The Films of James Cagney and Joan Blondell

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It’s hard to imagine a better word to describe James Cagney and Joan Blondell as a team than the word moxie. They were both had it up to their eyelids. Cagney the fast talking, wise cracking smart aleck with a sly smile coming face to face with Blondell, who was just as fast with the wise cracks and added a sassiness all her own. Let’s just say Jimmy met his match. Officially, they were never a team like Tracy and Hepburn or Powell and Loy, but James Cagney and Joan Blondell made seven films together. I doubt either star ever had a more perfect fitting partner than these two had with each other. The real life Cagney/Blondell relationship, and they were good friends and never anything more, began before either ever set foot on a movie set.

They first met on Broadway back in 1929 when they both performed in a play called “Maggie the Magnificent” by George Kelly. Kelly told Cagney he got the part because he physically was what he was looking for, a “fresh mutt.” Blondell’s role called for her to be the type she would become best known for, the wisecracking dame. The play ran for only a month but the two performers became friends.  Fortunately for both, director William Keighley caught a performance of the show before it closed and liked the “young tough cookie and the strong, beautiful broad.” He recruited both for his own upcoming play, “Penny Arcade.” Within a few months the pair were back on Broadway, but it turned out be another flop running only twenty four performances. However, the play would be significant to both their future careers. Al Jolson caught the play and purchased the screen rights. He recommended to Jack Warner he take a look at it before it closed and to especially pay attention to the two supporting actors. Warner liked what he saw and signed up both Cagney and Blondell to contracts. Jolson then turned around and sold the film rights to Warners for a nice profit.

Though the made seven films together, within five years, they were not always paired on screen together. For example, in “The Crowd Roars,” Blondell was Cagney’s younger brother’s girl. However, there scenes together are some of the most electric in the film. Continue reading

Illicit (1931) Archie Mayo

“Illicit” was only Barbara Stanwyck’s fifth film and she was already a star. Having just appeared in Frank Capra’s “Ladies of Leisure” as a prostitute, or as they would call it, a ‘party girl’ for Columbia, Babs, who had arranged for non-exclusive contracts with both Columbia and Warner Brothers, starred in her next film  for Brothers Warner as a free thinking woman, a post feminist long before the term was even conceived.

Stanwyck is Anne Vincent and her lover, James Rennie, is wealthy Richard “Dick” Ives II. They have been happily living out of wedlock, going away together for weekends, enjoying life, but she refuses to marry Dick who wants to marry her. Anne explains her theories on marriage, how married couples become complacent, have kids and begin to take each other for granted leaving the fun and romance behind. Anne wants none of that. Eventually though pressure from friends and family force the couple to marry. Once married, egos get hurt, misunderstandings come out of the closet as well as former lovers. From Anne’s past comes Price Baines, played smoothly by Ricardo Cortez, who keeps popping up to complicate the situation. Late in the film Dick is about to run off with a former girlfriend (Natalie Moorhead) when the couple come to the realization they only want each other. Continue reading

Short Takes: Wall Street, Mitchum, Lincoln and Mansfield!

This edition of Short Takes includes one underrated fairly new film, from 2011, a made for television movie along with communists, Robert Mitchum, Robert Ryan, Joan Blondell and Jayne Mansfield.

Trial (1953) Mark Robson

A courtroom drama, filled with hot topics like racism, vigilantism, the Klu Klux Klan, communism, police brutality, paranoia and the influence of the media. On trial, a Mexican youth accused of murdering a local white girl. One of his lawyers (Arthur Kennedy) is more interested in using the boy as a martyr to raise money for the communist party while the other (Glenn Ford) is an idealistic young law professor who never tried a case before. Made during the McCarthy witch hunt era the story line has a strong anti-communist feel to it, but still manages to reflect some of dark sides of the American dream. Continue reading

The Cincinnati Kid (1965) Norman Jewison

By 1965, Steve McQueen was a star with hit films like “The Magnificent Seven” and “The Great Escape” already behind him. Yet, McQueen still had not proven he could carry a film, films where he alone was the big name. “The Honeymoon Machine,” “The War Lover” and “Hell is For Heroes” did little at the box office no matter what their quality. McQueen was still chasing the one actor who he saw as his rival, Paul Newman. With the release of “The Cincinnati Kid,” Steve would be on a cinematic roll pushing him through the stratosphere for the next few years equal to that of his screen rival.

