I MOBSTER

Steve Cochran

I MOBSTER (1959). Produced and directed by Roger Corman.

I Mobster traces the rise and fall of gangster Joe Sante (Steve Cochran of The Big Operator), whose father virtually disowns him and whose mother (Celia Lovsky) eventually follows suit. As a boy (played by an uncredited but talented youngster), Joey was taken under the wing of Black Frankie (Robert Strauss), and later also works for crime boss Paul Moran (Grant Withers of the Jungle Jim serial). Joe takes up with a nice neighborhood gal named Teresa (Lita Milan), who is at first highly disapproving of his activities but ultimately there's no arguing with love. But Joe's ambitions and high-risk lifestyle may become his undoing ...

Saucy Yvette Vickers 

I Mobster is an absorbing crime drama with a fine and charismatic lead performance by the always-under-rated Steve Cochran, who is perfect as Joe. Celia Lovsky does her usual hand-wringing turn as the heartbroken mother; Strauss is quite good as his mentor and associate; and Lita Milan [Never Love a Stranger] turns in a very nice performance as Teresa. Grant Withers also scores as the big boss, and there is a very nice bit by Yvette Vickers as a saucy blond who tries to pay off her gambling debt by coming on to Joe -- fat chance! Ed Nelson, Robert Shayne, Thomas Browne Henry and Bruno VeSota have smaller  parts, and stripper Lili St. Cyr (who is much more attractive than the rather horse-faced Gypsy Rose Lee) does her cameo on stage in a bath tub.

In the long run, however, I Mobster doesn't really rise above all of the hoodlum cliches -- sobbing mother, worried, conflicted girlfriend, rivals and hits -- but the darn thing is too entertaining and well-played for that to matter much. As for Cochran, a hell-raising lover boy off-screen, he died at only 48 under very mysterious circumstances.

Verdict: Fast-paced Corman melodrama with a well-chosen cast. ***. 

CAGNEY!

White Heat

CAGNEY! July 17th, 1899 - March 20th, 1986.

It would be all too easy to dismiss James Cagney as a mere personality who traded too much on his tough guy image and played the same role once too often. In truth, Cagney was a much more talented and versatile actor than he may have been given credit for. True, he was easy to impersonate, and was not exactly the kind of performer who could lose himself in a characterization that was too far from himself. But within his range he was often quite effective, and as adept at drama as he was at comedy. In his early years, he was always arguing with Warner Brothers for better and different scripts (although one senses he kind of liked the tough image, especially as he probably could have been knocked over with a feather by bigger guys, truth be told). On rare occasions he was totally miscast or gave a poor performance, overdoing the nasty shtick and masticating the scenery like a male Bette Davis, but more often he was simply outstanding [Kiss Tomorrow Goodbye; Man of a Thousand Faces]. The characters he played were often unpleasant, and that goes for the "good" guys as well as the bad, as he was a product of a time when manliness was summed up by the frequent use of  one's fists and insensitivity was the rule of the day. But he could also show his gentler side when it was warranted by the script, and he danced his way across many musicals [The West Point Story], which was appropriate, as in his later years he said he always considered himself a dancer first and actor second.

A few Cagney movies have already been reviewed on this blog, but we've got a fresh crop this week.:
Something to Sing About, Lady Killer, White Heat, Tribute to a Bad Man, These Wilder Years, The Strawberry Blonde, and A Lion Is In the Streets, plus a critique of a biography of the actor.