By Gene D. Phillips
Whereas the gangster movie can have loved its heyday within the Nineteen Thirties and '40s, it has remained a film staple for nearly so long as cinema has existed. From the early motion pictures of Humphrey Bogart, James Cagney, and Edward G. Robinson to fashionable types like Bugsy, Public Enemies, and Gangster Squad, such movies trap the brutality of mobs and their leaders.
In Gangsters and G-Men on reveal: Crime Cinema Then and Now, Gene D. Phillips revisits probably the most renowned and iconic representations of the style. whereas this quantity deals new views on a few tested classics—usual suspects like Little Caesar, Bonnie and Clyde, and The Godfather half II—Phillips additionally calls cognizance to a couple of the unheralded yet no much less helpful movies and filmmakers that symbolize the style. increasing the viewer's inspiration of what constitutes a gangster movie, Phillips bargains such strange offerings as you simply reside as soon as, Key Largo, the woman from Shanghai, or even the 1949 model of the good Gatsby. additionally incorporated during this exam are more moderen ventures, reminiscent of glossy classics The Grifters and Martin Scorsese's The Departed.
In his analyses, Phillips attracts on a couple of assets, together with own interviews with administrators and different artists and technicians linked to the movies he discusses. Of curiosity to movie historians and students, Gangsters and G-Men on monitor also will attract an individual who desires to greater comprehend the movies that signify a major contribution to crime cinema.
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Additional info for Gangsters and G-Men on Screen: Crime Cinema Then and Now
The novel caused a scandal, and Faulkner later admitted that it was written in part to turn a profit. He was growing weary of writing novels “that got published but not bought,” he confides in his introduction to the 1932 Modern Library edition. 2 Although Sanctuary is a deeply serious work of art, there are, to be sure, some “horrific” elements in the novel, founded on conversations Faulkner had during his occasional tours of some Memphis nightspots. 3 Because the film departs from the novel in many ways, it is necessary to outline the book before considering the movie’s literary source.
Tommy is being raised by his older sister Drina, who has little control of the boy. He inevitably gets into trouble with the law. The final curtain falls with Tommy probably headed for reform school, where he might well grow up to be the next Baby Face Martin. Indeed, the chief concern of the play, and the film derived from it, is that the rebellious, delinquent boys in the slums will grow up to be gangsters. ”5 Goldwyn entrusted the screenplay of Dead End to playwright and screenwriter Lillian Hellman.
Novelist William Faulkner, whose lurid novel Sanctuary (1931) inspired two gangster pictures. 4 The reason is not far to seek: Paramount had filmed Ernest Hemingway’s A Farewell to Arms in 1932, and it became the top grosser of the year. The Hays Office was concerned about the filming of Sanctuary, however, and James Wingate, one of Hays’s right-hand men, reminded Paramount that the Hemingway script had been heavily censored. 5 Moreover, Paramount was further advised that they should change the name of the film so that it would not be associated with Faulkner’s notorious novel.
Gangsters and G-Men on Screen: Crime Cinema Then and Now by Gene D. Phillips