I first saw “The Cincinnati Kid” in 1965 at a little theater in Downtown Brooklyn called the Duffield. Back in those days, this area of Brooklyn was a sort of mini Times Square with the boroughs largest and fanciest movie palaces all within walking distance. The Loew’s Metropolitan, RKO Albee, Brooklyn Fox and Brooklyn Paramount were all large grand scale theaters, each seating more than 3,000 people. The Duffield, on the other hand, was a small theater, approximately 900 seats, located on a side street (Duffield Street) just off Fulton Street, the main thoroughfare. McQueen was cool, as Eric Stoner, aka The Cincinnati Kid, his screen persona in full bloom. He had the walk and the look. He doesn’t talk too much but McQueen was always at his best when playing the silent type, it was all in his face and his body language. In truth, I was always more of a Paul Newman fan, but in this film McQueen was it, total sixties cool. Continue reading

Footlight Parade (1933) Lloyd Bacon

Check out my fifith of seven entries I am writing for the Musical Countdown being hosted by WONDERS IN THE DARK. Here is the link.

http://wondersinthedark.wordpress.com/2011/10/23/footlight-parade-no-17/

Blondie Johnson (1933) Ray Enright

At a running time of 67 minutes one sits there wishing it was longer. This pre-code film gives Joan Blondell one of the rare opportunities to have a leading role and she takes it to the hilt. Though released in 1933, Virginia “Blondie” Johnson comes across as a 21st century woman, a prototype of today’s female using her intelligence and wit to climb to the top, in this case the mob world. On the surface the film may seem like just another rags to riches story, though on the wrong side of the track (this is a Warner Brothers film after all).  Continue reading

He Was Her Man (1934) Lloyd Bacon

    The team of Cagney and Blondell never reached the iconic level of Tracy and Hepburn though these two Warner Brothers stars set off plenty of sparks in their six films together. Released in 1934 just short of the start date for the newly enforced policing of Hollywood sinema, ‘He Was Her Man’ is a slight but entertaining drama from the most street wise of Hollywood studios. Both stars play it low-key in this downbeat story, with Cagney even sporting a mustache.

    The plot evolves around Flicker Hayes (Cagney) recently released from jail and seeking revenge on the gang members who set him up to take the rap. Not expecting Flicker to be vindictive, his former buddies include him in on a new job. He squeals to the police on the plan, a drug company’s safe, resulting in one of the gang members being caught and sentenced to die in the electric chair. To avoid getting bumped off for his revenge driven deed, Flicker skips town settling in San Francisco where he meets down and out former prostitute Rose Lawrence (Blondell) who is on her way to a small fishing village to marry Nick Gardella (Victor Jory), a respectable fisherman she met who loves her despite her immoral past.  A couple of the gang members come west on a tip to find Flicker who decided to take Rose to the fishing village figuring the small out of the way town is a good place to hide.  Flicker and Rose don’t plan it but they fall in love.

    The gang members soon manage to track Flicker down at the seaside village, only they want to kill Rose also figuring she knows too much. Flicker, who she only knows by his alias Jerry Allan, convinces the thugs Rose knows nothing of his past and if they agree to leave her alone he’ll go with them. As the film concludes, Flicker and his two assassins drive off toward the ocean where they will do their dirty deed. Rose marries the kindly Nick as the film comes to a rather poignant conclusion.     

    Despite the movie’s final wedding scene, the film ends on a despondent note with our gangster hero going off to his death. Cagney is subdued in this film and fans who like the hyperactive Jimmie may be disappointed. Blondell in a rare lead role is also fairly subdued as Rose avoiding her usual perky wise cracking style. Victor Jory does well as Nick Gardella, the Portuguese fisherman in love with Blondell.  As a pre-code film, it met the standard sinful requirements in a few instances. First Bondell’s character makes it clear she was selling herself to survive and that wedding dress she wears at the end of the film is low cut enough to qualify for 2009. There is also, early in the film, a scene when Cagney’s character is squealing to the cops, telling them that the drug company going to be robbed is loaded with “junk and nose candy.”

    Directed by Warner’s studio director Lloyd Bacon, the film lacks the kind of action most folks expect from a Warner’s gangster film. Its countryside by the seas location instead of the big city is also a change of pace from what is generally expected. While this is not a must see, it is worth a look and Cagney and Blondell completist will be pleased.

** 1/2