Rating: 
Summary: Quintessential Irish gangster film.
Review: "Public Enemy" details the rise and fall of an Irish-American gangster. Although, the word "Irish" is never mentioned, there is no doubt of the ethnicity of the main characters: the stern cop father; the doting, sentimental mother; the surnames:Powers, Doyle, Ryan; even some of the first names: Paddy and Mike; and I believe the song "Mother Macree" is played on the soundtrack. In the early 30's this film reinforced the American public's image of big city crime as the territory of certain ethnic groups: the Jews, the Italians, and the Irish. I find the above interesting because "Public Enemy" is as fascinating viewed as a product of its era as it is as entertainment. In 1930's Hollywood certain ethnic stereotypes were used ad naseum, and the Irish were always portrayed as either cops, priests, or gangsters. And no one ever embodied the image of the Irish-American gangster better than Jimmy Cagney. His pugnacious looks combined with his ability to portray men who could be all charm one second and a hair-trigger tempered killer the next, captivated audiences. Watch "Public Enemy" and you will be in awe of Cagney's ability to dominate the screen from the famous grapefruit scene to his look of maniacal glee before he confronts a rival gang. Cagney's Tommy Powers is a gangster for the ages. It's fun to note that the Sean Penn film "State of Grace," which is also about Irish-American gangsters, paid tribute to "Public Enemy." Watch "State of Grace," and you will see some parts either taken directly from or influenced by that older film.
Rating: 
Summary: I...ain't...so...tough...
Review: "The Pubic Enemy" is a textbook cautionary tale typical of 1930's crime flicks. Titillation and excitement disguised as a moral lesson warning good kids from the dark side. Starting small as a young punk, Tom Powers quickly falls in with the bad crowd of bootleggers, gamblers, loose women and homosexuals. A few years go by, the crimes get more dangerous and more dubious, and soon little Tommy finds himself lost forever. Of course, his brother is on the side of the angels, and the two find themselves at odds of who can best take care of dear 'ol Ma. Conflict ensues, both moral and physical. The acting is good, and the filming is overall enjoyable. The story is dated, not so much by age but by spoofing in films such as "Johnny Dangerously." Cagney does a great job as the sweet boy gone wrong. Worth watching, still lots of shine in this old gem.
Rating: 
Summary: Outstanding classic Gangster film.
Review: Better than Little Caesar, but not as good as Scarface, but still a damn fine gangster film. I enjoyed the life long rise and fall of Tommy Powers, there were many, many times that this film felt like a major inspiration for Goodfellas (just several little things made me think this quite often). I liked several little touches, like the implication that Putty nose was homosexual, it's interesting to see how they insinuated those sorts of things back in the day. I based this on three things: Putty nose singing to the kid sitting on his piano in 1909 (like a woman traditionally does), the way he sticks his rear into Tommy's face in 1917, and the way Nails eggs Tommy on with the word SOFT, the way he says and uses this word especially, and perhaps the physicality of his character--a slender conniving, almost effeminate man. This may not seem like much, but I know for a fact that there is supposed to be a strong incestuas relationship implied between Tony Camote and his sister in Scarface, and I think Public Enemy shares that 30s style of slying implying things but never saying them outright. Another thing thats fascinating when seeing these similar time period films, is that you start to notice house styles. I saw two thirties films by WB earlier this year "Oil for the Lamps of China" and "Stella Dallas" between those two, Little Caesar, and Public Enemy, more and more styles seem to jump out at me, ways of staging or lighting things, the sorts of performances achieved and the look of the actors themselves.
Anyway back to Public Enemy. A fine fine gangster film, I love that incredible moment, when in the pouring rain Tommy goes into hit several guys, then staggers out into the rain--shot--and its raining even harder. This nadir of Tommy's life is perfectly done, and seems to be the sort of thing that would later inspire Kurasawa in his use of rain. And the final scene when Tommy is brought back to the house is utterly chilling, especially the look in his brothers eyes. Not quite the ending of I am a fugitive... Scarface or Stagecoach, but still an incredible way to end the film.
Rating:
Summary: CLASSIC CAGNEY
Review: Bristling with '20s style dialogue and desperation, the taut, gritty and hard-hitting, THE PUBLIC ENEMY (1931) is the one where Jimmy Cagney squashes a grapefruit into Mae Clarke's face. Cagney's powerful breakthrough performance as street tough Tom Powers was only because production head Darryl F. Zanuck made a late casting change.
This virtual time capsule of the Prohibition era contains several minutes of recovered footage not seen for 75 years (deleted from subsequent reissue versions due to enforcement of the Production Code).
