James Cagney Movies

The James Cagney Scrapbook offers an homage to this great Hollywood screen actor. Early interviews, rare photos, at-home clips, promotional pieces, and scenes from Cagney's most memorable roles blend to present a poignant profile of the movie legend. Whether playing hero or villain, Cagney's underlying sensitivity added depth to his performances and helped make him an American icon. Documentary highlights include clips from Blood on the Sun and The Time of Your Life, as well as an introduction to Cagney's fellow film stars, Edward G. Robinson and Humphrey Bogart. ~ Sally Barber, Rovi

During the Prohibition era of the 1920s, speakeasies were common and crime was rampant. This period of American history coincided with the gangster era in America. Gangs of men began to capitalize on this law by breaking the law and selling liquor for their own profit, not letting anything or anyone stand in their way. This time period, because of the violence and infamous figures brought to light, caught the attention of the movie industry and Hollywood did a little of its own capitalizing. With their double-breasted suits and their machine guns, actors became real-life gangsters such as Al Capone or fictional criminals such as Tony Camonte (played by Paul Muni) from Howard Hawks' 1932 classic Scarface. With the first string of crime movies hitting the screens even before Prohibition was repealed in 1933, the crime syndicates obviously provided Hollywood with entertaining material and this video celebrates that golden age of crime films. ~ Cecilia Cygnar, Rovi

Rather than a compilation of a series of hilarious bloopers, plus scenes of current stars never-before shown to the public, this collection of film clips focuses on a Hollywood of long ago. Stars from Warner Bros. in the 1930s and '40s are shown in out-takes that mainly illustrate their short tempers (James Cagney and Humphrey Bogart among them), while a variety of clips, including screen tests (Marilyn Monroe) catch famous actors from the 1930s to the '60s in ironic or very youthful and naive moments. The humor, when it occurs, depends on the viewpoint of the beholder: "At Home with Joan Crawford" shows her putting her children to sleep while a voiceover says "Good-night Mommy Dearest." James Dean discusses the dangers of fast driving on the highway in one clip filmed not long before he was killed in a head-on collision, driving 115 mph near Paso Robles. Judy Garland sings Over the Rainbow in a radio show with Bob Hope that was captured on film. Another short made in 1937 shows Constance Bennett demonstrating her beauty secrets; others show Bette Davis promoting war bonds in the 1940s, and Shirley Temple doing a segment for the Red Cross. For anyone interested in Hollywood stars, these film clips are curiosities that reveal more than just the screen persona of actors who were "manufactured in Hollywood." ~ Eleanor Mannikka, Rovi

Warner Brothers was one of the big studios of the 30s and had many talented performers under contract. See some of their most outrageous mistakes, as well as previously unseen shots. ~ Rovi

In the tradition of such Rankin-Bass productions as Rudolph the Red-Nosed Reindeer and The Little Drummer Boy, the TV holiday special The Ballad of Smokey the Bear was made in the stop-motion Animagic process (simplistically described in the TV Guide listings as "animated mechanical puppets"). The story is narrated, and occasionally sung, by no less than James Cagney, here providing the voice of Big Bear. Eight brand new songs, written by Johnny Marks of "Rudolph the Red-Nosed Reindeer" fame, are heard in this saga of Smokey Bear's rise from cub-hood to his emergence as mascot for the US Forest Service's fire-prevention campaign. Curiously, the "official" voice of Smokey, Jackson Weaver, is not heard, though Weaver recorded an LP that was released concurrently with this program. The Ballad of Smokey the Bear made its NBC debut on Thanksgiving Day, November 24, 1966. ~ Hal Erickson, Rovi

In his last starring film (it was supposed to be his last film, but Ragtime came along in 1981), James Cagney plays Coca-Cola executive C.R. MacNamara. Assigned to manage Coke's West Berlin office, MacNamara dreams of being transferred to London, and to do this he must curry favor with his Atlanta-based boss, Hazeltine (Howard St. John). Thus, MacNamara agrees to look after Hazeltine's dizzy, impulsive daughter, Scarlett (Pamela Tiffin), during her visit to Germany. Weeks pass, and on the eve of Hazeltine's visit to West Berlin, Scarlett announces that she's gotten married. Even worse, her husband is a hygienically challenged East Berlin Communist named Otto Piffl (Horst Buchholz). The crafty MacNamara arranges for Piffl to be arrested by the East Berlin police and to have the marriage annulled, only to discover that Scarlett is pregnant. In rapid-fire "one, two, three" fashion, MacNamara must arrange for Piffl to be released by the Communists and successfully pass off the scrungy, doggedly anti-capitalist Piffl as an acceptable husband for Scarlett. MacNamara must accomplish this in less than 12 hours, all the while trying to mollify his wife (Arlene Francis), who has learned of his affair with busty secretary Ingeborg (Lilo Pulver).

