Mob film
Encyclopedia
Mob films are a subgenre of crime film
s dealing with organized crime
, often the Mafia
. Especially in early mob films, there is some overlap with film noir
.
' Little Caesar
and The Public Enemy
, which made screen icons out of Edward G. Robinson
and James Cagney
, and Howard Hawks
' Scarface
starring Paul Muni
, which offered a dark psychological analysis of a fictionalized Al Capone
. These films chronicle the quick rise, and equally quick downfall, of three young, violent criminals, and represent the genre in its purest form before moral pressure would force it to change and evolve. Though the gangster in each film would face a violent downfall which was designed to remind the viewers of the consequences of crime, audiences were often able to identify with the charismatic anti-hero. Those suffering from the Depression were able to relate to the gangster character who worked hard to earn his place and success in the world, only to have it all taken away from him.
Despite the genre spanning the decade before dying out, some argue that the gangster film in its purest form only existed until 1933, when restrictions from the Production Code led to films that did not have the same power as the earlier ones.
Eventually moralists and the Production Code became so troublesome that the crime film in its original form was abandoned, and there was a shift to the perspective of the law officers fighting criminals or criminals seeking redemption. This is illustrated with James Cagney's role as a law officer in the movie G Men
, and his part as Rocky Sullivan in Angels with Dirty Faces
, for which he received an Academy Award nomination. These pictures demonstrate the growing acceptance of crime films during the 1930s as long as criminals were not portrayed in a flattering light. For example, in G-Men, Cagney plays a character similar to that of Tom Powers from The Public Enemy, and although the film was as violent and brutal as its predecessors, it had no trouble getting a seal of approval from the Production Code office. It was now the law officers that the films attempted to glamorize, as opposed to the criminals.
, Baby Face Nelson
, and Pretty Boy Floyd
. The success of these characters in film can be attributed to their value as news subjects, as their exploits often thrilled the people of a nation who had become weary with inefficient government and apathy in business. However, as the FBI increased in power there was also a shift to favour the stories of the FBI agents hunting the criminals instead of focusing on the criminal characters. In fact, in 1933 at the height of the hunt for Dillinger, the Production Code office issued an order that no film should be made about Dillinger for fear of further glamorizing his character.
Many of the 1930s crime films also dealt with class and ethnic conflict, notably the earliest films, reflecting doubts about how well the American system was working. As stated, many films pushed the message that criminals were the result of a poor moral and economic society, and many are portrayed as having foreign backgrounds or coming from the lower class. Thus, the film criminal is often able to evoke sympathy and admiration out of the viewer, who often will not place the blame on the criminal's shoulders, but rather a cruel society where success is difficult. When the decade came to a close, crime films became more figurative, representing metaphors, as opposed to the more straight forward films produced earlier in the decade, showing an increasing interest in offering a thought provoking message about criminal character.
by Mario Puzo
. It was followed by two sequels: The Godfather: Part II and The Godfather: Part III. It also inspired other mob films such as The Valachi Papers, starring Charles Bronson
.
Crime film
Crime films are films which focus on the lives of criminals. The stylistic approach to a crime film varies from realistic portrayals of real-life criminal figures, to the far-fetched evil doings of imaginary arch-villains. Criminal acts are almost always glorified in these movies.- Plays and films...
s dealing with organized crime
Organized crime
Organized crime or criminal organizations are transnational, national, or local groupings of highly centralized enterprises run by criminals for the purpose of engaging in illegal activity, most commonly for monetary profit. Some criminal organizations, such as terrorist organizations, are...
, often the Mafia
American Mafia
The American Mafia , is an Italian-American criminal society. Much like the Sicilian Mafia, the American Mafia has no formal name and is a secret criminal society. Its members usually refer to it as Cosa Nostra or by its English translation "our thing"...
. Especially in early mob films, there is some overlap with film noir
Film noir
Film noir is a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasize cynical attitudes and sexual motivations. Hollywood's classic film noir period is generally regarded as extending from the early 1940s to the late 1950s...
.
History
Though mob films had their roots in silent films, the genre in its purest form was defined in the early 1930s. It owed its innovations to the instability which resulted from the Great Depression, which catalyzed the gangster scene. The failure of honest hard work and careful investment to ensure financial security led to the explosion of mob films on to the Hollywood scene, and their immense popularity reflected a society disillusioned with the American way of life.1930s
1931 and 1932 saw the genre produce three classics: Warner Bros.Warner Bros.
