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Genre Films: OLLI: Spring 2021: Weeks 1 & 2: Week 1: the PUBLIC ENEMY (1931) Directed by William A

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Genre Films: OLLI: Spring 2021: Weeks 1 & 2: Week 1: the PUBLIC ENEMY (1931) Directed by William A Genre Films: OLLI: Spring 2021: Weeks 1 & 2: week 1: THE PUBLIC ENEMY (1931) directed by William A. Wellman cast: James Cagney, Edward Woods, Jean Harlow, Joan Blondell, Beryl Mercer, Donald Cook, Mae Clarke, Leslie Fenton, Robert Emmett O'Connor, Murray Kinnell From filmsite.org: “The Public Enemy (1931) is one of the earliest and best of the gangster films from Warner Bros. in the thirties. The film's screenplay (by John Bright and Kubec Glasmon), which received the film's only Academy Award nomination, was based upon their novel Beer and Blood. Unfortunately, the film wasn't even given a Best Picture nomination, nor was Cagney rewarded with a nomination for his dynamic and kinetic performance. Jean Harlow's small role as a sexy call-girl was her only screen appearance with Cagney and her only lead role with Warners. Director William Wellman's pre-code, box-office smash, shot in less than a month at a cost of approximately $151,000, was released at approximately the same time as another classical gangster film – Little Caesar (1930/31) that starred Edward G. Robinson as a petty thief whose criminal ambitions led to his inevitable downfall. The Public Enemy was even tougher, more violent and realistic (released before the censorship codes were strictly enforced), although most of the violence is again off-screen. “The lead character is portrayed as a sexually magnetic, cocky, completely amoral, emotionally brutal, ruthless, and terribly lethal individual. However, the protagonist (a cold-blooded, tough- as-nails racketeer and "public enemy") begins his life, not as a hardened criminal, but as a young mischievous boy in pre-Prohibition city streets, whose early environment clearly contributes to the evolving development of his life of adult crime and his inevitable gruesome death. Unlike other films, this one examined the social forces and roots of crime in a serious way. “Cagney's character was based on real-life Chicago gangster Earl "Hymie" Weiss (who also survived a machine-gun ambush) and bootlegging mobster Charles Dion "Deanie" O'Banion (an arch-rival to Al Capone). Reportedly, an exasperated Weiss slammed an omelette (not a grapefruit) into the face of his girlfriend. Similarities also exist between the demise of Nails Nathan and the 1923 death of real-life Samuel J. "Nails" Morton of the O'Banion mob. The retaliatory horse killing in the film was a replay of a similar incident when organized crime figure Louis "Two-Gun" Alterie (and other North Side gang members) executed the offending horse in Chicago after the death of their friend. James Cagney's dynamic, charismatic and magnetic characterization of the murderous thug was his fifth film performance. … “Unfortunately, the film also appeared to glamorize criminal activities such as bootlegging (although that was not its intent), and emphasized their high style of life with various floozies (portrayed by Joan Blondell, Mae Clarke, and Jean Harlow). Hence, the film hastened efforts of Hollywood's self-imposed Production Code in the early thirties to strictly censor films (with criminal and sexual subject matter) that depicted undesirable social figures or sexual subjects in a sympathetic or realistic manner.” THE PUBLIC ENEMY was nominated for an Oscar for Best Original Story (John Bright, Kubec Glasmon). Week 2: MY MAN GODFREY (1936) directed by Gregory La Cava cast: William Powell, Carole Lombard, Alice Brady, Eugene Pallette, Gail Patrick, Mischa Auer, Alan Mowbray, Jean Dixon, Robert Light, Pat Flaherty Roger at the Santa Barbara International Film Festival website (sbiff.org) writes: “Is there a movie equivalent to drinking a very dry martini? Good question. Yes, there is – and the answer is the 1936 screwball comedy treasure My Man Godfrey starring a delightfully effervescent Carole Lombard and a perfectly reserved William Powell. In 90 minutes, you will be charmed by one helluva amusing madcap cinematic treat that also has a sharp social commentary up its sleeve – for its humor derives from America’s class divide. “The bold and startling opening scene sets it all up. During the Depression, two competing wealthy sisters need to bring back to a ritzy hotel ‘a forgotten man’ – a homeless man – as part of a ridiculous and vulgar scavenger hunt. They stop at a New York City dump. The arrogant sister Cornelia offers a tramp named Godfrey (William Powell) five dollars to come back with him. She ends up on a pile of trash. Irene (Carole Lombard,) the other sister, takes a different approach and convinces Godfrey not only to go with her but to become the wealthy family’s butler as well. Godfrey’s arrival at the house provides a sharp contrast to the rest of the household, and it is the source of most of the succulent humor in the movie. The Bullocks family is entitled, spoiled and clueless. They sit around all day sipping martinis and speaking about their pets and human proteges – who are both treated obscenely and hilariously as if they were the same. Carlo – the ‘pet’ artist of the family is made to perform like a gorilla on command. The incensed patriarch is losing all his money and is seeing how his wife and daughters are spending it all. Mother has a constant heavy hangover and sees pixies everywhere. From the moment you meet the rich at the hotel at the top of the film – the scene plays like an insane asylum. Irene is part of this group – yes she’s ill- advised and foolish – but she’s kind and she means well – plus she’s fallen in love with Godfrey. Well, everyone has fallen in love with Godfrey. Godfrey (‘God’ + ‘free’) is the great liberator. He brings sanity and common sense to this bunch. He ultimately bridges the class divide. “This film is hilarious. The dialogue is fast and smart and witty. Director Gregory La Cava encouraged improvisation from his actors. The physical humor and action are glorious pandemonium – centered by the stillness and simmering passion of William Powell’s performance. And that’s exactly the point. Lombard’s Irene is spastic – a screwball – an unhinged carousel horse – perfectly contrasted by the calming and wise force that is Powell’s Godfrey. In real life, Lombard and Powell had been married three years prior and had ended their relationship amicably. Their chemistry is combustible. Have I mentioned that the movie is very romantic? “I couldn’t think of a more timely and necessary film than this one. You do need My Man Godfrey in your life right now. Make it a martini with three olives.” MY MAN GODFREY was nominated for six Oscars: Best Director, Actor (Powell), Actress (Lombard), Supporting Actor (Auer), Supporting Actress (Brady), and Original Screenplay (Eric Hatch [who wrote the short story the film was based on, “1101 Park Avenue”], Morris Ryskind). .
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