Key Largo 1948 - Gangster melodrama in the guise of film noir

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IMDB rating: 7,9

Director: John Huston
Main Cast: Humphrey Bogart, Edward G. Robinson, Lauren Bacall, Lionel Barrymore, Claire Trevor

"John Huston's Key Largo - based on Maxwell Anderson's play - shares crucial similarities and differences with Archie Mayo's The Petrified Forest, also starring Humphrey Bogart but made 12 years earlier. The two plots are similar - a group of people held hostage in a remote locale by a gangster on the run - but the differences between the two movies, and Bogart's roles in them, reflect changes in the world and in perceptions of evil and how to deal with it. Where The Petrified Forest was steeped in romantic notions of self-sacrifice, rationalizing the loss of life in World War I, Key Largo implicitly questioned the right of any moral person to withdraw from the responsibility of taking moral action - and it even questioned the wisdom of self-sacrifice. The Petrified Forest's dreamy poet (Leslie Howard) nobly sacrifices himself to see the capture of the deadly sociopath played by Bogart. In Key Largo, Bogart plays embittered, disillusioned war veteran Frank McCloud, who starts the film with nothing to live for and discovers, in the course of fighting and killing old-time gangster Johnny Rocco (Edward G. Robinson), that there is a reason to remain engaged with the world and with his fellow human beings. The difference between the two movies was the intercession of World War II, in which society encountered the most monumental evil on as large a scale as was imaginable. Made in the wake of the war, with the Cold War and the Red Scare just getting rolling, Key Largo was almost a call to arms to any decent people watching that they were too important to withdraw from battlefields old or new, and that there were still battles to be fought that were worth fighting, as well as winning.
Claire Trevor's virtuoso performance as a besotted ex-nightclub singer won her an Academy Award - as predicted by her admiring fellow actors, who watched her go through several very difficult scenes in long, uninterrupted takes. While Key Largo sags a bit during its more verbose passages, on a visual level the film is one of the best and most evocative examples of the 'film noir' school." - www.allmovie.com

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Double indemnity 1944 - The definitive American film noir

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IMDB rating: 8,5

Director: Billy Wilder
Main Cast: Barbara Stanwyck, Fred McMurray, Edward G. Robinson

"Directed by Billy Wilder and adapted from a James M. Cain novel by Wilder and Raymond Chandler, Double Indemnity represents the high-water mark of 1940s film noir urban crime dramas in which a greedy, weak man is seduced and trapped by a cold, evil woman amidst the dark shadows and Expressionist lighting of modern cities. The idiosyncratically attractive Stanwyck, generally thought of as pretty but hardly a bombshell, was rarely as sexy as she was as Phyllis Dietrichson, and never as sleazy; Phyllis knows how to use her allure to twist men around her little finger, and from the moment Walter Neff lays eyes on her, he's taken a sharp turn down the Wrong Path, as Phyllis oozes erotic attraction at its least wholesome. While MacMurray was best known as a 'nice guy' leading man (an image that stuck with him to the end of his career), he was capable of much more, and he gave perhaps the finest performance of his life as Walter Neff, a sharp-talking wise guy who loses himself to weak, murderous corruption when he finds his Achilles Heel in the brassy blonde Phyllis. (MacMurray's only role that rivalled it was as the heartless Mr. Sheldrake in The Apartment, also directed by Wilder.) And, while they followed the Hays Code to the letter, Wilder and Chandler packed this story with seething sexual tension; Neff's morbid fascination with Phyllis's ankle bracelet is as brazenly fetishistic as 1940s filmmaking got. Double Indemnity was not a film designed to make evil seem attractive - but it's sure a lot of fun to watch. Double Indemnity ranks with the classics of mainstream Hollywood movie-making." - www.allmovie.com

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Five star final 1931 - One of the best newspaper movies

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IMDB rating: 7,5

Director: Mervyn LeRoy
Main Cast: Edward G. Robinson, Marian Marsh, H. B. Warner, Anthony Bushell, George E. Stone, Ona Munson, Boris Karloff

"Adapted from the stage play by former newspaperman Louis Weitzenkorn, Five Star Final is an uncompromising look at the consequences of journalistic irresponsibility. Nominated for an Oscar as the year's best film, Five Star Final was the prototypical newspaper movie which was widely imitated in the 1930s and 1940s. It features many of the aspects of such films that would later become cliches, including a hard-bitten newspaper editor (played by Edward G. Robinson), an unscrupulous reporter (played by the great villain Boris Karloff) and a cast of crusty journalists and outraged citizens. It's a thorough condemnation of yellow journalism and sets forth the same kind of tensions and themes that many decades later could be found in such newspaper films as All the President's Men and Absence of Malice. Like all such films, there is redemption in exposing hypocrisy and pursuing truth. Prolific director Mervyn LeRoy was at the helm. Five years later, the plot was recycled, with the setting shifted to a radio station, in Two Against the World, starring Humphrey Bogart." - www.allmovie.com

