Julius Caesar Gangster Film Analysis
Little Caesar, Mervyn LeRoy, Edward G. Robinson, Warner Bros., 1931
The Public Enemy, William Wellman, James Gagney, Warner Bros., 1931
Scarface: Shame of the Nation, Howard Hawks, Paul Muni, Universal, 1932
This purpose of this paper will be to explore and define the gangster genre in American film history from the years of 1930-1932. These gangster films center on the criminal actions of bank robbers, hoodlums, and the bootlegging of alcohol during the period of prohibition. The gangsters who are depicted in these films operate outside the law without regard to the safety of human life. Gangster films are about gangsters who seek out power and wealth. The true to life gangsters of the 20’s and 30’s were a big influence in American cinema …show more content…
This became Edward G. Robinson’s breakout film and propelled him to becoming one of the genre’s biggest stars. Little Caesar, directed by Mervyn LeRoy depicts the story of a thug seeking to make it big. Rico, also known as Little Caesar concocts an insatiable dream after reading a cover story on a high profile gangster. Due to this dream, Little Caesar no longer has an interest for small time heists and decides to move to Chicago. Author Jonathan Munby analyzes this move as a symbolic passage from innocence into corruption. (Munby …show more content…
(Munby 43) There is validity to this theory, because the success of this film can arguably be attributed to the depiction of raw ambition in a climate of depression and despair, due to unemployment. Little Caesar is a dichotomy in that it both appeals to and repulses the audience. The audience is made to feel sympathetic as Rico struggles to rise above the depression, but becomes disgusted due to his actions.
Little Caesar was adapted for film from the very successful 1929 novel of the same name, written by W.R. Burnett. According to the examiner.com Little Caesar is rooted in the silent film, which can be seen by the repeated use of title cards to advance the action and the exaggerated gestures and expressions by some of the actors. (Garlen) This analysis holds true as Little Caesar is regarded as the “first great gangster talkie.” (Munby 44) Little Caesar separated itself from previous films of the same genre, because in this film the gangster actually
The Public Enemy, William Wellman, James Gagney, Warner Bros., 1931
Scarface: Shame of the Nation, Howard Hawks, Paul Muni, Universal, 1932
This purpose of this paper will be to explore and define the gangster genre in American film history from the years of 1930-1932. These gangster films center on the criminal actions of bank robbers, hoodlums, and the bootlegging of alcohol during the period of prohibition. The gangsters who are depicted in these films operate outside the law without regard to the safety of human life. Gangster films are about gangsters who seek out power and wealth. The true to life gangsters of the 20’s and 30’s were a big influence in American cinema …show more content…
This became Edward G. Robinson’s breakout film and propelled him to becoming one of the genre’s biggest stars. Little Caesar, directed by Mervyn LeRoy depicts the story of a thug seeking to make it big. Rico, also known as Little Caesar concocts an insatiable dream after reading a cover story on a high profile gangster. Due to this dream, Little Caesar no longer has an interest for small time heists and decides to move to Chicago. Author Jonathan Munby analyzes this move as a symbolic passage from innocence into corruption. (Munby …show more content…
(Munby 43) There is validity to this theory, because the success of this film can arguably be attributed to the depiction of raw ambition in a climate of depression and despair, due to unemployment. Little Caesar is a dichotomy in that it both appeals to and repulses the audience. The audience is made to feel sympathetic as Rico struggles to rise above the depression, but becomes disgusted due to his actions.
Little Caesar was adapted for film from the very successful 1929 novel of the same name, written by W.R. Burnett. According to the examiner.com Little Caesar is rooted in the silent film, which can be seen by the repeated use of title cards to advance the action and the exaggerated gestures and expressions by some of the actors. (Garlen) This analysis holds true as Little Caesar is regarded as the “first great gangster talkie.” (Munby 44) Little Caesar separated itself from previous films of the same genre, because in this film the gangster actually