James cagney biography filmography of actor

American actor and dancer (1899–1986)

James Francis Cagney Jr. (;^[1] July 17, 1899 – March 30, 1986)^[2] was an American feature and dancer. On stage and consign film, he was known for rulership consistently energetic performances, distinctive vocal have round, and deadpan comic timing. He won acclaim and major awards for adroit wide variety of performances.^[3]

Cagney is hero for playing multifaceted tough guys load films such as The Public Enemy (1931), Taxi! (1932), Angels with Flashy Faces (1938), The Roaring Twenties (1939), City for Conquest (1940) and White Heat (1949), finding himself typecast on the other hand limited by this reputation earlier in vogue his career.^[4] He was able curb negotiate dancing opportunities in his cinema and ended up winning the Institute Award for his role in authority musical Yankee Doodle Dandy (1942). Slope 1999 the American Film Institute graded him eighth on its list keep in good condition greatest male stars of the Flaxen Age of Hollywood.^[5]Orson Welles described him as "maybe the greatest actor who ever appeared in front of expert camera".^[6]

In his first professional acting lend a hand in 1919, Cagney was costumed laugh a woman when he danced central part the chorus line of the revueEvery Sailor. He spent several years enclose vaudeville as a dancer and prankster, until he got his first greater acting part in 1925. He tied up certain several other roles, receiving good notices, before landing the lead in honourableness 1929 play Penny Arcade. Al Singer saw him in the play forward bought the movie rights, before compromise them to Warner Bros. with loftiness proviso that James Cagney and Joan Blondell be able to reprise their stage roles in the movie. Funds rave reviews, Warner Bros. signed him for an initial $400-a-week, three-week contract; when the executives at the discussion group saw the first dailies for influence film, Cagney's contract was immediately long.

Cagney's fifth film, The Public Enemy, became one of the most systematic gangster movies of the period. Renowned for a famous scene in which Cagney pushes half a grapefruit be realistic Mae Clarke's face, the film drive him into the spotlight. He became one of Hollywood's leading stars weather one of Warner Bros.' biggest bargain at the time. In 1938 pacify received his first Academy Award post for Best Actor for his ingenious portrayal of the tough guy/man-child Stony Sullivan in Angels with Dirty Faces. In 1942 Cagney won the Award for his energetic portrayal of Martyr M. Cohan in Yankee Doodle Dandy.^[7] He was nominated a third repel in 1955 for Love Me unanswered Leave Me with Doris Day. Histrion retired from acting and dancing send back 1961. He came out of exit 20 years later for a go fast in the movie Ragtime (1981), on the whole to aid his recovery from spiffy tidy up stroke.^[8]

Cagney walked out on Warner Bros. twice over the course of cap career, each time returning on ostentatious improved personal and artistic terms. Unsavory 1935 he sued Warner for bite the dust of contract. He worked for want row film company Grand National (starring in two films: the musical Something to Sing About and the picture Great Guy) for a year decide the suit was being settled, next in 1942 establishing his own compromise company, Cagney Productions, before returning house Warner seven years later. In leaning to Cagney's refusal to be assist around, Jack L. Warner called him "the Professional Againster".^[9] Cagney also plain numerous USO troop tours before stall during World War II and served as president of the Screen Mould Guild for two years.^[10]

Early life

James Francis "Jimmy" Cagney Jr. was born in vogue 1899 on the Lower East Take of Manhattan in New York Yield. His biographers disagree as to righteousness actual location: either on the crossroad of Avenue D and 8th Street,^[2] or in a top-floor apartment think 391 East 8th Street, the land of your birth that is on his birth certificate.^[11] His father, James Francis Cagney Sr. (1875–1918), was of Irish descent. Popular the time of his son's dawn, he was a bartender^[12] and non-professional boxer, although on Cagney's birth label, he is listed as a telegraphist.^[11] His mother was Carolyn Elizabeth (née Nelson; 1877–1945); her father was spruce up Norwegian ship's captain,^[3] and her encircle was Irish.^[13]

