The Public Enemy |  | Directors: Alfred J. Goulding, William A. Wellman
Actors: James Cagney, Jean Harlow, Edgar Bergen, Charlie McCarthy, Christina Graver
Studio: Warner Home Video
Category: DVD
List Price: $19.98
Buy Used: $2.66
as of 11/23/2009 02:08 CST details
You Save: $17.32 (87%)
New (51) Used (25) Collectible (1) from $2.66
Rating:  51 reviews
Format: Black & White, Closed-captioned, Color, DVD, Full Screen, Subtitled, NTSC
Languages: English (Original Language), English (Subtitled), Spanish (Subtitled), French (Subtitled)
Rating: Unrated
Region: 1
Aspect Ratio: 1.33:1
Number Of Discs: 1
Running Time: 84 Minutes
Shipping Weight (lbs): 1
Dimensions (in): 7.1 x 5.4 x 0.6
MPN: 66906
ISBN: 0790792249
UPC: 012569690622
EAN: 9780790792248
Theatrical Release Date: April 23, 1931
Release Date: January 25, 2005
Availability: Usually ships in 1-2 business days
| |
| Features:
| • | James Cagney gives a tour-de-force performance in his tough-guy portrayal of a petty hoodlum who rises to big-time gangster.Running Time: 82 min. Format: DVD MOVIE Genre: DRAMA Rating: NR Age: 012569690622 UPC: 012569690622 Manufacturer No: 66906 |
| |
| Editorial Reviews:
Product Description
James Cagney gives a tour-de-force performance in his tough-guy portrayal of a petty hoodlum who rises to big-time gangster.Running Time: 82 min.Format: DVD MOVIE Genre: DRAMA UPC: 012569690622
Amazon.com essential video
Director William Wellman (Wings), a World War I veteran who turned his experiences in battle into an insistence on unpretentious violence in his films, made Public Enemy a particularly brutal account of the rise and fall of a monstrous gangster (James Cagney). Cagney delivers one of the most famous performances in film history as the snarling crook who--in one of the film's most famous scenes--smashes a grapefruit into the face of Mae Clarke. The film's a bit dated, but its action scenes still pack an unusual wallop. --Tom Keogh
|
| Customer Reviews:
Showing reviews 1-5 of 51
 The film that made Cagney a star! November 16, 2009
Barbara Morgan
This is one of my favorite movies of all time, and an absolute classic! Cagney's performance is just incredible, he's playing what should be a bad guy(Tom Powers), but it's done in such a way that you really feel for him, even though at times he's a real jerk! It's no wonder this film made him a star, he's just so darn good in it, he's magnetic, and at times, downright chilling! The film is also beautifully directed by William A. Wellman, especially when the action takes place out of sight from the audience's point of view! This also, is a very effective use of sound, especially so early on. We don't see as much violence as we hear, and our imagination(when used properly) makes the violence worse then what could ever be done on film, not to mention, the ending is one of the most startling moments in movie history. The supporting cast is quite good as well, and it's all around an enjoyable, compelling film, and it puts you right smack in the middle of that world with it's use of popular tunes as the musical score! The film is made all the more powerful by the performance of Cagney in one of his signature roles, and I'd have to say it's my favorite of his movies. This DVD is well done, and has some nice extras!
 Okay, but hardly great October 26, 2009
One-Line Film Reviews (Easton, MD)
The Bottom Line:
The Public Enemy may be an important film in the history of cinema what with being one of the first "social" films Warner Brothers churned out, but it's a patently simple story of a gangster's rise and fall that pales next to later gangster films and even contemporary ones like Little Caesar and Scarface: yes James Cagney shoves a grapefruit into Mae Clarke's face, but so what?
2.5/4
 Essential Cagney July 8, 2009
Scott Rivers (Los Angeles, CA USA)
1 out of 1 found this review helpful
If there was a characteristic that distinguished James Cagney from other movie gangsters, it was his rhythmic sense of timing and forceful charisma. The Cagney persona may have been brutal, yet he moved with the grace of a dancer. This choreographic aspect can be seen in Cagney's breakthrough role of Tom Powers in director William A. Wellman's "The Public Enemy" (1931). Though the crime drama suffers from some of the awkwardness that plagued many early talkies, much of its dynamism can be attributed to Cagney. In fact, "The Public Enemy" bears Cagney's imprint more than Wellman's, with the actor establishing the overall tone and pacing. An essential document of the Depression era.
The Blueprint for Gangster Films to Come. . . May 27, 2009
Leif Sheppard
Tom Powers. Today, the gangster archetype is typified on a scale of comparison to performances by either Robert De Niro or Al Pacino. Whether set up against the white hot adrenaline of Pacino, or built up around the brooding intensity of De Niro, modern gangster films have become a classic staple of American cinema second only to the western. Scorcese and Coppola merit the bulk of the credit for their masterful weavings of, respectively, the Goodfellas and Godfather sagas. Yet a string of directors have helmed such recent cult gangster films as Miller's Crossing, King of New York, Carlito's Way, Donnie Brasco, Romeo is Bleeding, Hoodlum, Mobsters, and Road to Perdition.
But prior to all of this, there was Tom Powers. The protagonist of The Public Enemy was an ambitious, cunningly intelligent, borderline misanthropic mobster. It was a role no different from the gangsters in other pre-code era films, such as Scarface or Little Caesar, except for one aspect - James Cagney.
