With a message at the beginning of the film noting that it is intended to show criminals as being bad, one can tell from the start that this film is going to propaganda stuff. Propaganda films are not bad in themselves though as long as they are well done, however most of them tend to be heavy-handed, and this oft revered crime classic is no exception. The characters often discuss the protagonist's wrongdoings; there is a typical disapproving family member; there is a mother torn between her morals and her love for her son; there is a moral sidekick too - everything to convince us not to sympathise with the baddie protagonist played by James Cagney. The one problem with this is that Cagney is the most lively and appealing character in the film. He has charisma whilst everyone else plays two-dimensional stereotypes. However, since the film is made with the intent to criticise rather than explore his character, it becomes a bit of a stalemate. A section of Cagney's childhood, played by bland child actors, is thrown in, but nothing else to help us understand his character. Therefore, it is hard to be either critical or sympathetic towards him.
The film has a number of well directed sequences, even if it is lacking in style overall. Take for instance the framing of Putty Nose, Matt and Tom on the stairs to Putty Nose's apartment, or how they blocked later on his room. The shootout near the end with unloading the track is particularly well done too, and the heartbeat on the soundtrack towards the end is very effective touch. Beryl Mercer has some touching moments as Cagney's mother, but for acting, it is mainly Cagney's show, and despite some vision in the film's direction, it is pretty flat overall. Even the grapefruit in the face scene comes off half-hearted. The melodrama does not quite work either; it is all too heavy-handed when Donald Cook gives a speech about beer and blood at the dinner tale. And the pace of the film is lagging, with large dull gaps between the film's exciting scenes since there is little time spent on atmosphere. Some aspects are also left hanging and unresolved, such as the exact role of Jean Harlow in the film. However, while this may not be a masterpiece of cinema, it is still worth watching for the small intermittent virtues.
The film has a number of well directed sequences, even if it is lacking in style overall. Take for instance the framing of Putty Nose, Matt and Tom on the stairs to Putty Nose's apartment, or how they blocked later on his room. The shootout near the end with unloading the track is particularly well done too, and the heartbeat on the soundtrack towards the end is very effective touch. Beryl Mercer has some touching moments as Cagney's mother, but for acting, it is mainly Cagney's show, and despite some vision in the film's direction, it is pretty flat overall. Even the grapefruit in the face scene comes off half-hearted. The melodrama does not quite work either; it is all too heavy-handed when Donald Cook gives a speech about beer and blood at the dinner tale. And the pace of the film is lagging, with large dull gaps between the film's exciting scenes since there is little time spent on atmosphere. Some aspects are also left hanging and unresolved, such as the exact role of Jean Harlow in the film. However, while this may not be a masterpiece of cinema, it is still worth watching for the small intermittent virtues.