Today is James Cagney day on Turner Classic Movies and over at Sitting on a Backyard Fence, bloggers worldwide have rallied together to tip their hat to one of the biggest bad-asses ever to grace the screen.
I love bad-asses. No, not this newfangled generation’s overinflated sense of importance that has managed to give every Tom Dick or Harry the belief that, because of the number of Facebook friends they have or the number of people who follow them on Twitter that they are bad-asses.
No. You’re not. You know why?
Because THIS guy could knock the stuffing out of your designer-label-wearing LOOK AT ME LOOK AT ME I’M SUCH A BAD ASS narcissistic kisser.
In my humble opinon, James Cagney is the ultimate bad-ass. And not for any one specific reason. Yes, his onscreen persona is often tough-as-nails. But, it’s also charming. Even when he’s the most sociopathic lunatic you’ve ever laid your eyes on… there’s still something undeniably likeable about him. He smashes grapefruits into women’s faces. And he’ll kill a man for his mama. On screen, Cagney is, indeed, capable of ANYTHING.His dangerous charm is part of what make Cagney’s best villains so deeply villainous, and what made him perfectly adept at playing lighter, romantic roles. While people might generally only think of Cagney as a “you dirty rat” mobster (a line that he actually never uttered onscreen), his range is terrific. You’ve got Angels With Dirty Faces, a film ending with one of the most unforgettably harrowing images ever filmed—Cagney’s demented, I’m-going-to-hell-and-I’m-proud-of-it close-up; a wholesome musical like Yankee Doodle Dandy with some of the best fancy footwork you’ll ever see; a charming romantic comedy like The Strawberry Blonde; a political comedy like One, Two, Three, with Cagney in a comic tour-de-force; and a sexy pre-code like Blonde Crazy.
Blonde Crazy isn’t one of Cagney’s best known films, and it isn’t one of his best (it’s no White Heat, let’s just say that), but it’s one of my favorites because Cagney is a sparkling firecracker in this fast, fun, frivolous precode. Cagney is young—terrifically young—as this is one of his first leading roles, coming hot on the heels of his star-making turn in The Public Enemy, and he is nothing but a ball of hotheaded charisma and, with the equally as hotheaded Blondell at his side, makes for a presence that is quintessential Cagney: rough, tough, yet somehow tender.
Being a bad-ass, you see, is not synonymous with being an ass-hole. Big difference. One that, for me, is wonderfully illustrated in the much overlooked Blonde Crazy. Directed by Roy Del Ruth, a director whose roster includes some of the very best precodes, Blonde Crazy is a rather average melodrama about a conman (Cagney) his partner in crime (Blondell) and their on-again-off-again love affair. After hooking up at a hotel (legitimately: they were coworkers) Cagney coerces Blondell to go into business with him on the small con. Cagney’s a know-it-all wiseguy who thinks he can take the world with his brains… and Blondell’s legs. He’s right, too. They run a successful racket with Blondell as the Venus Fly Trap and Cagney the guy pulling the strings. Until, of course, inevitably, Cagney gets pulled in by another con artist. You know what happens: he loses a load of lettuce and does anything to win it back. Including exacting revenge of the guy who suckered him.
The plot is light, the dialogue even lighter, but what makes this film sparkle is the pure starpower of Cagney and Blondell. Little touches, like Cagney’s adorable habit of calling Blondell “honey”, or as he pronounces it, “huuuuuuun-eeee”, playing around with Blondell’s undergarments, or my favorite: the beaming delight on Cagney’s face when Blondell, also beaming, smacks his face. Flirting doesn’t get much sexier than that.
And that goes for Cagney too.