Jimmy Cagney returns to familiar "Public Enemy" territory as a tightly-coiled, psychopathic killer with a severe Oedipus complex in "White Heat," a still potent crimer that has Cagney fighting off the "coppers" every which way in his inimitably jaunty, sneering, pugnacious style.
Cagney stars as Cody Jarrett, the ringleader of a gang responsible for a wave of brutal crimes hitting California, the most recent being a train robbery in which two engineers were killed in cold blood. The heat's on after one of the robbers left for dead provides a posthumous clue as to who pulled the job. Cagney shrewdly decides to turn himself in on a lesser crime that he DIDN'T commit in order to allow himself an air-tight alibi for the more serious train killings. Sentenced to no more than two years in the pen, he figures he'll be out in no time to rejoin the gang and continue his life of crime.
Despite rather stereotyped characters, the actors bring them vibrantly to life here. Blonde, brassy Virginia Mayo portrays Cagney's bored, two-timing wife, a typical gangster's moll who always has her eyes on a new mink. She expertly fills in for Mae Clarke (remember the grapefruit' scene in "Public Enemy"?) as the dame Cagney shoves around. And does she ever deserve it! A real turncoat, this gal plays both sides of the fence, selling her own mother down the river if given half the chance. Dark, broad-shouldered, hirsutely handsome Steve Cochran is perfect as the surly, ambitious member of the gang who cooks up a scheme to supplant the now-incarcerated Cody as ringleader while stealing the affections of his more-than-interested wife. Edmond O'Brien has all the right ingredients to play the dogged cop who wants to put Cody permanently behind bars by pinning the train murders on him. Placed in Jarrett's cell as a plant, he tries to worm his way into Cody's good graces in order to set him up for the inevitable fall. John Archer (actress Anne Archer's real-life father) is solid as O'Brien's immediate supervisor who puts the plan in action.
The most intriguing angle in this straightforward drama is Cody's odd, unhealthy devotion to his overprotective ma, played with utter conviction by the superb Margaret Wycherly. As a child, it seems Cody used to feign headaches as an attention-getting device. He now suffers from constant migraines with ma always around with the magic hands to get rid off them. Fascinating stuff! A seemingly docile, sedate presence, Ma Jarrett nevertheless has "Ma Barker" instincts, playing a shrewd, prominent role within the gang. And as Cody's mouthpiece while in prison and the only person he trusts, she is resolute in protecting his ringleader image in absentia, taking on anybody in the gang who sees different.
Pretty violent for its time, Raoul Walsh's crisp direction (he also helmed "The Roaring Twenties," another classic Cagney caper) keeps things moving at a fairly fast clip, while the excellent black-and-white photography and art direction give the film a real starkness. Max Steiner's imposing score should be mentioned as well. One other intriguing aspect is the updated "sophisticated" equipment the police use (circa 1949) in tracking down the whereabouts of the culprits, done in almost "Dragnet" series style.
"White Heat" is legendary, of course, for its fiery "top of the world" finale at the chemical plant and, while the scene undeniably deserves a place in Hollywood folklore, there is plenty about this movie leading up to its classic denouement, notably the riveting performances of both Cagney and Wycherly, that makes it stand on its own two feet.
Cagney stars as Cody Jarrett, the ringleader of a gang responsible for a wave of brutal crimes hitting California, the most recent being a train robbery in which two engineers were killed in cold blood. The heat's on after one of the robbers left for dead provides a posthumous clue as to who pulled the job. Cagney shrewdly decides to turn himself in on a lesser crime that he DIDN'T commit in order to allow himself an air-tight alibi for the more serious train killings. Sentenced to no more than two years in the pen, he figures he'll be out in no time to rejoin the gang and continue his life of crime.
Despite rather stereotyped characters, the actors bring them vibrantly to life here. Blonde, brassy Virginia Mayo portrays Cagney's bored, two-timing wife, a typical gangster's moll who always has her eyes on a new mink. She expertly fills in for Mae Clarke (remember the grapefruit' scene in "Public Enemy"?) as the dame Cagney shoves around. And does she ever deserve it! A real turncoat, this gal plays both sides of the fence, selling her own mother down the river if given half the chance. Dark, broad-shouldered, hirsutely handsome Steve Cochran is perfect as the surly, ambitious member of the gang who cooks up a scheme to supplant the now-incarcerated Cody as ringleader while stealing the affections of his more-than-interested wife. Edmond O'Brien has all the right ingredients to play the dogged cop who wants to put Cody permanently behind bars by pinning the train murders on him. Placed in Jarrett's cell as a plant, he tries to worm his way into Cody's good graces in order to set him up for the inevitable fall. John Archer (actress Anne Archer's real-life father) is solid as O'Brien's immediate supervisor who puts the plan in action.
The most intriguing angle in this straightforward drama is Cody's odd, unhealthy devotion to his overprotective ma, played with utter conviction by the superb Margaret Wycherly. As a child, it seems Cody used to feign headaches as an attention-getting device. He now suffers from constant migraines with ma always around with the magic hands to get rid off them. Fascinating stuff! A seemingly docile, sedate presence, Ma Jarrett nevertheless has "Ma Barker" instincts, playing a shrewd, prominent role within the gang. And as Cody's mouthpiece while in prison and the only person he trusts, she is resolute in protecting his ringleader image in absentia, taking on anybody in the gang who sees different.
Pretty violent for its time, Raoul Walsh's crisp direction (he also helmed "The Roaring Twenties," another classic Cagney caper) keeps things moving at a fairly fast clip, while the excellent black-and-white photography and art direction give the film a real starkness. Max Steiner's imposing score should be mentioned as well. One other intriguing aspect is the updated "sophisticated" equipment the police use (circa 1949) in tracking down the whereabouts of the culprits, done in almost "Dragnet" series style.
"White Heat" is legendary, of course, for its fiery "top of the world" finale at the chemical plant and, while the scene undeniably deserves a place in Hollywood folklore, there is plenty about this movie leading up to its classic denouement, notably the riveting performances of both Cagney and Wycherly, that makes it stand on its own two feet.