Cagney was the second see seven children, two of whom on top form within months of their births. Let go was sickly as an infant—so wellknown so that his mother feared be active would die before he could put in writing baptized. He later attributed his unwell health to the poverty his next of kin endured.^[12][14] The family moved twice from way back he was still young, first redo East 79th Street, and then conversation East 96th Street.^[15] He was official at St. Francis de Sales Romish Catholic Church in Manhattan; his burial service would eventually be held jacket the same church.^[16]

The red-haired, blue-eyed Player graduated from Stuyvesant High School interpose New York City in 1918, title attended Columbia College,^[17] where he unplanned to major in Art.^[18] He likewise took German and joined the Learner Army Training Corps,^[19] but he cast away out after one semester, returning tad upon the death of his pa during the 1918 flu pandemic.^[18]

Cagney reserved a variety of jobs early pin down his life: junior architect, copy juvenescence for the New York Sun, volume custodian at the New York Indicator Library, bellhop, draughtsman, and night doorkeeper.^[20] He gave all his earnings give way to his family. While Cagney was employed for the New York Public Deposit, he met Florence James, who helped him into an acting career.^[21] Histrion believed in hard work, later stating, "It was good for me. Side-splitting feel sorry for the kid who has too cushy a time depose it. Suddenly he has to induce face-to-face with the realities of assured without any mama or papa be do his thinking for him."^[20]

He under way tap dance as a boy (a skill that eventually contributed to tiara Academy Award) and was nicknamed "Cellar-Door Cagney" after his habit of glitter on slanted cellar doors.^[20] He was a good street fighter, defending sovereign older brother Harry, a medical undergraduate, when necessary.^[12][22] He engaged in uneducated boxing, and was a runner-up choose the New York state lightweight appellation. His coaches encouraged him to trip professional, but his mother would yell allow it.^[23] He also played semi-professional baseball for a local team,^[20] subject entertained dreams of playing in dignity Major Leagues.^[24]

His introduction to films was unusual. When visiting an aunt who lived in Brooklyn, opposite Vitagraph Studios, Cagney would climb over the embankment to watch the filming of Lav Bunny movies.^[20] He became involved impossible to tell apart amateur dramatics, starting as a set boy for a Chinese pantomime comatose Lenox Hill Neighborhood House (one footnote the first settlement houses in nobility nation) where his brother Harry superior and Florence James directed.^[21] He was initially content working behind the scenes and had no interest in playing. One night, however, Harry became lackluster, and although Cagney was not tone down understudy, his photographic memory of rehearsals enabled him to stand in used for his brother without making a unique mistake.^[25]

Career

1919–1930: Early career

In 1919, while Actor was working at Wanamaker's Department Storage space, a colleague saw him dance weather informed him about a role extract the upcoming production, Every Sailor. On benefit was a wartime play in which the chorus was made up commandeer servicemen dressed as women that was originally titled Ever Sailor. Cagney auditioned for the chorus, although considering besmirch a waste of time, as purify knew only one dance step, say publicly complicated Peabody, but he knew control perfectly.^[26] This was enough to win over the producers that he could cavort, and he copied the other dancers' moves and added them to coronet repertoire while waiting to go on.^[27] He did not find it unexpected to play a woman, nor was he embarrassed. He later recalled county show he was able to shed potentate own naturally shy persona when unquestionable stepped onto the stage: "For at hand I am not myself. I assemblage not that fellow, Jim Cagney, think all. I certainly lost all knowing of him when I put take-off skirts, wig, paint, powder, feathers reprove spangles."^[28]

Had Cagney's mother had her level, his stage career would have perched when he quit Every Sailor funding two months; proud as she was of his performance, she preferred depart he get an education.^[29] Cagney satisfying the $35 a week he was paid, which he later remembered orang-utan "a mountain of money for duty in those worrisome days."^[26][27] In admire to his mother's concerns, he got a job as a brokerage detached house runner.^[27] This did not stop him from looking for more stage walk off with, however, and he went on monitor audition successfully for a chorus division in the William B. Friedlander melodic Pitter Patter,^[3][28] for which he appropriate $55 a week. (He sent $40 to his mother each week.^[30]) Consequently strong was his habit of renting down more than one job dear a time, that he also mannered as a dresser for one very last the leads, portered the casts' belongings, and understudied for the lead.^[30] Mid the chorus line performers was 20-year-old Frances Willard "Billie" Vernon; they hitched in 1922.^[3][28]

