePublic Enemy (1931), ix, 1, 5, 7±8, American Dream; Ideology; 11, 12, 15, 16±22, 27, 31, 60, 107, Individual 124 Organisation, the, 37, 105±19, 124 (1994), xi, 141, 160±3 Out of theFog (1941), ix, 110 Purvis, Melvin, 123, 127 Out of the Pastt, a.k.a. Build My Gallows Pynchon, Thomas, 121 High (1947), x, 81±4, 95 The Outfit (1973), xi, 136, 137, 138 Quick Millions (1931), ix, 5, 15±16, 31

Pacino, Al, 131, 145, 157 TheRacket (1928), ix, 1, 3, 88, 110 Palmer, R. Barton, 74 TheRacket (1951), x, 106, 110±12, 113 Parks, Gordon, 136 Racket Busters (1938), ix, 39, 90 Parrish,Robert, 109 Rackets and Racketeering, xvii, 11, 31, Payback (1999), xii 39, 78, 90±4, 110, 159, 167n9 Pearl Harbor, 51, 54 Raft, George, 25 Penn, Arthur, 123 Rafter, Nicole, 99 Penn, Sean, 157 Regeneration (1915), ix, 1, 2±3 Pesci, Joe, 149 Reid, Mark A., 169n7 The Petrified Forest (1936), ix, 40, 41, (1992), xi, 153±4, 161 165n1 The Rise and Fall of Legs Diamond ThePhenix City Story (1955), x, 97, 107, (1960), x, 122±3 110, 167n1 Road movies, xv, 147, 159±60 Point Blank (1967), xi, 127±9 The Roaring Twenties (1939), ix, 4, 30, Police, 8, 20, 110±11, 112±14 34, 41, 42, 47±50, 73, 84, 140, as gangsters, 35±6 165n1, 166n8 Polonsky,Abraham, 90, 103, 167n10 Robertson, Cliff, 117 Post-classical film, xvii±xviii, 145 Robinson, Edward G., 8, 16, 34, 37, 53, Postmodern gangster film, xvii-xviii, 64 146±7, 151±4, 160±3 Roddick, Nick, 30, 41, 165n1, 166n5 Postmodernism, xviii, 50, 121±2, 141, Rogue cops, 37, 72, 112±14 146±7, 160, 162, 168n3, 169n3 Romeo Is Bleeding (1994), xi, 169n6 Loss of critical distance, xviii, 147, Rosow, Eugene, xiv, 6, 7 168n5 Rossen, Robert, 92 Mixing of codes, xviii, 146 Ruth, David E., 165n8 Nostalgia, 121, 122, 144, 146 Ryan, Robert, 103, 110 Index 183

TheStValentine'sDay Massacre (1967), Syndicate film, xvii, 63, 72, 73, 74, 94, xi, xviii, 123±5, 151 97±8, 105±19, 122, 161, 166n, St. Valentine's Day Massacre, 25 167n, 168n2 Scarface (1932), ix, 1, 5, 8, 10, 20, 23±9, Systematisation, xvii, 13±15, 68±9, 31, 36, 60 88±9, 95±6, 97, 100 Scarface (1983), xi, 142, 145±6, 148, 156 T-Men (1948), x, 78, 87±9, 166n6 Schatz, Thomas, 6, 7, 13, 31, 34, 35, 39, TheTaking of Pelham 123 (1974), 153 42, 51±2, 55, 165n1, 166n1, Tarantino, Quentin, 153, 160 168n1 Taxi (1931), ix, 31 Scorsese, Martin, 138, 141, 147, 156, Taylorism, 14 163, 166n8 Technology, 5, 26, 28, 29, 94±5, 117 Scott, Tony,159 Telotte, J.P., 74, 75 The Set Up (1949), x, 34, 167n11 The Terminator (1984),129 Shadoian, Jack, xiv, 6, 8, 10, 51, 55, 56, Territory, 12±13, 23, 27, 49, 57, 62, 68, 69, 79, 81, 106, 165n, 166n, 64±5, 68, 77, 89, 131., see also 167n1 Deterritorialisation; Shaft (1971), xi, 136 Territorialisation Shaft's Big Score (1972), xi, 136 Territorialisation, xv, 23±4, 46, 65, 77, Shear, Barry, 136 81, 89, 107, 131 Siegel, , 136 of the screen, 11, 23±4, 27, 62, 77 Silver, Alain, 74 Tester, Keith, 165n5 Singer, Bryan, 163 Thief (1981),xi Singleton, John, 154 Thieves' Highway (1949),x,90 Siodmak, Robert, 79, 86, 105 Things to Do in Denver When You're Sklar, Robert, 63, 68 Dead (1995),162 Slater, Christian, 159 Three on a Match (1932), ix, 31 Smart Money (1931), ix, 31 Todorov, Tzvetan, 166n1 Snipes, Wesley, 155 Tough Guys (1986), xi, 143 Social gangster film, xvi, 31, 40, 42±7, Tourneur, Jacques, 81, 94 51 Tradition, 9, 32 Social fragmentation, xvii, 4, 13±14, vs. social change, 4±5, 8, 13, 17, 57±8, 66±7, 73, 102, 143±4, 157 28±30, 47±8 Sound, advent of, 4±5 Travolta, John, 161 South Central (1992), 141 True Romance (1993), xi, 159±60 Space, xv, xvi, 2±13, 18±19, 20±2, Turner, Kathleen, 142 27, 46±7, 48±9, 77±8, 81, 82, Twilight of the gangster narrative, 52 95, 131±2, 148, 155±6., Two Days in theValley (1996),162 see also the City; Deterritorialisation; Territory; Undercover narrative, 3, 36, 39, 72, 78, Territorialisation 88±90, 153 Speakeasy, 3, 15., see also Nightclubs Underworld (1927), ix, 1, 3±4 Straw, Will, 109 Underworld USA (1961), xi, 117±19, The Street with No Name (1948),x,78, 128 87±90 The Untouchables (1987), xi, 142, Studios, xiii, 28±30, 33±4, 52, 63 144±5 Subject-outside-history, 7, 48 Urban realism, xviii, 5, 141, 147, 154 Sukenick, Ronald, 121 Urban space, 28, 35, 76±7, 136., see also Suspense , 74, 105, 106, 163 the City 184 Index

Ursini, James, 74 Waters, Malcolm, 169n8 The Usual Suspects (1995), xi, 141, 163 Wellman, William, 16±17 West, Roland, 5 Van Dyke, W.S., 32 , xiii, 52, 144, 145 Van Peebles, Mario, 154 Westworld (1973),129 Vicious, Sid, 150 (1949), x, 64, 68±70 Violence, 4, 8, 14, 25±6, 32, 36, 38±9, Wilde, Cornel, 115 41, 85, 94±5, 114±15, 140, 143, Wilson, Elizabeth, 165n5 145, 149, 151, 167n8 Windust, Bretaigne, 107 Representation of, 11±12, 29±30, 38 Wise, Robert, 103 Von Sternberg, Josef, 1, 2 Wise Guys (1986), xi, 142 Woodiwiss, Michael, 167n8 Wakefield, Neville, 169n1 Woods, James, 143 Walken, Christopher, 160 Woolrich, Cornell,74 Walker, Michael, 74, 75 Wyler, William, 42 Wallace, Jean, 115 Walsh, Raoul, 1, 2, 47, 68, 107 Yaquinto, Marilyn, 35, 47, 54, 68, 106, Ward, Elizabeth, 74 156, 165n1, 169n9 Warshow, Robert, 6, 7, 72 Yates, Peter, 136