Seldom pausing for breath, Billy Wilder's film is a crackling, mile-a-minute farce, taking satiric scattershots at Coca-Cola, the Cold War (the film is set in the months just before the erection of the Berlin Wall), Russian red tape, Communist and capitalist hypocrisy, Southern bigotry, the German "war guilt," rock music, and even Cagney's own movie image. Not all the gags are in the best of taste, and most of the one-liners have dated rather badly, but Cagney's mesmerizing performance holds the whole affair together. Billy Wilder and I.A.L. Diamond adapted their screenplay from an obscure play by Ferenc Molnár. Watch for Red Buttons in an unbilled cameo as a military policeman, and listen for the voice of Sig Rumann, emanating from the mouth of actor Hubert Von Meyerinck (the Count von Droste-Schattenburg). ~ Hal Erickson, Rovi

Only one of three films directed by screenwriter Charles Lederer, known for movies as disparate as The Thing (1951) and Gentlemen Prefer Blondes (1953), this crime comedy-drama-musical obviously defies categorization. Mixing James Cagney as a gangster out to control a big union, with musical numbers and cute songs is about like mixing onions and vanilla pudding. Jake MacIllaney (Cagney) wants to be elected president of Longshoreman's union 26 and, being a top mob boss, is used to getting his way. He is not past almost any stunt or method of coercion to get votes. Dan Cabot (Roger Smith) is Jake's lawyer, and after Jake meets Cabot's wife Linda (Shirley Jones), he sets his sights on conquering her affections. Disregard the husband, he can be taken care of. Setting this to music introduces some entertaining songs (I'm Sorry -- I Want a Ferrari) but the seriousness of the mobster's immorality and power is hard to reconcile with a perky tune about not stealing the small stuff. ~ Eleanor Mannikka, Rovi

One screen legend tips his hat to another as James Cagney portrays horror film icon Lon Chaney in Man of a Thousand Faces. Joseph Pevney's bio-pic takes a somewhat whitewashed view of Chaney's career, but Cagney is nothing short of riveting in the lead. The film begins as Chaney, the son of two deaf parents, is tasting success in vaudeville as a knockabout juggler, mime, and quick-change artist. Chaney meets Cleva Creighton (Dorothy Malone) and hires her as his assistant. They fall in love and marry, but when Chaney reveals his parents are deaf mutes, she recoils in revulsion. When she gives birth to a son, she refuses to look at him, thinking their child will also be deaf. Chaney proves her wrong, but Cleva reveals an underlying psychological affliction that grows in intensity as Chaney's vaudeville success increases. When Chaney becomes a vaudeville star, Cleva walks out on both Chaney and her son. Chaney's son is sent to a home, since after Cleva's departure, he hasn't the money to support him. To get his son back, he travels to Hollywood and takes every bit role available, using his gift for creative disguises to land several roles in one film. Chaney becomes well respected for his talents and his popularity becomes greater, and he eventually becomes a superstar. Along the way, he meets Hazel Bennett (Jane Greer) and they fall in love and marry. But his happiness is shattered when Cleva comes back into his life and demands the return of her son. ~ Paul Brenner, Rovi

The MGM melodrama These Wilder Years marked the first onscreen pairing of Hollywood stars James Cagney and Barbara Stanwyck. Lonely middle-aged businessman Steve Bradford (Cagney) returns to his old town in hopes of finding the son he fathered 20 years earlier. Choosing his career over marriage and family, he got a girl pregnant and she gave the baby up for adoption. He goes to an orphanage ran by Ann Dempster (Barbara Stanwyck) to find out information about his son. They are attracted to each other, but she refuses to release the confidential files that could help him. He hires a lawyer, James Rayburn (Walter Pigeon), and proceeds to sue the adoption agency. Though he loses the case in the climactic courtroom scene, Steve ends up finding his son on his own, but he decides it's too late to forge a relationship. Instead, Ann introduces him to pregnant teenager Suzie (Betty Lou Keim), who needs his help. ~ Andrea LeVasseur, Rovi