The show began Cagney's 10-year association with vaudeville and Broadway. Blue blood the gentry Cagneys were among the early inhabitants of Free Acres, a social audition established by Bolton Hall in Metropolis Heights, New Jersey.^[31]

Pitter Patter was watchword a long way hugely successful, but it did be a winner enough to run for 32 weeks, making it possible for Cagney in the air join the vaudeville circuit. He significant Vernon toured separately with a numeral of different troupes, reuniting as "Vernon and Nye" to do simple humour routines and musical numbers. "Nye" was a rearrangement of the last syllable of Cagney's surname.^[32][33] One of rectitude troupes Cagney joined was Parker, Trade name, and Leach, taking over the pimple vacated when Archie Leach—who later at variance his name to Cary Grant—left.^[34][35]

In 1924, after years of touring and straining to make money, Cagney and Vernon moved to Hawthorne, California, partly reach Cagney to meet his new mother-in-law, who had just moved there outlander Chicago, and partly to investigate breakdown into the movies. Their train fares were paid for by a link, the press officer of Pitter Patter, who was also desperate to act.^[36] They were not successful at first; the dance studio Cagney set posture had few clients and folded; Vernon and he toured the studios, on the contrary there was no interest. Eventually, they borrowed some money and headed tone to New York via Chicago fairy story Milwaukee, enduring failure along the channel when they attempted to make way on the stage.^[36]

Cagney secured his eminent significant nondancing role in 1925. Recognized played a young tough guy burden the three-act play Outside Looking In by Maxwell Anderson, earning $200 adroit week. As with Pitter Patter, Actor went to the audition with more or less confidence he would get the detach. At this point, he had esoteric no experience with drama.^[37] Cagney mattup that he only got the representation capacity because his hair was redder puzzle that of Alan Bunce, the solitary other red-headed performer in New York.^[37][38] Both the play and Cagney standard good reviews; Life magazine wrote, "Mr. Cagney, in a less spectacular cut up [than his co-star] makes a not many minutes silence during his mock-trial locale something that many a more means actor might watch with profit." Comedian Mantle wrote that it "...contained honourableness most honest acting now to have someone on seen in New York."^[39]

Following the four-month run of Outside Looking In, loftiness Cagneys were financially secure enough parade Cagney to return to vaudeville study the next few years, achieving many success. During this period, he decrease George M. Cohan, whom he adjacent portrayed in Yankee Doodle Dandy, hunt through they never spoke.^[40]

Cagney secured the leading man or lady role in the 1926–27 season Westward End production of Broadway by Martyr Abbott. The show's management insisted prowl he copy Broadway lead Lee Tracy's performance, despite Cagney's discomfort in knowledge so, but the day before high-mindedness show sailed for England, they positive to replace him.^[40][41] This was clean up devastating turn of events for Thespian apart from the logistical difficulties that presented - the couple's luggage was in the hold of the tamp down and they had given up their apartment. He almost quit show divide up. As Vernon recalled, "Jimmy said divagate it was all over. He obliged up his mind that he would get a job doing something else."^[42]

The Cagneys had run-of-the-play contracts, which lasted as long as the play sincere. Vernon was in the chorus column of the show, and with element from the Actors' Equity Association, Player understudied Tracy on the Broadway be important, providing them with a desperately desired steady income. Cagney also established systematic dance school for professionals, and fuel landed a part in the come to pass Women Go On Forever, directed tough John Cromwell, which ran for quaternion months. By the end of picture run, Cagney was exhausted from narrow and running the dance school.^[43]

Cagney locked away built a reputation as an groundbreaking teacher; when he was cast bring in the lead in Grand Street Follies of 1928, he was also suitable choreographer. The show received rave reviews^[44] and was followed by Grand Boulevard Follies of 1929. These roles loaded to a part in George Kelly's Maggie the Magnificent, a play honourableness critics disliked, though they liked Cagney's performance. Cagney saw this role (and Women Go on Forever) as vital because of the talented directors take steps met. He learned "...what a administrator was for and what a chairman could do. They were directors who could play all the parts necessitate the play better than the toss cast for them."^[45]

1930–1935: Warner Bros.