Extras: a 1931 with newsreel, "The Eyes Have It" comedy short, "Smile, Darn Ya, Smile" cartoon, and "Beer and Blood: Enemies of the Public" featurette. The commentary's by Robert Sklar.
Rating:
Summary: Public Enemy: The Warning that Failed
Review: From the beginning of Prohibition in 1920, crime was the number one topic in the American consciousness. Organized crime was just establishing a stranglehold on nearly every sector of life and street crime punctuated by the use of the Tommy gun was becoming increasing evident. Hollywood lifted the previous blanket of movie anonymity on crime with the release of PUBLIC ENEMY in 1931. The producers were careful to insert two disclaimers that the characters in the film represented a type of criminal that had to be identified and eliminated. Tommy Powers, superbly played by an alternating snarling then smiling James Cagney, was meant to be seen more as an allegorical figure of vice run riot than as a fully fleshed human being. Unfortunately for the hopes of the censors, they did not figure on the capacity of James Cagney to invest his role of Tommy Powers with a complex surge of passion mixed with no small dose of audience sympathy that ultimately allows a straightjacket bound Powers to exit the final reel in such a way that the audience can feel the same loss that his brother felt when he opened the door to see Tommy fall through.
The movie opens with a juvenile Tommy living with his family in Chicago, learning even then the rudiments of a criminal code of honor and justice that he would adhere to for the rest of his life. At home, his policeman father often beats him with a strap in such a futile way that Tommy's nonchalant response brings to mind a future Marlon Brando telling his abductors who are beating him that his old man hits harder than that. Although the film does expicitly show the father being abusive to the rest of the family, director William Wellman suggests that the violence inflicted on a youthful Tommy is not limited only to him. Violence, then, becomes a way of life and a solution to both personal and professional problems. As an adult, Tommy (now played by Cagney) and his chum played by Edward Woods embark on a life of crime that shows both as willing to kill when killing can solve a problem. Further, Tommy cold bloodedly kills a man in revenge for a hurt done years before in a way that resonates as savage even by today's standards. The victim begs Tommy for his life even as he plays a piano and sings a song in the hope that the song will arouse a shred of pity. Tommy shoots him in mid key and walks out of the room without a backward glance. Tommy's relations with women are equally twisted by his belief that violence is the solution to any issue. The infamous grapefruit scene with Mae Clarke has lingered long in the audience's mind as an archetype of misogynistic hatred of women. Tommy seems a little more relaxed in the company of Jean Harlow whose love for him alters and softens the audience's perception of his clear failings. As Tommy pokes his friends and family on their respective chins, the viewer can sense that Tommy is struggling to express a lighter, gentler side that his environment has taught him to suppress. When Tommy walks into a bar to avenge the killing of his best friend, his smile radiates his certainty that his revenge will kill him, but his code of honor demands nothing less. When he exits the bar, he has killed them all but is badly wounded. As he staggers, he shouts, 'I am not so tough.' He may have thought so, but the audience would probably disagree. His stoic convalescence, his being kidnapped by a rival gang, and his unexpected return as a bound mummy left leaning on his mother's door have rendered the public perception of Tommy Powers in a way far different from the producers' original intent. Tommy Powers was meant to be seen only as the criminal scum of the earth. James Cagney managed to do that but also forced viewers to look behind the snarl to see a little boy being whipped by a sadistic father and learning even then how to hide his emotions under a veneer or false bravado.
Rating:
Summary: Public Enemy: The Warning that Failed
Review: From the beginning of Prohibition in 1920, crime was the number one topic in the American consciousness. Organized crime was just establishing a stranglehold on nearly every sector of life and street crime punctuated by the use of the Tommy gun was becoming increasing evident. Hollywood lifted the previous blanket of movie anonymity on crime with the release of PUBLIC ENEMY in 1931. The producers were careful to insert two disclaimers that the characters in the film represented a type of criminal that had to be identified and eliminated. Tommy Powers, superbly played by an alternating snarling then smiling James Cagney, was meant to be seen more as an allegorical figure of vice run riot than as a fully fleshed human being. Unfortunately for the hopes of the censors, they did not figure on the capacity of James Cagney to invest his role of Tommy Powers with a complex surge of passion mixed with no small dose of audience sympathy that ultimately allows a straightjacket bound Powers to exit the final reel in such a way that the audience can feel the same loss that his brother felt when he opened the door to see Tommy fall through.
