Rico is a small-time hood who knocks off gas stations for whatever he can take. He heads east and signs up with Sam Vettori's mob. A New Year's Eve robbery at Little Arnie Lorch's casino ... See full summary »
Edward G. Robinson,
Douglas Fairbanks Jr.,
It's the early days of the F.B.I. - federal agents working for the Department of Justice. Though they've got limited powers - they don't carry weapons and have to get local police approval ... See full summary »
Lou Ricarno is a smart guy. His plan is to organize the various gangs in Chicago so that the mugs will not liquidate each other. WIth the success of his leadership, Louie prospers, marries ... See full summary »
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
At about half an hour into the film, Powers and Doyle enter the nightclub "Black and Tan." Since "The Public Enemy" has much to do with Prohibition, this is a clever pun by the filmmakers, as a black and tan is also a common mixed drink (typically stout and ale, hence its name). See more »
Near the end of the film, Tom Powers is hiding by the stairs, waiting in the rain for his enemies. After they arrive, Tom stands up and his hat is straight on his head, the next view of him has the hat cocked to one side, then the following view shows the hat straight again. See more »
Breakfast is all ready, Tommy.
I ain't hungry. Pour me some coffee, will you, and make it black.
You aren't sorry are you?
Sorry? Sorry about what?
For last night.
What do you mean? For getting drunk?
Aren't you the little play actor.
Wait a minute... Do you mean that... Why you...
[Tom slaps Jane]
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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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