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The Beast of the City (1932)Police Chief Jim Fitzpatrick ruthlessly goes after organized crime and is prepared to use brutal and violent methods to fight it. Director:Charles Brabin |
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Title: The Beast of the City (1932)
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Cast
| Complete credited cast: | |||
| Walter Huston | ... |
Jim Fitzpatrick
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| Jean Harlow | ... |
Daisy
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Wallace Ford | ... |
Ed Fitzpatrick
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| Jean Hersholt | ... |
Sam Belmonte
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Dorothy Peterson | ... |
Mary Fitzpatrick
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Tully Marshall | ... |
Michaels
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John Miljan | ... |
District Attorney
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Emmett Corrigan | ... |
Chief of Police
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Warner Richmond | ... |
Tom
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Sandy Roth | ... |
Mac
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J. Carrol Naish | ... |
Cholo
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Plot Summary
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Storyline
Police Chief Jim Fitzpatrick is fighting gangster Sam Belmonte. He asks his dishonest brother Ed to keep an eye on Daisy who was connected with Belmonte. Written by Ed Stephan <stephan@cc.wwu.edu>
Taglines:
Beware the hunters who stalk their prey through city jungles! See more »Parents Guide:
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Details
Country:
USALanguage:
EnglishRelease Date:
13 February 1932 (USA) See more »Also Known As:
City Sentinels See more »Filming Locations:
Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, California, USABox Office
Budget:
$230,000 (estimated)Company Credits
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Technical Specs
Runtime:
Sound Mix:
Mono (Western Electric Sound System)Color:
Black and WhiteAspect Ratio:
1.37 : 1
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Daisy Stevens, aka Mildred Beaumont: All right, copper.
Det. Ed Fitzpatrick: How'd you come to think that one up?
Daisy Stevens, aka Mildred Beaumont: Aw, you've got Headquarters written all over yuh!
Det. Ed Fitzpatrick: Smart girl, huh?
Daisy Stevens, aka Mildred Beaumont: Yeah, and I never got past the eighth grade.
Det. Ed Fitzpatrick: Well, maybe you're bright enough to answer a few questions.
Daisy Stevens, aka Mildred Beaumont: Sure, if you don't ask them in Yiddish!
[She pushes past him and goes into the door. Then suggestively]
Daisy Stevens, aka Mildred Beaumont: Can you come in?
[...]
See more »
(1877) (uncredited)
Traditional piano tune
Music by Euphemia Allen
Played on piano by Betty Mae Crane and Beverly Crane
See more »
Did You Know?
Trivia
Fifty-two minutes into the film Daisy (Jean Harlow) has a party at her place. On a small table against the back wall is a photo of Clark Gable, her co-star in Red Dust the same year. See more »Quotes
Det. Ed Fitzpatrick: [Ed steps between Daisy and her front door] Don't kick me in the shin, or I'll smack your face!Daisy Stevens, aka Mildred Beaumont: All right, copper.
Det. Ed Fitzpatrick: How'd you come to think that one up?
Daisy Stevens, aka Mildred Beaumont: Aw, you've got Headquarters written all over yuh!
Det. Ed Fitzpatrick: Smart girl, huh?
Daisy Stevens, aka Mildred Beaumont: Yeah, and I never got past the eighth grade.
Det. Ed Fitzpatrick: Well, maybe you're bright enough to answer a few questions.
Daisy Stevens, aka Mildred Beaumont: Sure, if you don't ask them in Yiddish!
[She pushes past him and goes into the door. Then suggestively]
Daisy Stevens, aka Mildred Beaumont: Can you come in?
[...]
See more »
Soundtracks
"Chopsticks"(1877) (uncredited)
Traditional piano tune
Music by Euphemia Allen
Played on piano by Betty Mae Crane and Beverly Crane
See more »
The prologue says it all—people need to support the cops, not the gangsters. After all, it's 1932, the depths of the depression, and cops are seen by much of the public as enforcers of a broken system. Desperadoes like Dillinger, Baby-Face Nelson, and Bonnie & Clyde are romanticized as ordinary folks driven to robbing hated banks. At the same time, romanticizing films such as Public Enemy (1931) and Little Caesar (1931) are smash hits at the box-office. Tellingly, cops are depicted here as opposing a crime boss's (Belmonte) attempt to take over the city, not busting up strikes, enforcing repossessions, or chasing down dashing desperadoes.
It's a pretty good crime movie up to the ridiculous climax, where the two sides look like warring armies engaged in a frontier showdown. Why a police chief would deploy his men so recklessly is a real stretch. But, never mind, since there's a metaphorical point at stake here —namely, that police will honorably and bravely defend families no matter the personal cost to them, much as seen in popular Western movies. As a result, what makes for a positive social message is seen in the shootout as not necessarily translating into persuasive cinema.
Harlow makes for a convincing trollop—note her pre-Code liking for pain when properly done! Also, Walter Huston remains one of the fine forgotten actors from this period. Here, he again shows a real ability to convey strong emotion in an understated way. The movie also benefits from LA street locations. It's always a kick to see the styles and fashions from that long ago time. Anyway, taken in its time period, the movie remains very revealing in more ways than one.