Rita Flynn Movies

William Wellman's landmark gangster movie traces the rise and fall of prohibition-era mobster Tom Powers. We are first shown various episodes of Tom's childhood with the corrupting influences of the beer hall, pool parlor, and false friends like minor-league fence Putty Nose. As young adults, Tom (James Cagney) and his pal, Matt Doyle (Edward Woods), are hired by ruthless but innately decent bootlegger Paddy Ryan (Robert Emmett O'Connor). The boys quickly rise to the top of the heap, with all the accoutrements of success: custom-tailored tuxedoes, fancy cars, and gorgeous girls. All the while, Tom's loving (and somewhat addlepated) mother (Beryl Mercer) is kept in the dark, believing Tommy to be a good boy, a façade easily seen through by his older brother Mike (Donald Cook). Tommy's degeneration from brash kid to vicious lowlife is brought home in a famous scene in which he smashes a grapefruit in the face of his latest mistress (Mae Clarke). Some dated elements aside, The Public Enemy is as powerful as when it was first released, and it is far superior to the like-vintage Little Caesar. James Cagney is so dynamic in his first starring role that he practically bursts off the screen; he makes the audience pull for a character with no redeeming qualities. The film is blessed with a superior supporting cast: Joan Blondell is somewhat wasted as Matt's girl, Mamie; Jean Harlow is better served as Tom's main squeeze, Gwen (though some of her line readings are a bit awkward); and Murray Kinnell is slime personified as the deceitful Putty Nose, who "gets his" in unforgettable fashion. Despite a tacked-on opening disclaimer, most of the characters in The Public Enemy are based on actual people, a fact not lost on audiences of the period. Current prints are struck from the 1949 reissue, which was shortened from 92 to 83 minutes (among the deletions was the character of real-life hoodlum Bugs Moran). ~ Hal Erickson, Rovi

"Sweet Mamma," a phrase popularized in the Barney Google comic strip, referred to a pretty girl, usually blonde, who attached herself to whatever "sugar daddy" happened to be available. In this instance, Alice White is the "Mamma" of the title, a tootsie named Goldie. Basically good at heart, Goldie falls into bad company when she begins singing in a gangster-controlled nightclub. She survives long enough to go off hand-in-hand with her true love, honest Jimmy (David Manners), and to prove to the audience that most of the gangsters (in this picture, anyway) aren't such tough eggs after all. The use of "natural sound" in the exterior sequences becomes intrusive at times, especially when Jimmy is taken for a ride by the villains in the climax. ~ Hal Erickson, Rovi

While Barbra Streisand played musical-comedy star Fanny Brice in Funny Girl and Funny Lady, the closest Brice ever came to playing a Streisand-like role on film was in the 1930 comedy-drama Be Yourself. The Rose of Washington Square is cast as Fanny Field, the long-suffering girlfriend of no-account, gin-swilling prizefighter Jerry Moore (Robert Armstrong). After sacrificing everything to advance Jerry's career, Fanny is "repaid" when Jerry dumps her in favor of femme fatale Lillian (Gertrude Astor). Our heroine gets her revenge by telling Jerry's ring opponent to "go after" her man's nose, which was recently reconstructed by plastic surgery. As a result, Jerry loses the bout, but comes to his senses, returning to Fanny for good. Highlights include Brice's takeoff of "Dante's Inferno" and her song solo "Cookin' Breakfast for the One I Love," co-written by her then-husband Billy Rose. Unfortunately, the public didn't respond to Be Yourself, and Fanny Brice never again starred in a film, though she appeared as supporting player and guest performer from time to time. ~ Hal Erickson, Rovi