Little Caesar (Mervyn LeRoy, 1931)
Other than some notable exceptions, pre-Code films are relatively unfamiliar territory for me. This is surprising given that films from nearly a century ago containing sex, violence and various other morally corrupt virtues are of great curiosity to me. Mervyn LeRoy’s Prohibition era crime drama Little Caesar (1931) is a prime example of this; a film which remained unseen by me until recently. Anyone with a vested interest in cinema would be aware of the film by its title alone, along with it being Edward G. Robinson's breakout performance in it. What's more, Little Caesar would serve as the quintessential template for the gangster movie; creating an entire subgenre in cinema.
Adapted from William R. Burnett’s 1929 novel, Little Caesar centres on an out-of-town hoodlum, Caesar Enrico “Rico” Bandello (Edward G. Robinson), who seeks to establish himself within Chicago’s criminal underworld. His reluctant partner Joe Massara (Douglas Fairbanks Jr.) is more interested in women and dancing, but nonetheless joins an uncouth Sam Vettori’s (Stanley Fields) gang with Rico. The pair become increasingly distant over time; Rico’s imposing presence and influence within Vettori’s gang contrast with Massara going straight as a dancer at The Bronze Peacock; a club owned by rival gang boss "Little" Archie Lorch (Maurice Black). Furthermore, Joe develops a relationship with his dance partner Olga Stassoff (Glenda Farrell), who wants him to cut ties with the mob, further distancing him from Rico.
Despite the order from the Don, known as "Big Boy" (Sidney Blackmer), for everyone to remain discreet and avoid attracting the attention of the new Crime Commissioner Alvin McClure (Landers Stevens), Rico and his associates commit a robbery at the Bronze Peacock during the New Year celebrations. This results in Rico murdering the commissioner as he leaves the nightclub. Instead of being punished for this breach of protocol, Rico is rewarded for it; including the respect and takeover of Vettori’s gang. Incidentally, the capo acts oddly relieved with his demotion to soldier status once the crew choose Rico over him.
The murder of McClure has Police Sergeant Flaherty (Ralph Ince) investigating the gang and waiting for a potential slip-up. Getaway driver Tony Passa (William Collier Jr.), already a nervous wreck from the robbery, is a weak link. A chance meeting with Otero (George E. Stone), Rico’s new right-hand man, reveals that Tony wants no more to do with the gang; not even in wanting his share of the stolen loot. Tony plans to confess to the local priest. Thus, he is brutally gunned down in a drive-by on the church steps.
Tony Passa’s grand funeral procession through the streets of Chicago is a scene which could have been lifted from Francis Ford Coppola’s The Godfather films. Rico and his associates ride in the motorcade without any sign of grief. Ironically, the wake is nothing more but a banquet held in honour of the gang's ruthless leader. Amidst the boozy celebrations, the teetotal Rico, ironically foreshadows his own demise:
"And I wish you birds wouldn't get drunk and raise Cain, because that's the way a lot of birds get bumped off."
Rico’s public exposure and celebrity status provoke contempt from Little Archie Lorch. The rival gang boss plots a hit on the underworld V.I.P. This scene draws a comparison to Coppola’s Vito Corleone being gunned down on the streets. Both characters are highly cautious of anything that might be perceived as suspicious. Rico mocks his would-be assassin after being wounded, remarking, “Fine shot you are!” Joe Massara’s warning about Little Archie’s hit prompts Rico to reminisce about his former partner and wanting to bring him back to the fold. First, however, he has to make an important visit to his Little Archie's club.
In a scene that Brian De Palma obviously took major inspiration from in his film Scarface (1983), Rico runs his rival out of town. With the acquisition of Little Archie's properties and business enterprises, Rico's empire grows. Eventually, the titular rogue takes over "Diamond" Pete Montana's (Ralph Ince) second-in-command position for Big Boy.
Rico’s meteoric rise is entertaining because it further inflates his egomania. The failed assassination attempt only fuels his thirst for power even further; anyone in his way will be met with his "Shoot first, argue afterwards." method.
The bling he wears is not merely for show but serves as trophies taken from those who were once above him and in his way. The derby hat, dapper suits and spats shoes also materialistically exemplify his increasing social status. When Rico is made the new boss of Northside Chicago, the expository on-screen text reads:
"Rico continued to take care of himself, his hair and his gun — with excellent results."
Homoerotic subtext is evident in the film. This is most apparent in Rico’s complete lack of interest in women and his scorn for Joe’s relationship with Olga. When Joe rejects the offer to help run Rico's empire and wanting out of the game, it culminates in a threatening ultimatum from the crime boss:
Rico: "You didn't quit. Nobody ever quit me. You're still in my gang, you got that? I don't care how many fancy skirts you've got hanging onto you, that Jane of yours can go hang. It's her that's made a softie out of you."
Joe: "You lay off Olga, Rico!"
Rico: "I ain't laying off her; I'm after her. One of us is gonna lose, and it ain't gonna be me. There's ways of stopping that dame."
This eventually leads to Rico drawing a gun on Joe. As he walks menacingly closer to his old partner, the camera closes in on Rico's face. His face is blurry and unfocused. Symbolic with the doubt in Rico's mind. For the first time ever, Caesar fails to pull the trigger. Thus, sealing his own doom.
For clarity, Olga is the one who goes squealing about McClure's murder to Sergeant Flaherty, causing Rico's gang to be apprehended. Therefore, Rico was essentially correct in disliking her; subtext or not. Rico instantly regrets not murdering Joe once the law give chase, "This is what I get for liking a guy too much."
More overt homoerotic subtext is present between Rico and his sycophantic right-hand man Otero. The mirror scene, where Otero assists Rico in dressing for his meeting with Big Boy, suggests a sexual act. Otero stood below Rico's groin, says much.
After months of evading capture and without finances, Rico finds himself returning to the gutter from whence he came. He is no longer a teetotaller and is now a destitute drunk residing in a flophouse. From a person reading a newspaper aloud, he learns of Sam Vittori’s execution and a now promoted Lieutenant Flaherty’s denunciation of Rico of being a coward. This is an obvious ploy to lure the former crime boss out of hiding. It works. Rico’s conceited ego takes the bait. He telephones the lawman and is even more outraged by Flaherty’s verbal sparring. This provides sufficient time to trace the call and locate Rico.
Flaherty spots Rico next to a billboard, one which is poetically advertising Joe and Olga's dancing act. A defiant Rico won't give up and hides behind the sign. Armed with a tommy gun, Flaherty sprays the billboard with bullets, fatally wounding the criminal. Ever the narcissist, Rico's famous last words are spoken in third person (your humble host would never ever, dear reader) as if lifted from a newspaper headline, "Mother of mercy! Is this the end of Rico?"
Despite its somewhat rough edges, Little Caesar remains a compelling film largely due to Edward G. Robinson’s energetic performance. The actor’s distinctive, rapid delivery is particularly memorable. His confident swagger and Napoleon complex make Rico a highly alluring character. This is why Edward G. Robinson’s iconic portrayal of the character has left an indelible mark on popular culture.
Although Little Caesar may not have been the first gangster film, it established the narrative and template that subsequent films of its kind would follow. Consequently, some of its shortcomings are easily overlooked given its role in defining an entire subgenre in cinema.
Recommended.
Dada Debaser Note:
Watched Little Caesar on New Year's Day, unaware it had just become a public domain film that same day.
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