The Roaring Twenties (1939) How Systemic Failure Created a Gangster (Review)

Criterion’s stunning UHD Blu-Ray release of The Roaring Twenties allows audiences to rediscover a film that marked the end of the golden age of gangster films. Made in 1939, long after the success of Little Caesar (1931), Public Enemy (1931), and Scarface (1932), Raoul Walsh’s film is a fascinating, nostalgic look back at the previous decade, and a reflection on how the state of America shaped a new type of criminal that became the obsession of Hollywood.

Chronicling the rise and fall of Eddie Bartlett (James Cagney), The Roaring Twenties sweeps through the 1920’s, charting the decade’s defining moments in American history. Eddie returns from the First World War, where he served with George (Humphrey Bogart), and Jeffrey (Lloyd Kelly), to find America in recession, and soon after at the start of Prohibition. Working as a cab driver, he’s arrested for unknowingly delivering alcohol to club owner Panama (Gladys George), who helps him avoid a prison sentence by paying his fine. Deciding to go into the bootlegging business together, Eddie creates a lucrative enterprise with his best friend Danny (Frank McHugh), and Jeffrey, who handles the legalities. Their smooth operation becomes complicated when Eddie falls in love with Jean Sherman and gets her a job at Panama’s pub. He’s keenly aware that Jean disapproves of his criminal lifestyle, but is also deeply unaware that Jean doesn’t love him and instead has affections for Jeffrey.

The Roaring Twenties subverts the typical Hollywood gangster, showing Eddie to be a thoughtful, compassionate man who’s shaped by his circumstances. After returning from war he’s rejected by the country he fought for and his war efforts are diminished in comparison to those who have suffered through a recession. With his old job taken, no government policies in place to help him re-assimilate into everyday life (he’s basically abandoned by the democratic system he fought to protect), and the threat of jail time, Eddie decides to make a new place for himself in a country that’s displaced him.

The way in which Walsh cynically stages those early injustices explores how systemic failures in society and government made it necessary for an everyday citizen to turn to crime, reframing the idea that all gangsters begin their journey with greedy or violent intentions. In turn, Walsh uses Humphrey Bogart’s George as the antithesis of Eddie, further distancing him from the typical gangster stereotype as we know that George is evil from the moment we meet him, and his double-crossing, murderous actions are used to show us where Eddie falls on the sliding scale of morality and evil. Walsh finds great success in the pairing of James Cagney and Humphrey Bogart as the two have great chemistry and spar off each other well. Although Bogart is kept within the confines of his straight-forward character, Cagney shows incredible range during Eddie’s journey, going to particularly vulnerable places when Eddie falls into alcoholism. In a similar manner to Burt Lancaster in The Swimmer, it’s refreshing and affecting to see a big film star look so utterly pathetic when their character is in turmoil.

While those two heavyweight stars receive top billing, it’s Gladys George who’s the beating heart of the story – her charismatic presence as Panama jolting the film to life, and her heart-breaking, soul-searching performance as the woman who’s left unseen giving events real emotional weight. I was moved by the film’s exploration of missed opportunities as Eddie and Panama’s lives intertwine, and when Eddie’s operation is at its peak you feel that these two outsiders are destined run together for decades. While the Hays Code made sure that Eddie paid with his life for his criminal activity, possibly his biggest crime was missing the love and happiness that was in front of him all along. Although Walsh delivers big shootouts, exhilarating montages and an iconic ending image, it’s a quietly devastating moment between Eddie and Panama at the club that has stayed with me most. Eddie sits down at a table to watch Jean sing, and as he delicately takes Panama’s hand a look of contentment spreads across her face, which soon dissolves into anguish when she realises that Eddie is absolutely bedazzled by the young singer. It’s one of the many times Gladys George brings profound depth to Panama, whose feelings are forever left unacknowledged.

Criterion’s UHD release of The Roaring Twenties is the perfect opportunity to discover or reacquaint yourself with one of the best gangster films of that era, and the new 4K restoration is beautiful, giving this great film the attention to detail it deserves. This film was a truly joyous discovery, and I absolutely loved the way Walsh combined a thrilling narrative with emotional depth – which I think allows it to stand above a number of its peers, and makes it a film that I look forward to revisiting again and again.

The Special features include an audio commentary with film historian Lincoln Hurst, a new insightful interview with critic Gary Giddings – who contextualises The Roaring Twenties within the gangster genre movement, and The Hays Code and its place in film history. There’s also an excerpt of an interview aired in 1937 with Raoul Walsh, who discusses working with James Cagney and the famous ending of the film.

Jimmy’s Archive – The Roaring Twenties