The movie opens with a juvenile Tommy living with his family in Chicago, learning even then the rudiments of a criminal code of honor and justice that he would adhere to for the rest of his life. At home, his policeman father often beats him with a strap in such a futile way that Tommy's nonchalant response brings to mind a future Marlon Brando telling his abductors who are beating him that his old man hits harder than that. Although the film does expicitly show the father being abusive to the rest of the family, director William Wellman suggests that the violence inflicted on a youthful Tommy is not limited only to him. Violence, then, becomes a way of life and a solution to both personal and professional problems. As an adult, Tommy (now played by Cagney) and his chum played by Edward Woods embark on a life of crime that shows both as willing to kill when killing can solve a problem. Further, Tommy cold bloodedly kills a man in revenge for a hurt done years before in a way that resonates as savage even by today's standards. The victim begs Tommy for his life even as he plays a piano and sings a song in the hope that the song will arouse a shred of pity. Tommy shoots him in mid key and walks out of the room without a backward glance. Tommy's relations with women are equally twisted by his belief that violence is the solution to any issue. The infamous grapefruit scene with Mae Clarke has lingered long in the audience's mind as an archetype of misogynistic hatred of women. Tommy seems a little more relaxed in the company of Jean Harlow whose love for him alters and softens the audience's perception of his clear failings. As Tommy pokes his friends and family on their respective chins, the viewer can sense that Tommy is struggling to express a lighter, gentler side that his environment has taught him to suppress. When Tommy walks into a bar to avenge the killing of his best friend, his smile radiates his certainty that his revenge will kill him, but his code of honor demands nothing less. When he exits the bar, he has killed them all but is badly wounded. As he staggers, he shouts, 'I am not so tough.' He may have thought so, but the audience would probably disagree. His stoic convalescence, his being kidnapped by a rival gang, and his unexpected return as a bound mummy left leaning on his mother's door have rendered the public perception of Tommy Powers in a way far different from the producers' original intent. Tommy Powers was meant to be seen only as the criminal scum of the earth. James Cagney managed to do that but also forced viewers to look behind the snarl to see a little boy being whipped by a sadistic father and learning even then how to hide his emotions under a veneer or false bravado.
Rating:
Summary: good movie - good view of 1931.
Review: I liked this movie less than I thought I might, based on the other reviews. I still give it 3 stars, as better than average, but not 4 or 5. Viewability is lost a little on the VHS version I rented. But what interested me was: 1. watching Cagney in his first movie, knowing he was destined for superstardom and 2. watching a movie made in 1931 when my mom was only 8 years old. Defineately worth renting for the average movie watcher.
Rating:
Summary: They don't make them like this anymore
Review: If you're looking at this page, I've got to assume you're a Jimmy Cagney fan. Cagney absolutely lit up the screen in his portrayal of Tom Powers , bad boy turned gangster. Sure , the film is a bit dated and some of the dialogue is corny but for a good old fashioned gangster epic Public Enemy still can't be beat.
Cagney is the quintissential tough guy and he supported here by a great cast of character actors from the period. The scene with Cagney and Jeane Harlowe where she is telling him " you're the kind of man....and I've known (PAUSE)dozens of them..." is priceless 1930's corn but it works in context. I find it amazing that Harlowe was considered a sex symbol in her day because by todays standards ,she is almost laughable in her bizarre lounge wear and strange delivery.
The story is positioned as a cautionary tale of the tragic results of a life of crime. Very mild in retrospect but a great view into the mores of pre-WWII America. Like looking into a time capsule.
Oh yea, this is the film with the famous grapefruit scene too.
Rating:
Summary: Cagney Comes On Strong
Review: James Cagney burns up the screen in this early gangster film, and I would say that The Public Enemy is a step above its counterpart, Little Caesar, made around the same time. This film is made better by Cagney's edgy, angry performance as a seemingly heartless thug (the breakfast scene with the grapefruit shoved into his girlfirend's face is a classic). It's not hard to see how this film made him a star. The story is also pretty adult, although some of the dialogue dates badly. There are a lot of sexual overtones that took me by surprise for a film made in the early Thirties. Jean Harlow plays one of Cagney's girlfriends, and she's a little stiff in what must have been one of her first films. The film moves well, with plenty of action, and it seems smoother than other early talkies. Cagney fans (and grapefruit lovers!) will want to check this film out.
Rating:
Summary: cagney unleashed on world
Review: James Cagney has always been my great favorite and this seminal performance is nonpareil. I did want to add one thing to the excellent reviews already here: Edward Woods had originally been cast in the role of Tom Powers (I believe he was engaged to a studio honcho), but Cagney was so overwhelming in the secondary role, he was recast after only a couple of days. It's interesting to note that the children who played the characters as youngsters were clearly cast with the roles reversed.
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