Mae Clarke 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, All Movie Guide

In this crime drama, a moll tells her imprisoned gangster lover that she is leaving him for another whom she really loves. He is a wealthy boy who marries her without knowledge of her past life. The happy couple soon has a baby. Their happiness is destroyed when the gangster escapes from prison and goes out looking for revenge on his ex-moll. When her hubby's parents discover the truth about her they are appalled and enraged. They strongly pressure her to give up the baby and leave her husband forever. Her husband goes to Paris for a divorce and the woman becomes a nightclub singer. Trouble ensues when the gun-toting gangster shows up to shoot her down. Fortunately a fast-shooting detective is there and kills the gangster first. Later her husband comes back from Paris and decides that he doesn't care about her past. The little family is happily reunited. ~ Sandra Brennan, All Movie Guide

The Fall Guy isn't Lee Majors in this 1930 RKO Radio programmer but instead a hapless druggist played by Jack Mulhall. Upon losing his job, Johnny Quinlan (Mulhall) falls in with underworld chieftain Nifty Herman (played by Thomas Jackson, usually cast as dedicated detectives). Hoping to use Johnny as a dupe to cover up his own shady activities, Herman plants a generous supply of illegal drugs on the poor fellow. Government agent Charles Newton (Pat O'Malley) is prepared to put the cuffs on the lad but instead goes along with Johnny's scheme to trick Herman into a confession. The picture is stolen by Mae Clarke (a full year before her "grapefruit massage" in Public Enemy) as Johnny's wife and Ned Sparks as a saxophone-playing boarder. Based on a stage play by Tim Whelan and George Abbott, The Fall Guy was directed by Leslie Pearce, who later helmed the memorable W.C. Fields two-reeler The Barber Shop. ~ Hal Erickson, All Movie Guide

In her first important screen role, Mae Clarke is cast as Jackie Lee, a saucy vaudeville dancer. Jackie comes between acrobat-partners Bert (Robert Ames) and Johnny (William Harrigan), despite their promises to one another never to let a "dame" break up their act. Much of the dialogue is comprised of show-business slang, which must have been confusing to 1929 filmgoers but provides an endless source of enjoyment to the contemporary movie buff. The musical numbers were imaginatively staged, notably a "post-card" routine in which a photograph suddenly comes to life (and this was 12 years before this bit was "introduced" in Citizen Kane!) Filmed in New York, Nix on Dames features several Broadway performers in the supporting cast, including Gilbert-and-Sullivan specialist George McFarlane and African American actress Louise Beavers, here dropping her usual "maid" characterization to offer a soulful spiritual. ~ Hal Erickson, All Movie Guide