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21 of 21 people found the following review helpful:
4.0 out of 5 stars
A very influential film, 25 April 2007
This review is from: Little Caesar [1931] [DVD] (DVD)
Little Caesar, made in 1931, was released only a few months before The Public Enemy with James Cagney, and together they set the standard that all future crime films would be judged. Edward G Robinson takes the acting honours by miles with a mesmerising performance as Rico.
The film is is clearly influenced by the life of Al Capone, and Chicago in general in the 1920's. For 1931, only a year or so into talkies the script is remarkably good. Flaherty, who is the Cop who wants to put the cuffs on Rico has some great dry witty and sarcastic lines. Rico has many classic lines including "You can dish it out but you're getting so you just can't take it anymore!" and his final words "Mother of mercy.. is this the end of Rico?".
Watch carefully and you will spot scenes by the director Mervyn LeRoy that influenced Martin Scorcese amongst others. Well worth getting and if there was a better crime film made in the early 30's I haven't seen it.
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2 of 2 people found the following review helpful:
4.0 out of 5 stars
You tell him the cops couldn't get me no other way, so they hired a couple of gunmen, 20 Oct 2011
This review is from: Little Caesar [1931] [DVD] (DVD)
Rico Bandello quickly rises thru the gangster ranks, earning himself the nick-name of Little Caesar. As he sets his sights on the top boss job held by Pete Montana, Rico knows the heat is closing in, fast. Tho not the first gangster picture to hit the big screen, Little Caesar is undeniably one of the genres landmark pictures. Adapted from W.R. Burnett's {High Sierra} Al Capone inspired novel, Little Caesar would go on to influence many of the genre highlights that followed this piece. While in the process typecasting its star and icon, Edward G. Robinson. What is perhaps the first striking thing about viewing the film now is actually just how un-violent it is in context to what would follow it, but it never needs to be because this is not just about a violent rising. With the advent of sound proving to be a winner with depression jaded cinema goers, director Mervyn LeRoy exploits this by utilising the fact that it's set outside of prison walls. The gangster genre by and large up to this point in 1931 consisted of mob characters behind bars, the sight of Rico about town amongst the noisy hustle and bustle surely would have opened the eyes and ears of the paying public. I wasn't around back then so have no on the spot frame of reference, but the professional critics point to many allegories that reside within Little Caesar's structure. Talk of paranoia's and conformity's during economic collapse, which are for sure points of reference for those so inclined to analyse and dissect Caesar as a whole. But to me it's a gangster picture first and foremost, outlaying the rise and fall of a very dubious man with big ideals above his relatively small social standing. Rico has ruthless violence constantly itching to burst out, and definite hints of sexual ambiguity make him a worrying, yet most intriguing character. That it works so well obviously is down to Edward G. Robinson's portrayal, big bulging eyes and snappy slang phrases {this themselves must have really hit a chord with the viewers}, Robinson gives the performance that so many have imitated over the years, probably defining the archetype in the process. It does look a little dated now, but that is surely only natural? But it's a powerful film that rises above merely being a hoodlum piece. Producer Darryl Zanuck wanted something different for this burgeoning genre, and with the might of Warners revelling in the power of the talkie movie, they all crafted one hell of a picture that enthrals as much as it has influenced, things most definitely changed with Little Caesar. 8/10
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7 of 8 people found the following review helpful:
4.0 out of 5 stars
1931 Film History, 12 Jun 2005
There were many excellent 1930s movies including a number made by Bette Davis, such as Dark Victory, but most of the movies of that era have faded into memory and are part of early film history, and most are neither viewed or sold. The present 1931 film is the exception. It is a short but important film in the gangster era that we still can buy or rent, and view. There are a few problems with the filming and the directing, and the movie cannot be compred with more modern movies. There are few close ups and only three times in the movie do we see close shots of Edward G Robinson that show him "acting" - including the famous last scene; most shots are full body shots taken from a distance in an office "stage style" as we hear his snarling voice barking out orders - but sometimes looking a bit wooden. Still it is still an entertaining movie and worth a watch. I have seen Edward G Robinson in a number of old movies including Bogart's 1948 Key Largo - where he dominated the film with his Rocco character (still alive with a slight name change?) - and also in Double Indemnity from 1944 with Fred McMurray, one of the best movies of the early 1940s, where he plays an insurance adjuster. I thought his acting was exceptional in both movies, so I had expected a bit more from the present movie. Edward G Robinson was in about 70 films, and lived to be 80, dying in 1973, but only half a dozen of his films are still remembered. This is one of them. The present movie seems like an old movie in terms of fit and finish and the audio was poor. I guess it should be since it is a 1931 movie, one of the oldest available on the market. There was lots of small jerks and white spots flashing on the movie film. The actors tend to yell their lines or project similar to stage actors, something that is distracting and had disappeared by the end of the 1930s. Also, the film quality is not great and there are few close ups of Edward G Robinson. The plot is good but short and the movie is just 79 minutes long, barely over an hour. Edward G Robinson dominates the movie as a ruthless gangster, and one assumes that he was similar to Al Capone, as he rises to power in what seeems like weeks. Douglas Fairbanks Jr. is an acceptable Joe Massara, Rico's pal from the old days. The other supporting actors are fairly weak, and the film could have used a stronger cast. Sargeant Flaherty played by Thomas Jackson is the only supporting actor with a heartbeat. This 1931 film is considered to be the movie that made Edward G Robinson a star, but I thought his Key Largo performance with Bogart and Bacall in 1948 was a lot better. That movie is a slick Warner's movie directed by John Huston, but still filmed in black and white. By that time both Bogart and Robinson were seasoned actors and the film technology had improved a lot. The actual craft fit and finish of Key Largo made 20 years later is excellent by comparison, and it captures Edward G's rivetting "Rocco" performance with many close up expressions and good lines. If you want to see a strong acting performance by Edward G, see that film. Also, do not miss Double Indemnity, that is also an exceptional movie with Robinson - thought by many critics and film makers themselves as one of the best ever. I bought these two other film noir movies here on line on DVD, but Double Indemnity was only available used. Still, for its time Little Caesar remains a classic, and one of the few to survive as a commercial product 75 years later, where you can buy the DVD "new". I just rented and did not buy since I already had bought his other two surviving films on DVD that are better. 4 stars.
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