VALUTAZIONE IMDb
7,9/10
16.206
LA TUA VALUTAZIONE
Tre uomini provano a guadagnarsi da vivere nell'America del Proibizionismo dopo aver fatto ritorno a casa dalla Prima Guerra Mondiale.Tre uomini provano a guadagnarsi da vivere nell'America del Proibizionismo dopo aver fatto ritorno a casa dalla Prima Guerra Mondiale.Tre uomini provano a guadagnarsi da vivere nell'America del Proibizionismo dopo aver fatto ritorno a casa dalla Prima Guerra Mondiale.
- Premi
- 2 vittorie
Elisabeth Risdon
- Mrs. Sherman
- (as Elizabeth Risdon)
Edward Keane
- Henderson
- (as Ed Keane)
Eddy Chandler
- Second Detective
- (as Eddie Chandler)
John Deering
- Narrator
- (voce)
Trama
Lo sapevi?
- QuizThis marked the end of James Cagney's cycle of gangster films for Warner Bros. Cagney wanted to diversify his roles: he would not play a gangster again until La furia umana (1949), ten years later.
- BlooperWhen Eddie and his men impersonate the Coast Guard, there's a miniature shot of the two boats pulling alongside each other. Nick's rum runner boat that George captains is a much taller boat and its deck is higher above the water than the smaller vessel. Yet when the shot changes to live action and Eddie's crew is throwing mooring lines across to the bigger boat, the decks are now the same height; furthermore, when the men cross from one boat to the other, they merely step over the rail instead of needing to climb up to the taller boat's deck.
- Citazioni
[last lines]
Panama Smith: He's dead.
Cop: Well, who is this guy?
Panama Smith: This is Eddie Bartlett.
Cop: Well, how're you hooked up with him?
Panama Smith: I could never figure it out.
Cop: What was his business?
Panama Smith: He used to be a big shot.
- ConnessioniEdited from Nemico pubblico (1931)
- Colonne sonoreI'm Just Wild About Harry
(1921) (uncredited)
Music by Eubie Blake
Lyrics by Noble Sissle
Played during the opening and closing credits
Also played during the 1922 montage
Sung by Priscilla Lane at the club
Recensione in evidenza
It is not as centrally dynamic as THE PUBLIC ENEMY nor as Freudian as WHITE HEAT, but THE ROARING TWENTIES is a leading gangster film for Jimmy Cagney as it details the rise and fall of a gangster Eddie Bartlett. The product of World War I and Prohibition, Eddie rises to great power as the head of a gang, always trying to return to legitimate society, and then to fall again due to the Wall Street Crash and the machinations of his right-hand man George Hally (Humphrey Bogart).
Both men's characters are far more subtle as studies of success in criminal enterprise than the normal crime bosses of the 1930s. Eddie painstakingly builds up a taxicab corporation to gain legitimacy, as well as his stock acquisitions. Bogart, a bit more realistic on what types of businesses he understands, does not get involved in the stock market. But he enjoys the trappings of the upper class. Witness the scene when he is talking with his underling (Abner Biberman) and he is practicing his putting in his office. At the conclusion, Bogart is living in a townhouse (a sign of his financial success).
There is a tradition in the films of the depression that some gangsters are not as bad as others. This is not to be taken seriously in real life, but the idea is that certain people are driven to crime by economic circumstances (Cagney returning to no job at the end of World War I) and some are driven by pure evil (the sadistic side of Bogart's nature). Cagney, on his rise, gains the friendship of people like Gladys George (actually the unrequited love of Ms George) and tries to find room in his organization for people like Frank McHugh, a nice guy who really never fit in properly as a criminal - and dies as a result. Bogart gains the support of like villains (Bibberman, who shares Bogie's fate at the end), and keeps showing a contempt for human life in most of the film (witness how he kills a cop on one of the rum runners he and Cagney are on, because the cop was once his sergeant in the army who punished him for breaking the rules when he did). But Cagney turns out to have more guts in him than Bogie. At the end of the film the latter, facing his own demise, turns into a total coward.
