8.2/10
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159 user 85 critic

White Heat (1949)

Approved | | Action, Crime, Drama | 3 September 1949 (USA)
A psychopathic criminal with a mother complex makes a daring break from prison and leads his old gang in a chemical plant payroll heist. Shortly after the plan takes place, events take a crazy turn.

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(screen play), (screen play) | 1 more credit »
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Nominated for 1 Oscar. Another 1 win & 1 nomination. See more awards »
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Cast

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Storyline

Cody Jarrett is the sadistic leader of a ruthless gang of thieves. Afflicted by terrible headaches and fiercely devoted to his 'Ma,' Cody is a volatile, violent, and eccentric leader. Cody's top henchman wants to lead the gang and attempts to have an 'accident' happen to Cody, while he is running the gang from in jail. But Cody is saved by an undercover cop, who thereby befriends him and infiltrates the gang. Finally, the stage is set for Cody's ultimate betrayal and downfall, during a big heist at a chemical plant. Written by Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>

Plot Summary | Plot Synopsis

Taglines:

Searing the screen like the death-blast of a sub-machine gun ! ! ! See more »


Certificate:

Approved | See all certifications »

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Details

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Release Date:

3 September 1949 (USA)  »

Also Known As:

Alma negra  »

Company Credits

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Technical Specs

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Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The movie's line "Made it, Ma! Top of the world!" was voted as the #18 movie quote by the American Film Institute (out of 100). See more »

Goofs

In the machine shop, after Parker decides to drop a motor from an overhead crane onto Cody he moves the scrap metal barrel to the middle of the aisle. There is scrap piled toward the top of the barrel but in the next shot of the barrel it appears empty with no metal showing. See more »

Quotes

Verna Jarrett: I'd look good in a mink coat, honey.
Cody Jarrett: You'd look good in a shower curtain.
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Soundtracks

Five O'Clock Whistle
(1940) (uncredited)
Music by Josef Myrow, Kim Gannon & Gene Irwin
Played on a radio
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User Reviews

A classic drama and a classic psychological study
25 January 2004 | by (London, England) – See all my reviews

Cagney's ability to shock is constant and each new gangster he creates shows a new facet of the psychopathic mind. White heat is the perfect antidote to the earlier movies- the structure where good triumphs in the last reel is still there but the killer, out of control is far less romanticised- if only current directors could develop this message. Cody Jarrett is the product of an over protective mother and thug father in the classic pattern. His whole view of the world is simplistic without subtlety or shade. Like all people of his type his self-confidence betrays him because he sees other people as stereotypes and while he has insight into the sorts of people who form his support network, he, very unwisely, dismisses the intelligence of the opposition. Like all gangsters, he has very little grasp of the outside world- throughout the film he is trapped in boxes, just like the man he kills in the boot of his car. Cagney's portrayal is his greatest role- his avoidance of pathos and his refusal to bend emotionally mean that we are never invited to pity him- wherever there seems to be a point of access for the audience he delivers the lines with a flatness which denies us sympathy. His maudlin obsession with his mother invites us to loathe his infantile mental paralysis.

Not enough comments praise the real co-star: Margaret Wycherley. She is a sinister mother who can handle the police and the gang and Cody's wife. Her world-weary cynicism, her obsession with her son delivered in the same dead-pan style is such a total antithesis to the usual hollywood 'caring parent' model that she raises the character to the level of an Empress Livia or an Agrippina. The final scene works on multiple levels- the good-guy cannot easily destroy the villain- does the world blow up in Cody's face or are we being told that the Jarretts of the world will dominate until they bring the universe to destruction? A film which still demands analysis and does more to reveal the nature of criminal amorality than anything Tarrantino or Scorsese could produce- The latter types of director are too caught up in the 'romance' of the villainous life- they need to develop Raoul Walsh's objectivity and Cagney's penetration. It is Cagney's unequivocal hatred of the character he's portraying and the personal honesty which allows him to objectify both the character he is playing and himself as an actor that makes the whole thing work. The crude method actors we're stuck with today could learn a lot from his Cody Jarrett!


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