In the Pacific during World War 2, the officers live a comfortable life with good food, good drink and good quarters. To them, war is a game which they know they will win and the common ... See full summary »
Unjustly booted out of the cavalry, Mike McComb strikes out for Nevada, and deciding never to be used again, ruthlessly works his way up to becoming one of the most powerful silver magnates... See full summary »
Colorful bayou peddler Hank Martin marries pretty teacher Verity, who finds that the rural poor all love Hank. Gradually, she realizes that Hank's popularity is the fruit of his expert manipulation of everyone he knows. She's further taken aback when she meets sexy swamp girl Flamingo, who considered Hank hers and is murderously jealous. Now Hank starts crusading against a crooked cotton buyer, and swiftly rises toward political power. Is there no stopping him? Written by
Rod Crawford <email@example.com>
James Cagney would later play Lon Chaney Jr's father Lon Chaney in Man Of A Thousand Faces (1957). See more »
Fifteen minutes in, when James Cagney and Barbara Hale are walking towards Mr. Castleberry's mansion, a very visible boom mic shadow can be seen moving in front of them, going from the top to the middle of the screen. See more »
Castleberry, there's a disease called Pellegra. You ever hear how it's ommunicated?
Hank, we were talkin' about the house...
It's communicated by not gettin' enough to eat, and it's very common in counties where your cotton gins are.
Jules, I'm very sorry. I don't mean any offense to you, but my wife and I can't eat where a man what's been committin' pellegra.
Well, I don't...
Robert L. Castleberry IV:
I think I do. Would you mind explainin' your remark, sir?
Not at all. I'm callin' you a thief... a ...
[...] See more »
Turkey in the Straw
Played when Hank and Verity are being carried to Jules' house See more »
This isn't the worst Cagney movie, but it is a good example of the problem with his acting. He was an amazing screen presence, demanding to be watched, a wonderfully versatile performer and an incredibly successful professional, but (and I know it's almost sacrilege to say this in the company of nostalgia-hungry Americans) he brought far too much of his dancing to his straight acting. The result is so often irritating, jerky physicality producing an uncomfortable caricature rather than a believable character. Hank Martin is one of many Cagney performances that needs the melodrama turning down a notch or two. This isn't the worst culprit; for that see "What Price Glory", "Blood on the Sun" or "The Fighting 69th".
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