THE ROARING TWENTIES
US, 1939, 106 minutes, Black and white.
James Cagney, Humphrey Bogart, Priscilla Lane, Jeffrey Lynn, Gladys George, Frank Mc Hugh, Paul Kelly, Elizabeth Risdon.
Directed by Raoul Walsh and Anatole Litvak.
The Roaring Twenties is considered a classic of its kind. It gives a dynamic star role to James Cagney - an ordinary citizen, soldier of World War One, demobbed and out of work, becoming involved in gangster bootlegging in New York, rising to heights, clashing with authorities and with rival gangsters, coming down in the world - the final phrase by Gladys George is that 'he was once a big shot'. It is a character that Cagney was able to portray very well from his early gangsters in Public Enemy Number One right throughout the '30s and into the '40s. He is supported by Priscilla Lane leading a standard Warner Brothers cast including Humphrey Bogart. There is an atmosphere of the '20s and '30s based on a story by Mark Hellinger. Action director Raoul Walsh directs with verve. The film has a moralising tone and at the opening of World War Two is asking Americans to look back at a strange period of their history. The film has influenced subsequent gangster films.
1. The classic status of this gangster film? Its influence in later films? Its being influenced by the trends of the 130s? The screen persona of James Cagney? Humphrey Bogart? The Warner Brothers vigorous films - gangster styles, use of their stars and cast? Dynamic action impact? How well does the film wear?
2. Warner Brothers production values? Black and white photography, studio sets, re-creation of period and atmosphere? The use of collage styles for the passing of the years and the impact of events? Songs - especially Sentimental Baby? Musical score? Mark Hellinger's memoirs and moralising about the gangster era and prohibition? The voice-over commentary. the moralising points? Audiences faced with the prospect of Hitler and World War Two? The invitation to look back on the American heritage between wars? The strangeness of the between-wars period? The hopes of World War One to end all wars? The failure in Europe? The changes in America? Exploitation? Prohibition and the subsequent corruption? Bootlegging and gangsters? The mirroring of developments in Europe in the gangster wars in the United States? A morale-boosting film?
4. The memories of World War One? The experiences of the three soldiers? Eddie and his being an ordinary soldier? George and his viciousness - especially shooting the soldier before Armistice? Lloyd and his accidentally falling into the hole with Eddie and George? Sign of things to come? George and his vindictiveness towards the sergeant employed by his family? The sergeant's death? The hopes for the three as they returned hone? The year in Europe? The parades in New York? Being demobbed and ignored? The landlady and the raised rent? Returning for jobs no longer there and the scorn of the men who didn't go to war? Different world, different style,. the soldiers experiencing ingratitude? Grounds for disillusionment?
5. James Cagney's screen presence as Eddie? Friendship with Danny? The shared cab? The humour of the visit to Jean and her age, the photo, the response to Eddie? The delivering of the alcohol to the speakeasy, the arrest? The court and Eddie being victimised? Panama getting off? The short time in prison and the suicidal prisoner? Eddie and his not wanting to be in prison? Sign of the future?
6. Panama's patronage of Eddie? The jobs done. working with Danny, the use of the cab, building up a small empire? Small origins to gangster success? His toughness. living by the gangster code? Friends? His influence?
7. The film's attitude towards prohibition? The background to the legislation? The motivation for the legislation? The repercussions for money, exploitation, crime? The speakeasies? The police on the take? The courts and arrests? The collage of people wanting liquor, especially when it was forbidden?
8. The re-creation of the gangster world of the '20s? The types, the methods, the profits? Lloyd and Jean being caught up in the gangster world?
9. Lloyd and his hopes, his helping Eddie in the initial case, his becoming involved? Changing and wanting to get out? Jean and her work in the theatre? The audition? Her depending on Eddie? Panama's help? Knowing the reality but not facing up to it?
10. Lloyd and Jean falling in love? George exploiting it? Eddie not wanting to face it? His disappointment? The later visit to Lloyd and Jean when he was down and out? The toys for the child? His finally giving his life for Jean?
11. Eddie going up, the rivalry of George, the threats to Eddie and his evading them, George and his victory? Eddie down and out? The change in legislation? The investigations? His driving the cab and meeting Jean?
12. Panama and the woman with the heart of gold? Strengths and weaknesses? Loyalty and help? Caught up in the gangster world? Friendship with Jean? Continued support of Eddie? Present with him when he died and speaking his epitaph?
13. George as evil? In the war, on his return, organisation and henchmen, friendship towards Eddie, turning against him, the set-up for Eddie's death? The final confrontation and his cowardly death? The violence of the shoot-out?
14. Eddie and his being appealed to by Jean, his drinking, the confrontation with George, the violent deaths, his own death on the church steps? The passing of a once big shot? The irony and the film's comment on the American big shots?
15. A picture of a way of life, a piece of Americana, 20th. century American history? The violence inherent in the American character and history? ordinary types and the possibilities for good and evil? The moralising warning of the film?
