Never Steal Anything Small

'Never Steal Anything Small' comes tantalisingly close to being a first-rate film, a sparkling musical comedy with some trenchant satirical commentary on the close relationship between politicians, labour unions and organised crime. James Cagney gives an ingratiating performance in what very nearly could have been one of his greatest roles. So close ... and yet so far. In the event, this film is full of missed opportunities and near misses.

Firstly, this movie is almost but not quite a full-fledged musical. The film starts out promisingly before the opening credits, with Cagney chanting rhymed verse directly into the camera, recounting the advice handed down to him when he was a lad: 'Never steal anything.' 'Never steal ANYTHING?' asks an incredulous offstage chorus. 'Never steal anything SMALL,' amends Cagney, and we're off to a promising start ... but the promise (and the premise) are never fulfilled.

There are only about three full-fledged musical numbers in the entire movie. One of them, intended to be a satire on TV commercials, is a too-long advertisement for a dishwashing detergent with the unlikely name 'Love', performed by the annoying Shirley Jones. I've never understood the appeal of Shirley Jones, and I find her even less appealing nowadays (I'm writing this in 2003) when she looks like an older version of Hillary Clinton (another actress whose performances have never convinced me). Shirley Jones did have a good coloratura singing voice, but her big 'Love' number in this movie is written to be chanted rather than sung, so it minimises her genuine vocal talent.

The best number in this film (which isn't saying much) is a peppy novelty song called 'I'm Sorry, I Want a Ferrari', performed by Cara Williams and Cagney. We know (from his previous films) that Cagney's a great song-and-dance man, so we really want to see him cut loose with some hoofing in this movie ... but he never does it. The closest Cagney comes to dancing is in the 'Ferrari' number, when he struts along a conveyor belt with Cara Williams (who, like Jones, also fails to convey any appeal to me).

I enjoy musicals, so it seldom bothers me when 'normal' people on screen suddenly burst into song and dance. But in 'Never Steal Anything Small', the musical numbers are so few and far between that we can never really accept this movie as a musical. Consequently, when the characters occasionally DO break into song (after long stretches of straight dialogue), the transition is jarring.

I was delighted when I saw Charles Lederer credited with the screenplay for this movie. Lederer was one of the great wisecrackers of Hollywood's golden age, an iconoclast who knew everyone and had plenty to say. He was also the nephew of Marion Davies, which gave him permanent entree into William Randolph Hearst's estate at San Simeon. (Lederer was the one who tipped off Hearst that Orson Welles was making a movie about a guy named Citizen Kane who bore an unflattering resemblance to Hearst.) I was well and truly hoping that 'Never Steal Anything Small' would be full of Lederer's vintage wisecracks and some Hecht/MacArthur-style dialogue, but I was disappointed.

Most annoying of all is this film's immoral viewpoint. Cagney's character (a big shot in the longshoremen's union) is flagrantly corrupt, but we're expected to cheer him onward because he's a lovable rogue with a line of blarney. Cagney's opponent here is an honest attorney (played by Roger Smith, who previously played Cagney's son in 'Man of a Thousand Faces'). The attorney is a colourless cipher, clearly meant to be less sympathetic than Cagney's charming crook. Smith gives a bland performance as the attorney: he was a dull actor, who later had better success managing the career of his wife Ann-Margret.

What hurts is that 'Never Steal Anything Small' has many enjoyable moments. The few musical numbers are well-staged and well-written, making us wish for more. The lyrics are excellent. The dialogue and the comedy are amusing but not really up to what we should expect from Lederer. Sadly, I rate this movie 5 out of 10. A pleasant time-passer, but it could have been a truly great film.

James Cagney is remembered for two main genres of movies. The gangster movie of course and to a much lesser extent, the movie musical. So if you put both genre's together in the form of a gangster themed comedy musical and put James Cagney right in the centre of it, surely it would work right? RIGHT? Well I'm disheartened to say that 1959's Never Steal Anything Small does anything but. However, it may be easier than you think to explain why.

By 1959, the movie musical had fallen very much out of favour. One of Gene Kelly's last big MGM efforts 'It's Always Fair Weather' had opened in drive ins and even the great Fred Astaire, after a run of poor efforts had turned his back on the genre completely. By the time this movie was released James Cagney was 60 years old and whilst he could still be convincing when it came to tough talking and giving out the rough stuff, his great dancing days were behind him and here he looks slow and uncomfortable in the few numbers he has.

To correctly define Never Steal Anyrhing Small, I would say that it wasn't a musical with comedy, it's more a comedy with musical numbers and both elements are lacking anything truly remarkable.

Cagney plays a tough talking dodgy dealing corrupt union boss, who's not beyond breaking the law or a few legs to get things done.

After extorting $10000 for campaign money from a local skinflint, he is arrested and is assigned a young clean cut lawyer to defend him. The lawyer is an idealist and is not exactly enthused to be defending someone he knows is guilty. Cagney received a letter stating that the lawyer is quitting, but Cagney needs him to beat the the extortion rap and goes to his house to convince him to stay.

