From gutter to glitter and back again

Released 9 January 1931, Little Caesar was the first of the classic gangster films made famous and popular by Warner Brothers. While there certainly had been more than a few prior films featuring gangsters, it was only in 1931 that the modern gangster film as we know it took shape. Now, for the first time, real violence was depicted onscreen, and gangsters were protagonists instead of antagonists or side characters who had to be brought down.

Depression audiences keenly related to these anti-heroes who weren’t born with silver spoons in their mouths and had to work hard for everything they got (even if most people in the audience didn’t climb out of the working-class world through crime!). In the blink of an eye, gangster anti-heroes also lost everything they were so proud of and worked so long and hard to achieve.

And since the über-restrictive Hays Code only came into play in 1933, these earliest gangster films were at liberty to show a great deal of violence and gritty realities.

Little Caesar was based on a crime novel of the same name, written by American novelist W.R. Burnett in 1929. This was his very first novel, and was such a runaway success he was invited to Hollywood as a screenwriter. Most of his books were converted into screenplays, and feature characters who are above all else deeply human, regardless of their walk of life. Hardened gangsters and criminals can show a softer side or even attempt to give up their wicked ways, while cops, judges, and guardians of so-called virtue can be evil, cruel, and two-faced.

And of course, Little Caesar also launched the film career of my second-favorite male actor of the sound era, Edward G. Robinson. Though he began appearing in films in 1916, it was only in 1929 that he began doing it regularly. (He began his acting career in the Yiddish Theatre District of New York in 1913, and débuted on Broadway in 1915.) Sadly, due to the institutionalized antisemitism of the era, he had to use a Gentile-sounding stage name in lieu of his birth name, Emanuel Goldenberg.

Astonishingly, Clark Gable was seriously considered for either the lead role or the second-leading role. While he certainly played his share of tough guys, I can’t see him as Rico at all! Edward G. Robinson was the absolute perfect choice for the title character. Seeing anyone else attempting that role would just feel wrong, similar to how The Wizard of Oz would be a completely different film had Shirley Temple been Dorothy.

Because Edward G. Robinson had already played several gangster characters, both onstage and in films, and since he’d proved his chops in a number of films throughout 1930, Warner Brothers asked him to take the lead role. After Little Caesar shot him to superstardom, he signed a longterm contract with the studio.

Caesar Enrico Bandello (Rico) and his buddy Joe Massara (Douglas Fairbanks, Jr.) hold up a gas station at night and promptly beat it to a diner, where they read in the newspaper about Diamond Pete Montana, a big shot in the underworld. Hearing about Pete’s success makes Rico burn with jealousy and resentment, so much so he decides to move to a bigger town and start making waves for himself. Joe meanwhile wants to return to his dancing career, and only sees crime as a temporary quick fix for money.

Towards that end, they relocate east to Chicago and start working at the Palermo nightclub, which is but a front for mob activities. Though Joe joins the gang along with Rico, he spends more time working as a dancer and predictably falls in instalove with his partner Olga (Glenda Farrell).

Olga feels the gun in his pocket while they’re kissing, and isn’t exactly pleased about it. Joe asks her to pretend she didn’t see it, and tells her not to worry, that it’s just a little good luck charm. He’s very hesitant to leave his life of crime for Olga, as much as he likes her, since no one gets away with desertion and betrayal.

Out of fear of what the gang might do to him otherwise, Joe agrees to take part in a holdup at the Bronze Peacock club during a New Year’s Eve party. He’s very shaken up when he returns to Olga’s room and confesses what happened. However, he insists he didn’t do the shooting, and reiterates that it’s impossible to leave his gang.

Rico demands a much bigger cut than boss Sam Vettori promised him, and is soon raking in riches beyond his wildest dreams. He’s particularly delighted to be honored at a swanky dinner, at which he receives a fancy pocketwatch (stolen from a shop last night). One of the people honoring him is Diamond Pete Montana, who’s now lower in the pecking order than Rico.

Absent from this banquet is Joe, who hasn’t come around in a long time.

Joe overhears a rival gang planning a hit on Rico, and phones his gang to warn them. They’re unable to find Rico until after he’s been shot, but the bullet only grazes his arm. Rico is touched to learn about how Joe tried to save him.

Rico’s next move is to take over his gang’s entire territory and convince rival boss Arnold Lorch to leave town alive before he leaves it in a pine box. His power, prestige, and wealth continue increasing. Before long, he controls the entire North Side and is living in a grand mansion.

Rico invites Joe to his new digs and asks him to be second-in-command of the North Side. It’s too big for Rico to control all by himself. Joe immediately refuses, which earns Rico’s wrath. If Joe doesn’t give up Olga and return to the gang, there will be terrible consequences.

Joe slips out while Rico is on the phone, and rushes to warn Olga. The situation becomes even worse when Olga calls the cops instead of discreetly leaving town together like Joe begged her to do.

Now the stage is set for one final showdown between Rico, Joe, Rico’s gang, and the law.

Author: Carrie-Anne

Writer of historical fiction sagas and series, with elements of women's fiction, romance, and Bildungsroman. Born in the wrong generation on several fronts.

One thought on “From gutter to glitter and back again”

  1. Gable? He would have been okay, but it wouldn’t have been legendary like Robinson. Edward G Robinson nailed the character. He is also among my favorite actors of the past–or present for that matter.

    Arlee Bird
    Tossing It Out

    Like

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