Cagney's energetic performance in The Public Enemy decisively established his career and gave birth to scores of mob-related films, many including Cagney. Tight scripting and top gear acting (with a few exceptions, Jean Harlow is a significant low point in that department) ensure a never dull picture, and the cinematography is astonishingly picturesque at times. From the very beginning, The Public Enemy seizes your attention. For instance, watch the opening montage of city life and marvel at the long tracking shot that introduces the two main characters as children.
Another early scene involves Powers, as a teenager, getting himself into trouble with his strict, diciplinarian father. The father slowly walks to the kitchen to retrieve his lash as his mother looks on sympathetically. The camera remains stationary as the father, ever so slowly, strides into Powers room to punish him. The scene is shot with such delicate care in regards to the subject matter that it is every bit the equal to more modern "in your face" portrayals of castigation.
The attention to detail, curiously adept for such an early film, is breathtaking. A later scene has a camera hidden in the ground so that a gangster's car drives over it ominously. When a police officer is killed during Powers first big heist, the film depicts his death by displaying a hand clutching a revolver - smoke still subtly trailing from the barrel. I could expound on the amount of deftly shot scenes endlessly. Perhaps most notably, the infamous grapefruit scene became so iconic that it's still parodied to this day.
What I recall most, however, is the chilling climax in which Powers seeks revenge for the death of his best friend. This scene remains one of the preeminent symbols of early pre-code cinematic violence.
His gang weakened by the accidental death of its primary enforcer, Powers finds himself outgunned and essentially aloof. Paddy, the gang's leader, strives to protect what's left of his outfit by sequestering them in an apartment, replete with a mistress to take care of them.
After barely a day, Powers grows restless (and incensed at the mistress who seduced him in a drunken state) and storms out. Matt Doyle, ever Powers intrepid companion, accompanies him. Not surprisingly, rival gang members are lying in wait and immediately open fire as they depart. Doyle is struck and nearly instantly killed, while Powers is able to seek cover around a corner. Beside himself with fury, Powers plots a devious retribution.
Alone in the rain he stands silently, watching the rival gang's automobiles arrive at a popular hangout for the gang. One by one they scurry inside as Powers glares at them. Though an malicious grin escapes his lips, it's clearly evident his rage is rapidly reaching a boiling point. That's when Powers shoves both hands in his coat pockets and marches inside the building.
From here, the only thing the audience witnesses is the anterior of the building. No score is played, only the unnerving sound of gunfire and a few grisly screams. We do not see the firefight and we do not see men fall to the ground clutching their abdominals. Powers emerges a minute later, noticably wounded, and tosses both his pistols through the windows of the building. He staggers down the street a bit before collapsing in the gutter, torrential rain descending around him, only managing a weak "I ain't so tough" before losing consciousness. The screen fades to black, and only then is the tension dissolved.
What makes this series of events so remarkable is that no actual violence is seen. The entire episode takes place within the recesses of your own mind, and that can often be more terrifying that any cinematic sequence could ever be. It's so brilliantly executed and so boldly shot with such a detached sense of realism that you feel as if you're standing right there on the corner next to Powers. . .and still there as he commits murder.
The Public Enemy is the purest exemplification of the gangster film. In the years since its release, all others have served as naught but pallid facsimiles.
Life and Death in Chicago January 14, 2009
Acute Observer (North Jersey Shore)
This film opens with scenes and music that recall the 1920s. This story is essentially true, the names and characters are purely fictional. They show a busy city street said to be 1909. People buy beer by the bucket. Two boys are up to no good. Tom Powers is the meanest boy in town. "You'll be in prison some day!" Tom's character is formed by his actions. Tom and Matt get toys for the New Year, and things go very bad. "Larry was a good boy" but he was involved with a bad crowd. Still true today? We see how the underworld works by having friends. Older brother Mike warns Tom about his friends, to no avail. Prohibition made selling liquor illegal - but not buying it. The shortages cause the price to skyrocket, and an opportunity arises. This brings in men who can get things done.
Tom becomes a forceful salesman for Paddy Ryan's gang. Mike won't drink beer (what did he learn in the military?) "Nails" Nathan wants his debts collected. Tom meets a new friend on the street; she is from Texas. Tom sees "Putty Nose" and follows him to talk about old times, and settle the score. There are conflicts at Tom's mother's home. Gwen likes a man like Tom. The accidental death of "Nails" Nathan upsets the established order. Paddy Ryan makes plans to re-establish order. [Note the use of revolvers rather than modern automatics.] But somebody sees Paddy and calls a number. "Only a coal truck." Will there be an ambush? Tom takes steps to get his revenge afterwards. Shots are fired during a heavy rain, then Tom falls into the gutter. Is he sorry now? Will he be coming home to stay? The ending is as ironic and shocking as eighty years ago.
The XVIII Amendment gave the Federal Government the right to regulate the sale of alcohol. It was a very broad mandate, and serves as a warning about any amendment with deceptively simple language designed to fool people (like the Equal Rights Amendment?). You can read a book on Prohibition to learn more about this "noble experiment". It wasn't "noble" for corporations to oppress people by taking away the taverns where they could meet. They promised it would lower crime and increase prosperity, but did just the opposite. Are the same arguments used for "Gun Control" today?
The clarity of this DVD is excellent.
Showing reviews 1-5 of 51
|
|
|