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Little Caesar 1931 - The first 'talkie' gangster movie

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IMDB rating: 7,4

Director: Mervyn LeRoy
Main Cast: Edward G. Robinson, Douglas Fairbanks Jr., Glenda Farrell, William Collier Jr., Sidney Blackmer

"The rise of Al Capone to the head of America's criminal class inspired this Edward G. Robinson vehicle. Appearing just as talking pictures were finding their feet, Robinson's gravelly snarl and sociopathic disdain for human conventions became the template for countless future gangster anti-heroes. In fact, virtually every aspect of Little Caesar, from the seedy settings and rough-hewn slang to the pinstriped suits and ever-present Tommy Gun, became part of the language of the genre. Little Caesar sprints by in a brisk 77 minutes, powering through the rapid rise and inevitable descent of its flawed and ambitious protagonist as if a getaway car were waiting outside. The film insightfully plays on the Horatio Alger ideal of the all-American self-made man to examine this impulse's darker, anti-social implications, while offering a tragic arc of Greek proportions. The story's violence is discernibly in your face, and the performances are about as subtle as the gangster's suits. Ironically, the film, which purportedly aimed to expose the dark underbelly of the gangster life, was so riveting that it wound up glamorizing its targets, a fact not lost on movie censors of the time. Little Caesar was followed quickly by Public Enemy (1931) and Scarface (1932); the three films ushered in a legion of imitators to follow, but they were also, at least for a time, the last 'true' gangster movies, as their ambiguous representation of glamorous criminals brought down the much stricter 1934 content restrictions of Joe Breen's Production Code Administration." - www.allmovie.com

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Smart money 1931 - A historic screen teaming of Robinson & Cagney

IMDB link: http://www.imdb.com/title/tt0022403/?ref_=fn_al_tt_1
IMDB rating: 6,9

Director: Alfred E. Green
Main Cast: Edward G. Robinson, James Cagney, Evalyn Knapp, Ralf Harolde, Noel Francis, Margaret Livingston

"Edward G. Robinson and James Cagney were teamed for the only time in their careers in Smart Money. Robinson has the larger part as a small-town barber who fancies himself a big-time gambler. He travels to the Big City in the company of his younger brother Cagney, who wants to make sure that Robinson isn't fleeced by the high-rollers. Unfortunately Robinson has a weakness for beautiful blondes, most of whom take him for all his money or betray him in some other manner. The cops aren't keen on Robinson's gambling activities, but they can pin nothing on him until he accidentally kills Cagney in a fight. The incident results in a jail term for manslaughter, and a more sober-sided outlook on life for the formerly flamboyant Robinson. Watch closely in the first reel of Smart Money for an unbilled appearance by Boris Karloff as a dope pusher." - http://www.allmovie.com/movie/smart-money-v120107

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A slight case of murder 1938 - A well-written comic gem

IMDB link: http://www.imdb.com/title/tt0030764/?ref_=fn_al_tt_1
IMDB rating: 7,2

Director: Lloyd Bacon
Main Cast: Edward G. Robinson, Jane Bryan, Allen Jenkins, Ruth Donnelly

"A Slight Case of Murder is a non-stop laugh riot and a brilliant parody of the classic Hollywood gangster film. Blessed with a screenplay that is not only flawlessly constructed but also drop-dead funny, Murder also benefits from a peculiar, quirky and, at times, surreal sensibility that makes it stand out from many other studio comedies of the period. The hand of Damon Runyon is clearly evident in much of the dialogue, but the trio of writers who collaborated with him on the screenplay have kept many of Runyon's bad habits - such as an occasional willingness to go for cheap sentiment - in check. Director Lloyd Bacon is operating in top form, almost as if he were competing with Howard Hawks to keep things moving in the most crackling manner possible. In the demanding lead role, Edward G. Robinson is delightful, a presumed tough guy who can't help but be a cuddly softie; no one handles the fish-out-of-water routines in quite the same way, and his offhanded way with a punch line is delicious. Ruth Donnelly is a stitch as his wife and Bert Hanlon has an amusing turn as Sad Sam the bookie. Unlike Robinson's cheap, bootleg booze, Murder just gets better with age." - http://www.allmovie.com/movie/a-slight-case-of-murder-v110601/

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