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The Roaring Twenties (1939)

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Ratings: 7.9/10 from 7,685 users  
Reviews: 69 user | 36 critic

Three men attempt to make a living in Prohibitionist America after returning home from fighting together in World War I.

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Title: The Roaring Twenties (1939)

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Cast

Cast overview, first billed only:
...
...
...
...
Jeffrey Lynn ...
Frank McHugh ...
Danny Green
Paul Kelly ...
Nick Brown
Elisabeth Risdon ...
Mrs. Sherman (as Elizabeth Risdon)
Edward Keane ...
Henderson (as Ed Keane)
Joe Sawyer ...
The Sergeant - Pete Jones
Joseph Crehan ...
Michaels
George Meeker ...
Masters
John Hamilton ...
Judge
Robert Elliott ...
First Detective
Eddy Chandler ...
Second Detective (as Eddie Chandler)
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Storyline

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 <stephan@cc.wwu.edu>

Plot Summary | Add Synopsis

Taglines:

1920 . . . Bootleggers, Jazz, Babe Ruth, Speakeasies, Jack Dempsey, Dames, Molls, Easy Living - Quick Dying . . . the torrid . . . blazing . . . wild . . . lush . . . lurid - ROARING TWENTIES ! ! ! See more »


Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

23 October 1939 (USA)  »

Also Known As:

The World Moves On  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

(Turner library print)

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Eddie Bartlett refers a couple of times to a "gilpin". This is a slang term for a stupid or gullible person, mostly known from the 1930s rather than 1919 when Eddie first uses it in the film. See more »

Goofs

(at around 1 min) As the former sergeant (now a security guard) is locking up a gate after letting a car pass, the background is clearly a painted set (including phony light fixtures in 2-D). See more »

Quotes

Panama Smith: I'm sick of watching you try to put out that torch you carry for her with a lot of cheap hooch. Who does the kid look like?
Eddie Bartlett: Like her.
Panama Smith: And they got a nice house.
Eddie Bartlett: Yeah, it's a nice house if you like that kind of a house, but for me, uh, I'll take a hotel anytime. You know that.
Panama Smith: Me too. Ain't it funny how our tastes have always run the same? Ever since the first time we met. I can just picture you living in the suburbs, working in a garden, raising flowers and kids. Wouldn't that be a laugh.
Eddie Bartlett: Yeah,...
See more »


Soundtracks

My Melancholy Baby
(1912) (uncredited)
Music by Ernie Burnett
Lyrics by George A. Norton
Played during the opening credits and often in the score
Sung by Priscilla Lane on the train, at the audition, and at the club
See more »

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User Reviews

 
He Used To Be A Big Shot
12 October 2005 | by (United States) – See all my reviews

It is not as centrally dynamic as THE PUBLIC ENEMY nor as Freudian as WHITE HEAT, but THE ROARING TWENTIES is a leading gangster film for Jimmy Cagney as it details the rise and fall of a gangster Eddie Bartlett. The product of World War I and Prohibition, Eddie rises to great power as the head of a gang, always trying to return to legitimate society, and then to fall again due to the Wall Street Crash and the machinations of his right-hand man George Hally (Humphrey Bogart).

Both men's characters are far more subtle as studies of success in criminal enterprise than the normal crime bosses of the 1930s. Eddie painstakingly builds up a taxicab corporation to gain legitimacy, as well as his stock acquisitions. Bogart, a bit more realistic on what types of businesses he understands, does not get involved in the stock market. But he enjoys the trappings of the upper class. Witness the scene when he is talking with his underling (Abner Biberman) and he is practicing his putting in his office. At the conclusion, Bogart is living in a townhouse (a sign of his financial success).

There is a tradition in the films of the depression that some gangsters are not as bad as others. This is not to be taken seriously in real life, but the idea is that certain people are driven to crime by economic circumstances (Cagney returning to no job at the end of World War I) and some are driven by pure evil (the sadistic side of Bogart's nature). Cagney, on his rise, gains the friendship of people like Gladys George (actually the unrequited love of Ms George) and tries to find room in his organization for people like Frank McHugh, a nice guy who really never fit in properly as a criminal - and dies as a result. Bogart gains the support of like villains (Bibberman, who shares Bogie's fate at the end), and keeps showing a contempt for human life in most of the film (witness how he kills a cop on one of the rum runners he and Cagney are on, because the cop was once his sergeant in the army who punished him for breaking the rules when he did). But Cagney turns out to have more guts in him than Bogie. At the end of the film the latter, facing his own demise, turns into a total coward.

The film has many touches to set the tone of the 21 years it covers (1918 - 1939). At the start newsreel footage takes the audience back to the end of World War I, showing Presidents and events up to Wilson (who, curiously enough, is shown by an actor playing the President, not as part of an old film). It has been noted that Gladys George's Panama is based on Texas Guinan, the speakeasy hostess. The death of Cagney on the steps of a church is based on the death of Hymie Weiss, a Chicago gangster rival of Capone who was killed that way in 1927. It was too good a death to not use in a gangster film, as it seems more symbolic than it was in real life (it does remind us of how Cagney, for all his good intentions, came up short due to his profession in violence).

I have not commented on the love triangles involving Cagney, Jeffrey Lynn, and Priscilla Lane (and Cagney, Lane, and Gladys George). The irony that Cagney never sees that George is more than just a good friend is rather poignant, for both of them. And it is George who cradles his dead body in the end and gives his epitaph. Perhaps today a director would allow Cagney to wise up and get away with George. But that would spoil the full effect of the film's conclusion.


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