A convict being escorted in for retrial escapes at Grand Central and threatens his old girlfriend on the phone. She flees for her new beau's private railcar at the same station. When she is... See full summary »
A piano teacher believes that her fiancé, a cellist, was killed on the battlefield. When he returns alive, they marry, but are menaced and threatened by a wealthy, egotistical composer she started dating on the rebound.
The editor of a New York exploitation newspaper meets the wife he had abandoned years ago, while using another name, at a LonelyHearts ball sponsored by his newspaper. She threatens to ... See full summary »
Peggy is 21 and bored. She has just been awarded a certificate for starting work on time for 1000 days. She decides that she needs a change so she leaves a note, which is taken to be ... See full summary »
Detective Chris Kelvaney has a brother, Eddie, who also is a policeman. He witnessed a murderer running away from the scene of the crime. Chris has contacts with the gangster Beaumonte, who... See full summary »
Sophie loved Edmund, but he left town when her parents forced her to marry wealthy Octavius. Years later, Edmund returns with his son, William. Sophie's daughter, Marguerite, and William ... See full summary »
Julia Ross secures employment, through a rather-noisy employment agency, with a wealthy widow, Mrs. Hughes, and goes to live at her house. Two days later, she awakens in a different house ... See full summary »
Joseph H. Lewis
Dame May Whitty,
Ruthless hood Johnny Eager is pretending to his parole officer that he has chucked the rackets and is now a full-time taxi driver. In fact, he's as deep in as he ever was and desperately needs official permission to open his new dog track. When he meets up with Lisbeth Bard, he finds he not only has a stunning new girlfriend but a possible way to get his permit. Written by
Jeremy Perkins <email@example.com>
"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on January 21, 1946 with Robert Taylor reprising his film role. See more »
In the scene where Johnny is asking Benjy about the cop that won't let him put in slot machines, Benjy hands him a note with the cop's badge number (#711) on it which he unfolds before handing to Johnny. Then we see Johnny unfolding it again. See more »
John 'Johnny' Eager:
Oh, now don't turn ordinary on me. I get tired of ordinary dames. And I don't want to get tired of you.
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(Also known as "Melancholy Baby" and "My Melancholy Baby")
Music by Ernie Burnett
Played during the opening and closing credits
Played as dance music by the band at Tony Luce's place
Played as background music often See more »
MGM produced this well-written, well-produced gangster saga, a type of film that was very unusual for the studio.
As the alcoholic, self-loathing, philosophizing buddy of Johnny Eager (Robert Taylor), Heflin steals the show. He plays his role with great intensity and complexity, making his performance one of the most deserved Best Supporting Actor Oscars in the history of the Academy Awards. His crying scenes are enough to choke a person up, and his possible suggestion of a homoerotic attraction to Eager is unique in a film of this era.
It's unfortunate that Heflin's subsequent roles and performances were generally dull. This actor needed roles that put him emotionally on the edge and exploited his intensity. But at least in Johnny Eager, Heflin set a standard for screen acting that remains a role model to this day.
Robert Taylor plays his scenes with Heflin with some dramatic tension and a hint of subtext, while still remaining comfortably within the confines of a handsome Hollywood leading man. Turner delivers her lines very artificially, coming across as insincere, and her face seems incapable of expressing emotion. Beautiful she is, but given the taut script, the director had the potential of eliciting less formulaic playing from her. Luckily, the rest of the cast is excellent -especially Edward Arnold and Robert Sterling.
Watch this one and you won't be disappointed. Heflin's performance is worth it all.
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