Warner Bros. Entertainment, Inc., also known as Warner Bros. Pictures or simply Warner Bros. , is an American producer of film and television entertainment.One of the major film studios, it is a subsidiary of Time Warner, with its headquarters in Burbank,...
' Little Caesar
Little Caesar (film)
Little Caesar is a 1931 Warner Bros. Pre-Code crime film. It tells the story of a hoodlum who ascends the ranks of organized crime until he reaches its upper echelons. Directed by Mervyn LeRoy, the film stars Edward G. Robinson and Douglas Fairbanks, Jr.. The story was adapted by Francis Edward...
and The Public Enemy
The Public Enemy
The Public Enemy is a 1931 American Pre-Code crime film starring James Cagney and directed by William A. Wellman. The film relates the story of a young man's rise in the criminal underworld in prohibition-era urban America...
, which made screen icons out of Edward G. Robinson
Edward G. Robinson
Edward G. Robinson was a Romanian-born American actor. A popular star during Hollywood's Golden Age, he is best remembered for his roles as gangsters, such as Rico in his star-making film Little Caesar and as Rocco in Key Largo...
and James Cagney
James Cagney
James Francis Cagney, Jr. was an American actor, first on stage, then in film, where he had his greatest impact. Although he won acclaim and major awards for a wide variety of performances, he is best remembered for playing "tough guys." In 1999, the American Film Institute ranked him eighth...
, and Howard Hawks
Howard Hawks
Howard Winchester Hawks was an American film director, producer and screenwriter of the classic Hollywood era...
' Scarface
Scarface (1932 film)
Scarface is a 1932 American gangster film starring Paul Muni and George Raft, produced by Howard Hughes, directed by Howard Hawks and Richard Rosson, and written by Ben Hecht based on the 1929 novel of the same name by Armitage Trail...
starring Paul Muni
Paul Muni
Paul Muni was an Austrian-Hungarian-born American stage and film actor...
, which offered a dark psychological analysis of a fictionalized Al Capone
Al Capone
Alphonse Gabriel "Al" Capone was an American gangster who led a Prohibition-era crime syndicate. The Chicago Outfit, which subsequently became known as the "Capones", was dedicated to smuggling and bootlegging liquor, and other illegal activities such as prostitution, in Chicago from the early...
. These films chronicle the quick rise, and equally quick downfall, of three young, violent criminals, and represent the genre in its purest form before moral pressure would force it to change and evolve. Though the gangster in each film would face a violent downfall which was designed to remind the viewers of the consequences of crime, audiences were often able to identify with the charismatic anti-hero. Those suffering from the Depression were able to relate to the gangster character who worked hard to earn his place and success in the world, only to have it all taken away from him.
Despite the genre spanning the decade before dying out, some argue that the gangster film in its purest form only existed until 1933, when restrictions from the Production Code led to films that did not have the same power as the earlier ones.
Production Code
As the appeal and attraction of gangster movie stars such as Cagney, Robinson, and Muni grew, so too did the efforts to combat their fascination. Of the early years of the crime film, Scarface, arguably the most violent of gangster films created during the entire decade, particularly was the subject of criticism. Released in 1932, it ushered in the worst year of the Depression, and as profits slid, Hollywood did what it could to restore its earnings, which resulted in the upping of sex and violence in the movies. Scarface can be interpreted as a representation of the American dream gone awry, presented when US capitalism had reached its lowest, and Prohibition was being seen as a failed social experiment and would soon be abolished. It faced opposition from regulators of the Production Code, and its release was delayed for over a year while Hawks attempted to tone down the incestuous overtones of the relationship between Paul Muni's character Tony Camonte and his sister (Ann Dvorak).Eventually moralists and the Production Code became so troublesome that the crime film in its original form was abandoned, and there was a shift to the perspective of the law officers fighting criminals or criminals seeking redemption. This is illustrated with James Cagney's role as a law officer in the movie G Men
G Men
G Men is a 1935 Warner Bros. crime film starring James Cagney and Ann Dvorak. It also marked Lloyd Nolan's film debut. According to Variety Magazine, it was one of the top-grossing films of 1935....
