Collage : : Gangster Films. Real- world gangsters were a dangerous societal menace who threatened the very lives of all honest citizens, so why did moviegoers flock to their films? Some of their appeal certainly related to the mobsters' embrace of wealth and power which were sadly lacking in the lives of so many during the Depression.

But the films also gained popularity because the screen gangster died or, in some instances, was incarcerated at the finale. The importance of this reassuring closure, a convention of the genre even before the Production Code Administration cracked down on it in 1. It is doubtful that contemporary spectators would have been so enthusiastic about Hollywood gangsters if they had emerged triumphant at the fade- out.

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Viewed remained fascinated with these avatars of the dark side of the American Dream so long as they were able to leave movie theaters feeling that no one in the modern world really gets away with such outrageous disregard for the law. The genre became established during the silent period, which culminated with such successful and well- regarded examples as Underworld (1. The Racket (1. 92.

Read reviews, watch trailers and clips, find showtimes, view celebrity photos and more on MSN Movies. Plot summary, cast and crew, viewer comments, and related information. This page is a collection of still photos and information about Korean films released in 2001.

However, it quickly gained maturity and entered one of its most exciting periods once sound was possible. Cadence Movie Watch Online there. Lights of New York (1. Soon enough, similar films would take advantage of the dynamic possibilities of sound to provide audiences with squealing tires, police sirens, machine gun blasts, rumbling explosions and, most importantly, the special urban dialogue of the characters.

Such slang terms as 'molls' and 'mugs,' 'gats' and 'heaters,' and 'taking someone for a ride' quickly became recognized elements of the American language. Other factors contributed to the popularity of the gangster genre during the early years of the Depression.

The continuation of prohibition (it would be abolished in 1. Robin Hood persona in the minds of liberal- minded filmgoers. If one were patronizing a bootlegger, it was difficult to view him as a hardened criminal or danger to society. This was also the era when actual criminals, such as Al Capone, John Dillinger, 'Baby Face' Nelson and 'Pretty Boy' Floyd, became celebrities, their exploits chronicled in newspapers, magazines, radio programs and newsreels. Audiences eagerly awaited stories about the latest St. Valentine's Day massacre or the latest bank job pulled by Bonnie and Clyde or the 'Ma' Barker gang. Film producers were, of course, paying attention.

They modeled many of their on- screen scofflaws after the real- life law breakers. Over 5. 0 gangster films were produced between 1. Of these, the most influential were Little Caesar, The Public Enemy, and Scarface. Each made a star of its lead actor: Edward G.

Robinson, James Cagney, Paul Muni. Each told essentially the same story: the rise and fall of the gangster figure.

And each featured snappy dialogue, memorable male and female secondary characters, shocking violence and punchy sound design, all of which would be benchmarks of the genre for years to come. To a certain extent, future gangster pictures would be measured against these early successes.

Even before enforcement of the Production Code began in mid- 1. The constant criticism of reformers, the national shock over the kidnapping and subsequent death of the Lindbergh baby in 1. Prohibition and the over- production of gangster pictures all contributed to the genre's decline. Clearly, however, the coup de grâce was delivered when Joseph Breen took charge of the Production Code Administration. Breen let it be known that sympathetic gangsters would no longer be tolerated. Realizing that spectators would be unlikely to patronize films featuring thoroughly repellent protagonists, the studio heads turned away from the genre.

In 1. 93. 5, Warner Bros, found a way to inject new life into the form. Relegating the criminal to secondary status, the studio focused instead on the crime fighter who attacks or infiltrates a gang and brings the villains to justice. Watch Above The Rim Online Metacritic. G' Men (1. 93. 5) and Bullets or Ballots (1. James Cagney and Edward G.

Robinson in the main parts. They exhibited many of the same characteristics that had made them stand out in their earlier roles - toughness, cynicism, rebelliousness, a penchant for violence; in short, they were still gangsters, only now they were sporting badges and acting for the public good. In 'G' Men, Cagney joins the FBI to get even with gangsters who murdered an unarmed friend. But even though the film was quite violent and clearly violated the Production Code ('Revenge in modern times shall not be justified'), Breen let it go because the hero was on the right side of the law. Other films of this type, such as Special Agent (1. Racket Busters (1.

Smashing the Rackets (1. Smashing the Money Ring (1.

J. Edgar Hoover of the FBI and New York Special Prosecutor Thomas E. Dewey. In 1. 93. 6, Dewey engineered the conviction of Lucky Luciano on 6. Dead End (1. 93. 7) ushered in a new strain of socially aware gangster pictures which wrestled with the question of how criminal behavior can be minimized in the United States. Drawing on contemporary social science research, Dead End dramatized the thesis that environmental factors are the principal cause of antisocial behavior, and advocated the eradication of poverty and slum conditions as the necessary antidote. Dead End and other similarly themed pictures that followed in its wake, such as Angels with Dirty Faces (1. Crime School (1. 93.

Mutiny in the Big House (1. Men of Boys Town (1. Another group of these sociological gangster films depicted the problems of the ex- convict, an individual who has made mistakes but 'paid his debt to society' and now wishes to live a normal existence.

However, the stigma attached to the incarceration makes it impossible to find or hold a decent job, so he or she is pushed back in the direction of crime. You Only Live Once (1. You and Me (1. 93. Fritz Lang, were exemplary films that dramatized the plight of the parolee, as did Youth on Parole (1. Invisible Stripes (1. By the late 1. 93. Production Code Administration had eased its position, allowing sympathetic gangsters to once again appear on movie screens.

Some of the best films of the pre- war years dealt, in nostalgic fashion, with the Prohibition Period and, ironically, its sober aftermath. The gangster protagonist is now split into good and bad variants with the positive figures presented as tragic anachronisms. In The Roaring Twenties (1. James Cagney plays a man whose battle experiences in World War I and subsequent inability to land a decent job drive him into the underworld.

Nonetheless, he retains his basic decency and, after passing through a rise and fall phase during the Prohibition years, commits a socially redeeming act before dying. The bad gangster killed by Cagney in The Roaring Twenties was played by Humphrey Bogart, who assumed the lead role two years later in High Sierra (1.

Cagney's, signals the end of an era when a crook might still have a heart of gold. Once the US became a participant in World War II, the genre went into an immediate decline.

Of the limited assortment of gangster films produced during the war years, most presented the transformation of the criminal into a patriot, as a consequence of the contemporary crisis. Mr. Lucky (1. 94. Watch Rude Boy Instanmovie. In the narrative, con man Cary Grant sets up an evening of casino gambling to help war relief, fully intending to abscond with the proceeds. But the influence of a beautiful woman (Laraine Day) summons forth his latent patriotism and, at the climax, he turns his posh gambling ship into a vessel for the transport of medical supplies. Similar gangster reformations occur in All Through the Night (1.

Lucky Jordan (1. 94. Seven Miles from Alcatraz (1. The Descent into Noir"The thirties was a period in which tragedy, and its pleasures, could prosper.

Audiences needed to encounter the truth of hard times, but also needed psychological support, to be reminded of the value of human endeavor.

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