Although innocent, reporter Frank Ross is found guilty of murder and is sent to jail. While his friends at the newspaper try to find out who framed him, Frank gets hardened by prison life ... See full summary »
The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
After the WWI Armistice Lloyd Hart goes back to practice law, former saloon keeper George Hally turns to bootlegging, and out-of-work Eddie Bartlett becomes a cab driver. Eddie builds a fleet of cabs through delivery of bootleg liquor and hires Lloyd as his lawyer. George becomes Eddie's partner and the rackets flourish until love and rivalry interfere. Written by
Ed Stephan <firstname.lastname@example.org>
Critics unanimously praised this film. James Francis Crow of the Hollywood Citizen-News opened his review with "This is not just another Warner Brothers gang war drama ..." Sidney Skolsky wrote: "A great hunk of entertainment ..." The Hollywood Reporter said: "The pace is furious ..." Boxoffice wrote: "It will roar its way across showmen's ledgers leaving a trail of black figures and satisfied customers." See more »
Eddie's arms change position when he falls on the church steps. See more »
[the men are taking cover in a bombed-out farmhouse, shooting at German soldiers somewhere off-screen. Lloyd takes aim at a German soldier, but hesitates, then lowers his rifle]
Whatsa' matta', "Harvard," did you lose the Heine?
No... but he looks like a kid, about 15 years old.
[Aims his rifle and without any hesitation shoots the young German soldier]
He won't be sixteen.
[Seconds later, a fellow soldier rushes in to tell them the war is over, the Armistice has been signed]
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In this movie, Bogart proves to be the sneering, sadistic gangster
After nearly a decade of concentrating on the gangster period of the twenties, it appeared that Warner Brothers had decided to make one, final glorified kiss-off to the genre in the spectacularly staged "The Roaring Twenties."
Director Raoul Walch was an odd choice for what turned out to be a first-rate action film, for Walsh was not normally a crime-film director The film contained every possible cliché connected with the era
Bogart's portrayal was interesting as we watched him coldly murder an ex-army sergeant who had given him a rough time in the service, and then set put to get rid of Jeffrey Lynn, now a successful lawyer working for the district attorney and intent on crushing Bogart's empire
Cagney, whose energy gave him a panerotic sexual magnetism, was evident with his two relationships which both tend to increase our valuation of Cagney as a person as are the two ladies involved: Priscilla Lane, the innocent whom Cagney helps and loves, and the experienced Gladys George who is evidently devoted to him but never expresses her feelings to him
This basic relationship between Cagney and the two female characters does not take away the great merit of "The Roaring Twenties"much more it proves the skill of Raoul Walsh and the writers in deploying conventional elements in an effective and meaningful way
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