The film has many touches to set the tone of the 21 years it covers (1918 - 1939). At the start newsreel footage takes the audience back to the end of World War I, showing Presidents and events up to Wilson (who, curiously enough, is shown by an actor playing the President, not as part of an old film). It has been noted that Gladys George's Panama is based on Texas Guinan, the speakeasy hostess. The death of Cagney on the steps of a church is based on the death of Hymie Weiss, a Chicago gangster rival of Capone who was killed that way in 1927. It was too good a death to not use in a gangster film, as it seems more symbolic than it was in real life (it does remind us of how Cagney, for all his good intentions, came up short due to his profession in violence).
I have not commented on the love triangles involving Cagney, Jeffrey Lynn, and Priscilla Lane (and Cagney, Lane, and Gladys George). The irony that Cagney never sees that George is more than just a good friend is rather poignant, for both of them. And it is George who cradles his dead body in the end and gives his epitaph. Perhaps today a director would allow Cagney to wise up and get away with George. But that would spoil the full effect of the film's conclusion.
Both men's characters are far more subtle as studies of success in criminal enterprise than the normal crime bosses of the 1930s. Eddie painstakingly builds up a taxicab corporation to gain legitimacy, as well as his stock acquisitions. Bogart, a bit more realistic on what types of businesses he understands, does not get involved in the stock market. But he enjoys the trappings of the upper class. Witness the scene when he is talking with his underling (Abner Biberman) and he is practicing his putting in his office. At the conclusion, Bogart is living in a townhouse (a sign of his financial success).
There is a tradition in the films of the depression that some gangsters are not as bad as others. This is not to be taken seriously in real life, but the idea is that certain people are driven to crime by economic circumstances (Cagney returning to no job at the end of World War I) and some are driven by pure evil (the sadistic side of Bogart's nature). Cagney, on his rise, gains the friendship of people like Gladys George (actually the unrequited love of Ms George) and tries to find room in his organization for people like Frank McHugh, a nice guy who really never fit in properly as a criminal - and dies as a result. Bogart gains the support of like villains (Bibberman, who shares Bogie's fate at the end), and keeps showing a contempt for human life in most of the film (witness how he kills a cop on one of the rum runners he and Cagney are on, because the cop was once his sergeant in the army who punished him for breaking the rules when he did). But Cagney turns out to have more guts in him than Bogie. At the end of the film the latter, facing his own demise, turns into a total coward.
The film has many touches to set the tone of the 21 years it covers (1918 - 1939). At the start newsreel footage takes the audience back to the end of World War I, showing Presidents and events up to Wilson (who, curiously enough, is shown by an actor playing the President, not as part of an old film). It has been noted that Gladys George's Panama is based on Texas Guinan, the speakeasy hostess. The death of Cagney on the steps of a church is based on the death of Hymie Weiss, a Chicago gangster rival of Capone who was killed that way in 1927. It was too good a death to not use in a gangster film, as it seems more symbolic than it was in real life (it does remind us of how Cagney, for all his good intentions, came up short due to his profession in violence).
I have not commented on the love triangles involving Cagney, Jeffrey Lynn, and Priscilla Lane (and Cagney, Lane, and Gladys George). The irony that Cagney never sees that George is more than just a good friend is rather poignant, for both of them. And it is George who cradles his dead body in the end and gives his epitaph. Perhaps today a director would allow Cagney to wise up and get away with George. But that would spoil the full effect of the film's conclusion.
- theowinthrop
- 11 ott 2005
- Permalink
I più visti
Accedi per valutare e creare un elenco di titoli salvati per ottenere consigli personalizzati
Everything New on Max in December
Everything New on Max in December
Looking for something different to add to your Watchlist? Take a peek at what movies and TV shows are coming to streaming this month.
- How long is The Roaring Twenties?Powered by Alexa
Dettagli
- Data di uscita
- Paese di origine
- Lingua
- Celebre anche come
- The Roaring Twenties
- Luoghi delle riprese
- Azienda produttrice
- Vedi altri crediti dell’azienda su IMDbPro
- Tempo di esecuzione1 ora 46 minuti
- Colore
- Mix di suoni
- Proporzioni
- 1.37 : 1
Contribuisci a questa pagina
Suggerisci una modifica o aggiungi i contenuti mancanti
Divario superiore
What is the Brazilian Portuguese language plot outline for I ruggenti anni venti (1939)?
Rispondi