He discovers that the lawyers wife (Shirley Jones) is the one who convinced her husband to ditch the case. Cagney is smitten with her and sets about an elaborate plan to break the couple up so he can scoop up the girl for himself, going so far as trying to ruin the life of the lawyer by hanging a larceny rap round his neck. (Yes, this is what comedy was in 1959 folks).

Prior to this movie, Cagney had spent the last 30 years playing some complete SOB's, however, and with the obvious exception of Cody Jarrett in White Heat, there was still always something likeable about the characters as Cagney had always said that you can't hate a likeable guy no matter how bad he was. But here, there are no redeemable qualities in his character and he is thoroughly unlikable. So this a extremely RARE Cagney backfire.

The musical numbers aren't that great, the plot uncomfortable and the comedy only occasionally funny.

I find it hard to admit that I am actually giving a James Cagney movie a poor review, but a bad movie is a bad movie regardless of the cast and sometimes even the most enjoyable and consistent stars cannot save it.

It's such a shame that the last movie musical James Cagney ever made was nowhere near as good as his first (Footlight Parade).

James Cagney in his autobiography said that he never ran his old films at home with the exception of the musicals. Those he ran continuously and he regretted he didn't do more of them.

Which is probably why towards the end of his film career he decided on a musical which had a certain amount of potential, but went sadly awry. Labor Unions were a big news back in the day. The hearings held by the McClellan Committee in the Senate made the doings of the Teamster's Union presidents, David Beck and Jimmy Hoffa front page headlines. There were any number of exposes showing how organized crime was muscling into honest unions. The Taft-Hartley law was a perennial issue back then with Democrats wanting to repeal it and Republicans staunchly in favor.

The songs by Allie Wrubel and Maxwell Anderson were singularly unmemorable and the comedy in Never Steal Anything Small is forced. However James Cagney is such a dynamic performer that he's put over far worse.

Roger Smith who played a straight arrow lawyer was a protégé of Cagney's back then. He played Cagney's son in Man of a Thousand Faces and after this film with a plug from Cagney to his old boss Jack Warner got cast in the television series 77 Sunset Strip.

My favorite in the film is Cara Williams. She's got the part that Joan Blondell or Gladys George would have played opposite Cagney back in the day. Williams is a worthy successor to both those women.

There is one true incident in Never Steal Anything Small. At one point Cagney nearly gets acid thrown in his face. There was just such an incident involving columnist Victor Riesel which was more successful and left him blind. But Riesel was a far more noble character than the one Cagney plays here.

Though in the end Cagney does show he has some scruples where women are concerned.

Charming Damon Runyon flavored semi-musical crime comedy driven by Cagney's magnetism.

Only Jimmy could make the strong arm racketeer he's playing so appealing and he sails through this minor film with the assurance of the star he was. Shirley Jones is lovely and sings beautifully but it's the brassy Cara Williams who really stands out.

The songs may not be too memorable but they fit the spirit of the story well and the zippy "I Want a Ferrari" duet between Cagney and Cara Williams is a classic car lover's dream.

Special mention should also go to the production designer who uses an almost exclusively muted palate of colors to create a rich harmonious look that gives the film a very stylish appearance without ever drawing the audience's eye away from the action.

Full of wonderful character actors and a jaunty attitude this is an under-known gem from the latter part of Cagney's career and he owns the film.

"Never Steal Anything Small" showcases the enduring charm and comedic talent of James Cagney, even as he adopts a slightly more tempered approach in comparison to his earlier, more energetic roles. The film proves that, despite a diluted version of Cagney's trademark cockiness and pugnaciousness, the actor still possesses an undeniable charisma that adds zest to this hilarious cinematic offering.

The script of "Never Steal Anything Small" complements Cagney's performance, providing a solid foundation for the comedic elements to flourish. While perhaps not reaching the heights of some of Cagney's earlier works, the narrative holds its own, offering a blend of humor and entertainment that keeps the audience engaged from start to finish.

Cagney, though exhibiting a milder version of his former self, demonstrates that he hasn't lost his touch. The actor's ability to infuse the character with charm and wit ensures that the film retains a sense of dynamism. His on-screen presence, even in a less energetic state, remains a driving force behind the film's success.

The film's humor is undoubtedly a highlight, and Cagney's knack for delivering comedic lines with impeccable timing contributes significantly to its success. While the cockiness may have mellowed with time, the film is a testament to Cagney's enduring comedic prowess and adaptability.

In conclusion, "Never Steal Anything Small" may showcase a slightly tempered James Cagney, but the film is a delightful and hilarious romp that underscores the actor's enduring talent. The script, while not groundbreaking, serves as a solid platform for Cagney's comedic performance. With a well-deserved 8/10 rating, the film is a testament to the enduring appeal of both Cagney and the timeless charm of classic comedies.