Tom Powers and Matt Doyle are best friends and fellow gangsters, their lives frowned upon by Tom's straight laced brother, Mike, and Matt's straight laced sister, Molly. From their teen-aged years into young adulthood, Tom and Matt have an increasingly lucrative life, bootlegging during the Prohibition era. But Tom in particular becomes more and more brazen in what he is willing to do, and becomes more obstinate and violent against those who either disagree with him or cross him. When one of their colleagues dies in a freak accident, a rival bootlegging faction senses weakness among Tom and Matt's gang, which is led by Paddy Ryan. A gang war ensues, resulting in Paddy suggesting that Tom and Matt lay low. But because of Tom's basic nature, he decides instead to take matters into his own hands.Written by
Several versions exist of the origin of the notorious grapefruit scene, but the most plausible is the one on which both James Cagney and Mae Clarke agree: The scene, they explained, was actually staged as a practical joke at the expense of the film crew, just to see their stunned reactions. There was never any intention of ever using the shot in the completed film. Director William A. Wellman, however, eventually decided to keep the shot, and use it in the film's final release print. See more »
Mic shadow (apparently disguised with leaves) in early scene where girl trips while roller skating. See more »
It is the ambition of the authors of "The Public Enemy" to honestly depict the environment that exists today in a certain strata of American life, rather than glorify the hoodlum or the criminal. While the story of "The Public Enemy" is essentially a true story, all names and characters appearing herein, are purely fictional. See more »
For the theatrical release in 1931, the New York censors made the following cuts:
The scene where Putty Nose hands Tom and Matt a gun.
All scenes of the warehouse robbery.
Scenes showing the boys getting their payoff from the government liquor heist.
Most of the scene where Tom kills Putty Nose.
The seduction of Tom by Paddy's girl and the subsequent scene where Tom slaps her.
As a tsunami, nothing was able to stop Cagney once he was aroused, and no one even thought to try
"Public Enemy" brought two things to the screen: the little tough guy, fast-talking, unscrupulous gangster characterization by James Cagney which was to follow him throughout his entire screen career, and the grapefruit scene
Though "Public Enemy" created the Cagney image, he had already appeared in two other gangsters films for Warners, as a murderer prepared to let someone else pay for his crime in "Sinner's Holiday," and as a double-crossing hoodlum in "Doorway to Hell."
"Public Enemy," however, was a bigger-budget production, directed by William Wellman, and it contained all the elements of success It is the story of two brothers who become Chicago booze barons in the Twenties... One was Cagney, the other Edward Woods
It is sometimes claimed that the story of "Public Enemy" is based on that of "Little Hymie" Weiss, leader of the North Side Chicago gang after the murder of Dion O'Banion by the Capones in 1924 What is more likely is that the Cagney characterization is based on "Little Hymie"; the plot itself is pure fiction
When Cagney, in his striped pajama, sat opposite Mae Clarke at breakfast and decided he had had enough of this boring broad, he wasted no time He picked up half a grapefruit and planted it full into Clarke's face It was a piece of screen action which has lasted down the years as the ultimate in violence from the gangster to his moll
Of course, it isn't it just seems that way Since then gir1s have been slapped, kicked, beaten up, run over, shot, stabbed and raped, all in the tradition of mobster violence
But at the time this scene was daring, and the more daring because it was totally unexpected We remember Mae Clarke in "Public Enemy," yet forget that Jean Harlow was in it, too There may have been good reason The New York Times, reviewing the film in 1934, commented: "The acting throughout is interesting, with the exception of Jean Harlow, who essays the role of a gangster's mistress."
Cagney made violence and a life of crime magically seductive, and "Public Enemy" made him Warners' number 2 gangster, second only to Edward G. Robinson
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