The Public Enemy, along with Little Caesar and Scarface, set the standard for the gangster film. Though films about crime had been done in the silent era, sound was what really ushered in this particular genre. I've always maintained that musicals and gangster films are the only two movie genres that date from the sound era.

Of course this film about a young man's rise to prominence in the bootleg liquor business during Prohibition made James Cagney a star. Interestingly enough Edward Woods was originally supposed to be Tom Powers and Cagney was cast as best friend Matt Doyle. After some footage had been shot, Director William Wellman scrapped it and had Cagney and Woods exchange roles. Stars get born in many and strange ways.

Some critics have complained about Beryl Mercer's part as Cagney's mother, saying she's overacts the ditziness. I disagree with that completely. In the prologue section with Cagney and Woods as juveniles, there is a two parent household. The boys have a stern Irish father and a mom who'd spoil them if she could. The older kid who is later played by Donald Cook has more the benefit of the two family home and both influences. That and the fact that World War I leaves him partially disabled prevents him from thinking about the gangster trade. Cagney misses the war and is spoiled by mom.

I knew a woman like Beryl, in her own world with a stream of nonsensical chatter to keep out the reality of things. Her portrayal for me rings true.

Oddly enough in The Roaring Twenties Cagney is a veteran who enters the rackets because he can't get a legitimate job and its easy money.

Both The Public Enemy and Little Caesar are short films, edited down to the essentials so the viewer ain't bored for a minute. Warner Brothers sure knew how to do those gangster flicks.

There was no real doubt that 'The Public Enemy' would be great. There were many great gangster films at the time that far from played it safe and were actually remarkably bold. William A Wellman was always great at taking difficult and quite heavy stories and giving them a sensitive yet packing a big punch while not pulling back in any way. Have for a while really liked James Cagney and it was interesting to see him in the film that shed the image that he had before taking on tougher roles.

Luckily, 'The Public Enemy' did not disappoint. Wellman did a lot of fine films in the 30s and 'The Public Enemy' is absolutely one of them, one of the best. It is a great representation of Cagney, who shows perfectly why these sort of roles suited him so well, and of gangster films at the time. Showing that they were as gritty and bold back in the 30s as the more deliberate but still enthralling ones still being made 30+ years later, prime examples being the first two 'The Godfather' films and 'Goodfellas'.

My only complaint is that it is agreed that the undergoing of the brother's personality was on the far-fetched side.

Everything else though works absolutely brilliantly. The photography is continually clever and stylish with lots of atmosphere in how it's lit. The dialogue really crackles in sharp wit, tautness and intensity. There is nothing sentimental about the story, it is still as tough as nails and actually think that the daring edge has not been lost and it doesn't feel tame. It is suspenseful and is fast moving, racing along pretty much, without being too hasty and nothing feels confused.

Particularly unforgettable is the justifiably famous grapefruit scene, a scene that one is shocked that it was filmed in the first place and made it in. Wellman successfully keeps the suspense going and as ever his pulling no punches approach to bold material is admirable.

Characterisation is interesting, with one heck of a meaty lead character. Actually thought that the supporting cast were good, but Cagney, in a breakout role that transformed him from song and dance man to ruthless tough guy, is in a completely different league in a staggeringly powerful performance.

On the whole, great and would even go as far to say that it's a near-classic. 9/10

This is the film that made Jimmy Cagney a star and, along with LITTLE CAESAR and SCARFACE (with Paul Muni, not the modern ultra-violent version),made the gangster genre king at Warner Brothers in the 1930s. And, while there were so many more similar films after it, very, very few came close to it in style, impact and story. In fact, it's Cagney's best gangster film other than WHITE HEAT (his tour-de-force and Film Noir classic from 1949).

A lot of the reason it's such a great film is that since it was a new-style film, it doesn't seem clichéd or derivative. Plus, it takes a strong and unflinching tone that NEVER would have been possible under the stricter guidelines of the Hays Office only a few short years later. Instead of just telling you that Cagney is a heartless jerk or showing him do some "sanitized" violence, he is a cruel man who is vile enough to slam a half a grapefruit in his girlfriend's face--just because he's bored with their relationship. And, he becomes a top gangster by being an enforcer--slugging, stealing and killing his way through organized crime. And, in the very end, the film ends with the best final scene in gangster history (except, once again for WHITE HEAT and its amazing finale).

You can see why this film made Cagney a star--a great film in every way.