With his movie career fading in 1955, Bob Hope was amenable to writer/director Mel Shavelson's suggestion that Hope try something different. The Seven Little Foys was the first of Hope's two "straight" biopics (the second was 1956's Beau James). Though not completely abandoning his patented persona, Hope does an admirable job of impersonating legendary Broadway song-and-dance man Eddie Foy, right down to the soft-shoe shuffle and affected lisp. A successful "single" in vaudeville, Foy meets and marries lovely Italian songstress Madeleine Morando (Milly Vitale). The union results in seven children, moving the Foys' priest to comment "we're running out of Holy water" after the seventh baptism. Hardly an ideal family man, Foy leaves Madeleine and her sister Clara (Angela Clarke) behind in their Connecticut home to raise the kids, while he rises to spectacular career height. Returning home after attending a testimonial for George M. Cohan (James Cagney, who played this unbilled cameo on the proviso that Hope turn over Cagney's salary to charity), Foy discovers that his wife has died of pneumonia. Months pass: Foy sulks in his rambling house, while his seven kids run roughshod. Foy's manager (George Tobias) suggests that the entire family be assembled into a vaudeville troupe called The Seven Little Foys. Though the kids are profoundly bereft of talent, the act gets by on its charm, and before long Foy is a bigger success than ever. But when Foy and the kids are booked into the Palace on Christmas Day, Aunt Clara decides that the kids are being cruelly exploited, and arranges for the authorities to arrest the act on charges of violating a state law barring children from singing and dancing. The authorities decide to drop the charges when the kids rally around their father, declaring their genuine love for him--but the deciding factor is a quick demonstration that the kids can't sing or dance to save their lives! The Seven Little Foys is a standard Hollywood whitewash job, emphasizing Eddie Foy's virtues (including his on-stage heroism during the infamous Iroquois Theatre fire of 1903) and soft-pedaling or ignoring his faults (e.g. his capacity for alcohol). Wisely, the scenes between Bob Hope and the seven children playing the Little Foys (including Father Knows Best's Billy Gray, The Real McCoys' Lydia Reed and Leave It to Beaver's Jerry Mathers) are refreshingly free of cloying sentiment. Also, Hope is a good enough natural actor to convince us that he deeply cares for his children without gooey effusions of emotion. The film's hands-down highlight is the "challenge dance" between Foy (Bob Hope) and Cohan (James Cagney)--a lasting testament of the superb terpsichorean talents of both men. The Seven Little Foys was narrated by Eddie's son Charley Foy, a fine comedian in his own right. ~ Hal Erickson, Rovi

Henry Fonda returned to films after an eight-year absence in this masterful adaptation of the actor's Broadway hit Mister Roberts. Written and partially directed by Joshua Logan, the film stars Fonda as Lt. Doug Roberts, chief cargo officer of the supply ship "Reluctant." WW2 is in its last few months, and Roberts is itching for combat duty. But the Reluctant's surly, despotic captain (James Cagney), anxious to use Roberts to expedite his own promotion, refuses to sign any of Roberts' transfer requests. Helping to brighten Mister Roberts' humdrum existence are his best friends, Ensign Frank Pulver (Jack Lemmon, in an Oscar-winning performance) and the ship's philosophical doctor (William Powell, in his final film appearance). Most of the laughs are provided by Pulver, officer "in charge of laundry and morale." When he isn't wheeling and dealing to bring a bevy of beautiful nurses on board the Reluctant, Pulver is concocting elaborate schemes to avenge himself against the Captain -- even though he's spent 14 months on the Reluctant without ever meeting his nemesis. The film's highlights include the efforts by Roberts, Pulver, and Doc to mix a bottle of Scotch from Coca-Cola, Iodine, and other vital ingredients; and Mister Roberts' (and later Ensign Pulver's) assertion of manhood by tossing the Captain's precious palm tree overboard. Halfway through shooting, legendary director John Ford was replaced, ostensibly because of illness, by Mervyn LeRoy. One of the finest service comedies ever made, Mister Roberts spawned a less amusing sequel, Ensign Pulver (1964), as well as a 1965 TV sitcom. ~ Hal Erickson, Rovi