The Thief of Bagdad (1924 and 1940)

In the first of these two diverging tellings of the Arabian Nights tales, Douglas Fairbanks stars as a beggar and master pickpocket in the Bagdad bazar who becomes completely awestruck at the sight of the princess (Julanne Johnston) and seeks to break into the castle at the same time she is visited by an evil Mongolian sultan and two other loutish princes all trying to win her hand. An Alexander Korda produced (and partially directed by Michael Powell) barely related follow-up sees a feckless King (John Justin) overthrown by his iniquitous right-hand Jafar (Conrad Viedt), finding his purpose in the princess (played by June Duprez also targeted by Jafar), and sharing the fate of an industrious street urchin (Sabu) who happens upon an insolent, all-powerful genie. Raoul Walsh’s 1924 treatment of The Thief of Bagdad is a rousing silent entertainment, boasting an exciting story, remarkable sets, and an engaging Fairbanks performance. The 1940 British update, released to a besieged wartime audience, is a fantastic family entertainment featuring state of the art Technicolor special effects that make you lament the current state of the magic-lacking movies. Sabu, Justin, Viegt and Ingram all leave an imprint.

1924 version: *** ½ out of ****

1940 version: *** ½ out of ****

They Drive by Night

Two brothers (George Raft and Humphrey Bogart) undertake the precarious duties of long haul California truck drivers, dealing with aggressive creditors, miserly vendors and bosses, and the constant threat of death due to lack of sleep and an underdeveloped highway system. Raoul Walsh's They Drive by Night switches gears so wildly and isn't exactly cohesive but is very effective and entertaining. Ann Sheridan is amiable as Raft's love interest, Alan Hale is hilarious as a drunken trucking boss, and Ida Lupino has a wild, demanding role as his vile, jealous wife.

*** 1/2 out of ****

The Roaring Twenties

In a foxhole on the western front, three doughboys meet and go there divergent paths back home in the big city. Eddie (James Cagney) has a rough go of finding work and stumbles into the bootlegging business. Straightlaced Lloyd (Jeffrey Lynn) starts a law practice and heartless George (Humphrey Bogart) falls back in as a sailor and climbs his way to the top of the rumrunning rackets. Raoul Walsh's "The Roaring Twenties", from a story by Mark Hellinger, is one of the more affectionate gangster pictures that Warner Brothers put out during the era. Cagney is magnetic in a more affable role than his earlier "The Public Enemy" and Humphrey Bogart is in fine form as the ruthless bootlegger who briefly teams up with Cagney. I also liked the work of Gladys George as speakeasy matron Panama Smith as well as Frank McHugh as Cagney's cabbie pal from back home. "The Roaring Twenties", though still condemning of the gangster lifestyle, is lighter and one of the more enjoyable genre pictures of the time.

White Heat

Cody Jarrett and his gang have just robbed a locomotive, leaving four dead in their wake, and are now holed up in a cabin in the mountains, with one of their own suffering from very serious burns. Now while dealing with dissension in the ranks and the looming threat of the police, the psychotic mama's boy is devising a plan which will help him beat the rap for the current job, as well as looking towards the future for his next heist. Raoul Walsh's "White Heat" was one of the late Warner Brothers gangster pictures and featured James Cagney, one of their signature stars from that era. As Jarrett, Cagney delivers one of the fiercest, funniest, and most magnetic performances of his career, alternately offering laughs and shock to the crowd both with his wisecracks and fits of sudden rage and violence. Margaret Wycherly is similarly sinister as a Ma Barker type, doing whatever is necessary to aid her dear son. Regarding the film itself, I was surprised by how tedious it became during scenes Cagney wasn't in, most notably technical, procedural ones involving the police and the manhunt (I did enjoy passages where unfaithful Virginia Mayo and Steve Cochran stew while waiting for Cagney's return). Still, this is highly energetic and enjoyable work from Cagney, and the closing scene where he goes out quite literally in a blaze of glory, is one of the most iconic ever filmed.