- Paperback: 190 pages
- Publisher: University of Wisconsin Press; 1st Edition edition (15 Aug 1981)
- Language English
- ISBN-10: 029908454X
- ISBN-13: 978-0299084547
- Product Dimensions: 2.1 x 1.4 x 0.1 cm
- Amazon Bestsellers Rank: 996,758 in Books (See Top 100 in Books)
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Synopsis
Considered by many as the archetype of the genre, this book states that this gangster film dramatized the discontent and alienation, anxiety and hostility of the dark years of the Depression.
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Amazon.com:
7 reviews
6 of 6 people found the following review helpful
classic gangster novel
30 Jan 2003
Format:Paperback
This novel is a masterpiece of spare prose, vividly telling the story of the rise and fall of a 1920s gangster in 1/2 to 1/3 the number of pages that a present-day writer would take. The novel is fast-paced and expertly evokes the era, though readers unfamiliar with the times might have a little trouble with some of the slang expressions. Like his The Asphalt Jungle, this became the template for numerous subsequent imitations, including the films The Long Good Friday and Scarface.
2 of 2 people found the following review helpful
First gangster novel ever - a classic
11 Sep 2003
Format:Hardcover
Imagine yourself being flown back in time to the late 1930's and dropped of into a dark and lonely alley on the north side of Chicago, commonly known as Little Italy. This area, ruled by the mob, forms the setting for Little Caesar, world's first gangster novel.
Sam Vettori is one of the toughest gang-bosses of Little Italy, but his days are counted. A new ambitious predator is on the verge of throwing Sam from his throne. Cesare Bandello, commonly known a 'Rico', is that guy. On more than one area has Rico proven to be Sam's superior, but on pulling the strings Sam stays the expert. That's why both decide to co-operate. But when a robbery turns bad -a captain of the police gets killed- everyone starts fending for themselves.
Little Caesar is simply a masterpiece. Not only because it is the first of its kind and it gave birth to a whole range of gangster fiction, but also because the peculiar way it is composed. Although it is written in an almost objective and factual style -almost like in a newspaper-, it still succeeds in getting the reader emotionally involved into the action. The action itself, of which there is plenty, is being reported in a very compact narrative, which gives the story a fast and suspenseful pace.
One warning though: the book contains quite some thirties-slang, which might disturb the inexperienced reader. Do you know what happens if someone turns yellow, for example?
1 of 1 people found the following review helpful
Review of Little Caesar, W. R. Burnett (1929)
1 Nov 2009
Format:Hardcover
W. R. Burnett was born to a wealthy Ohio family and moved to Chicago in 1927 where he became a desk clerk at the Northmere Hotel. There he got to know a mob hit man named Barber and other gangland figures. He developed a feel for the 1920s Chicago underworld, capturing their speech in the terse dialogue of Little Caesar.
In fact, reading the dialogue, I couldn't help hearing Edward G. Robinson in the movie Little Caesar (1931). I truly believe that Burnett's clipped dialogue played a big part in creating Robinson's gangster persona for many movies.
Here, the cops are coming after the main character; and his girl Blondy wants to get away along with him:
"Nothing doing, Blondy. I'm traveling fast and I can't be bothered with no dame . . ."
" . . . It's all over now, and you stay planted, Blondy, and as soon as I get a chance I'll send you a stake. . . ."
(Blondy screams)
"Shut your mouth . . .and if the bulls come up the front way, kid `em along. Make `em think you got me hid, see?"
Even more significantly, Burnett saw the world a new way--through the eyes of gangland killers. And he opened that world to readers of Little Caesar.
Little Caesar tells of Cesare Bandello, or Rico, a crook from Youngstown on the rise in Chicago. In Little Caesar, Burnett presents the essence of each character in few words.
"Sam Vettori sat staring into Halsted Street. He was a big man, fat as a hog, with a dark, oily complexion, kinky black hair and a fat, aquiline face. In repose he had an air of lethargic good nature; due entirely to his bulk; for in reality he was sullen, bad tempered, and cunning."
So begins the story, telling just about all the reader needs to know about gang leader Sam Vettori.
But Sam, like the other characters, is a foil; everything about him is NOT what Rico is.
"Sam Vettori's lieutenant, Rico, . . . sat with his hat tilted over his eyes, his pale, think face slightly drawn, his fingers tapping. Rico always played to win."
Boss Vettori, fat and lethargic; lieutenant Rico edgy, impatient, played to win. In so few words, the reader has the premise laid out. Rico will take over the gang.
Rico's sidekick Otero drank too much; Rico didn't drink. Joe Massara was in love with the glamorous dancer Olga; Rico had little time for women. Joe and Tony, the 20-year-old driver, were soft and yellow; Rico was dependable and gutsy, he was "the goods."
But Rico had flaws. He was trigger-happy. He was awed by the luxurious lifestyle of "The Big Boy," the top Chicago gang leader. And insecurity kept reminding him that he was "just a yegg from Youngstown." (A yegg is a "safecracker" or a "robber.")
Did Rico's strengths bring him to the top? Did his flaws bring his downfall? Read the book and find out.
ML Noir Journal [...]
In fact, reading the dialogue, I couldn't help hearing Edward G. Robinson in the movie Little Caesar (1931). I truly believe that Burnett's clipped dialogue played a big part in creating Robinson's gangster persona for many movies.
Here, the cops are coming after the main character; and his girl Blondy wants to get away along with him:
"Nothing doing, Blondy. I'm traveling fast and I can't be bothered with no dame . . ."
" . . . It's all over now, and you stay planted, Blondy, and as soon as I get a chance I'll send you a stake. . . ."
(Blondy screams)
"Shut your mouth . . .and if the bulls come up the front way, kid `em along. Make `em think you got me hid, see?"
Even more significantly, Burnett saw the world a new way--through the eyes of gangland killers. And he opened that world to readers of Little Caesar.
Little Caesar tells of Cesare Bandello, or Rico, a crook from Youngstown on the rise in Chicago. In Little Caesar, Burnett presents the essence of each character in few words.
"Sam Vettori sat staring into Halsted Street. He was a big man, fat as a hog, with a dark, oily complexion, kinky black hair and a fat, aquiline face. In repose he had an air of lethargic good nature; due entirely to his bulk; for in reality he was sullen, bad tempered, and cunning."
So begins the story, telling just about all the reader needs to know about gang leader Sam Vettori.
But Sam, like the other characters, is a foil; everything about him is NOT what Rico is.
"Sam Vettori's lieutenant, Rico, . . . sat with his hat tilted over his eyes, his pale, think face slightly drawn, his fingers tapping. Rico always played to win."
Boss Vettori, fat and lethargic; lieutenant Rico edgy, impatient, played to win. In so few words, the reader has the premise laid out. Rico will take over the gang.
Rico's sidekick Otero drank too much; Rico didn't drink. Joe Massara was in love with the glamorous dancer Olga; Rico had little time for women. Joe and Tony, the 20-year-old driver, were soft and yellow; Rico was dependable and gutsy, he was "the goods."
But Rico had flaws. He was trigger-happy. He was awed by the luxurious lifestyle of "The Big Boy," the top Chicago gang leader. And insecurity kept reminding him that he was "just a yegg from Youngstown." (A yegg is a "safecracker" or a "robber.")
Did Rico's strengths bring him to the top? Did his flaws bring his downfall? Read the book and find out.
ML Noir Journal [...]
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