, and his part as Rocky Sullivan in Angels with Dirty Faces
Angels with Dirty Faces
Angels with Dirty Faces is a 1938 American gangster film directed by Michael Curtiz and starring James Cagney, Pat O'Brien, the Dead End Kids and Humphrey Bogart, along with Ann Sheridan and George Bancroft...
, for which he received an Academy Award nomination. These pictures demonstrate the growing acceptance of crime films during the 1930s as long as criminals were not portrayed in a flattering light. For example, in G-Men, Cagney plays a character similar to that of Tom Powers from The Public Enemy, and although the film was as violent and brutal as its predecessors, it had no trouble getting a seal of approval from the Production Code office. It was now the law officers that the films attempted to glamorize, as opposed to the criminals.
1930s Culture
Politics combined with the social and economic climate of the time to influence how crime films were made and how the characters were portrayed. Many of the films imply that criminals are the creation of society, rather than its rebel, and considering the troublesome and bleak time of the 1930s this argument carries significant weight. Often the best of the gangster films are those that have been closely tied to the reality of crime, reflecting public interest in a particular aspect of criminal activity; thus, the gangster film is in a sense a history of crime in the United States. The institution of Prohibition in 1920 led to an explosion in crime, and the depiction of bootlegging is a frequent occurrence in many mob films. However, as the 1930s progressed, Hollywood also experimented with the stories of the rural criminals and bank robbers, such as John DillingerJohn Dillinger
John Herbert Dillinger, Jr. was an American bank robber in Depression-era United States. He was charged with, but never convicted of, the murder of an East Chicago, Indiana police officer during a shoot-out. This was his only alleged homicide. His gang robbed two dozen banks and four police stations...
, Baby Face Nelson
Baby Face Nelson
Lester Joseph Gillis , known under the pseudonym George Nelson, was a bank robber and murderer in the 1930s. Gillis was known as Baby Face Nelson, a name given to him due to his youthful appearance and small stature...
, and Pretty Boy Floyd
Pretty Boy Floyd
Charles Arthur "Pretty Boy" Floyd was an American bank robber. He operated in the West South Central States, and his criminal exploits gained heavy press coverage in the 1930s. Like most other prominent outlaws of that era, he was killed by law enforcement officers...
. The success of these characters in film can be attributed to their value as news subjects, as their exploits often thrilled the people of a nation who had become weary with inefficient government and apathy in business. However, as the FBI increased in power there was also a shift to favour the stories of the FBI agents hunting the criminals instead of focusing on the criminal characters. In fact, in 1933 at the height of the hunt for Dillinger, the Production Code office issued an order that no film should be made about Dillinger for fear of further glamorizing his character.
Many of the 1930s crime films also dealt with class and ethnic conflict, notably the earliest films, reflecting doubts about how well the American system was working. As stated, many films pushed the message that criminals were the result of a poor moral and economic society, and many are portrayed as having foreign backgrounds or coming from the lower class. Thus, the film criminal is often able to evoke sympathy and admiration out of the viewer, who often will not place the blame on the criminal's shoulders, but rather a cruel society where success is difficult. When the decade came to a close, crime films became more figurative, representing metaphors, as opposed to the more straight forward films produced earlier in the decade, showing an increasing interest in offering a thought provoking message about criminal character.
1970s
In the 1970s there was a revival of mob films, notably with The Godfather, based on the novel of the same nameThe Godfather
The Godfather is a 1972 American epic crime film directed by Francis Ford Coppola, based on the 1969 novel by Mario Puzo. With a screenplay by Puzo, Coppola and an uncredited Robert Towne, the film stars Marlon Brando, Al Pacino, James Caan, Robert Duvall, Sterling Hayden, John Marley, Richard...
by Mario Puzo
Mario Puzo
Mario Gianluigi Puzo was an American author and screenwriter, known for his novels about the Mafia, including The Godfather , which he later co-adapted into a film by Francis Ford Coppola...
. It was followed by two sequels: The Godfather: Part II and The Godfather: Part III. It also inspired other mob films such as The Valachi Papers, starring Charles Bronson
Charles Bronson
Charles Bronson , born Charles Dennis Buchinsky was an American actor, best-known for such films as Once Upon a Time in the West, The Magnificent Seven, The Dirty Dozen, The Great Escape, Rider on the Rain, The Mechanic, and the popular Death Wish series...
.