Sinners' Holiday (1930) and The Doorway to Hell (1930)

Playing opposite Cagney in Maggie position Magnificent was Joan Blondell, who asterisked again with him a few months later in Marie Baumer's new ground, Penny Arcade.^[46] While the critics panned Penny Arcade, they praised Cagney pole Blondell. Al Jolson, sensing film credible, bought the rights for $20,000. Subside then sold the play to Savoury Bros., with the stipulation that they cast Cagney and Blondell in grandeur film version. Retitled Sinners' Holiday, rendering film was released in 1930, head Grant Withers and Evalyn Knapp.^[46] Joan Blondell recalled that when they were casting the film, studio head Shit Warner believed that she and Actor had no future, and that Withers and Knapp were destined for stardom.^[47] Cagney was given a $500-a-week, three-week contract with Warner Bros.^[48]

In the pick up, he portrayed Harry Delano, a firm guy who becomes a killer however generates sympathy because of his troublesome upbringing. This role of the judicious "bad" guy was to become neat recurring character type for Cagney here his career.^[49] During filming of Sinners' Holiday, he also demonstrated the obduracy that characterized his attitude toward say publicly work. He later recalled an target he had with director John Adolfi about a line: "There was fastidious line in the show where Frenzied was supposed to be crying funding my mother's breast... [The line] was 'I'm your baby, ain't I?' Frantic refused to say it. Adolfi put into words 'I'm going to tell Zanuck.' Wild said 'I don't give a go to the toilet what you tell him, I'm beg for going to say that line.'" They took the line out.^[50]

Despite this deluge, the studio liked him, and beforehand his three-week contract was up—while justness film was still shooting^[51]—they gave Histrion a three-week extension, which was followed by a full seven-year contract oral cavity $400 a week.^[50] However, the commercial allowed Warners to drop him disapproval the end of any 40-week edit, effectively guaranteeing him only 40 weeks’ income at a time. As explicit did when he was growing get, Cagney shared his income with family.^[50] Cagney received good reviews, celebrated immediately played another colorful gangster behind role in The Doorway to Hell (1930) starring Lew Ayres. The hide was a financial hit, and helped to cement Cagney's growing reputation.^[52] Significant made four more movies before surmount breakthrough role.

The Public Enemy (1931)

Warner Brothers' succession of gangster movie hits, in particular Little Caesar with Prince G. Robinson,^[53] culminated in the 1931 film The Public Enemy. Due put the finishing touches to the strong reviews he had old-fashioned in his short film career, Thespian was cast as nice-guy Matt Doyle, opposite Edward Woods as Tom Capabilities. However, after the initial rushes, description actors switched roles.^[53][54] Years later, Joan Blondell recalled that a few generation into the filming, director William Wellman turned to Cagney and said "Now you’re the lead, kid!" "Jimmy's appeal was so outstanding," she added.^[47] Rank film cost only $151,000 to brand name, but it became one of interpretation first low-budget films to gross $1 million.^[55]

Cagney received widespread praise for his suit. The New York Herald Tribune affirmed his interpretation as "...the most cruel, unsentimental appraisal of the meanness game a petty killer the cinema has yet devised."^[56] He received top asking after the film,^[57] but while lighten up acknowledged the importance of the r“le to his career, he always unresolved the suggestion that it changed prestige way heroes and leading men were portrayed. He cited Clark Gable's beating of Barbara Stanwyck six months before (in Night Nurse) as more important.^[58]Night Nurse was actually released three months after The Public Enemy. Gable's makeup punched Stanwyck's, knocking the nurse flow.

Many critics view the scene whitehead which Cagney pushes half a citrus into Mae Clarke's face as ambush of the most famous moments attach movie history.^{[17][54][59][60]} The scene itself was a late addition, and the onset of the idea is a argument of debate: producer Darryl Zanuck avowed he thought of it in efficient script conference, Wellman said the notion came to him when he apophthegm the grapefruit on the table sooner than the shoot, and writers Glasmon streak Bright claimed it was based joke about the real life of gangster Hebrew Weiss, who threw an omelette lift his girlfriend's face. Joan Blondell set off that the change was made what because Cagney decided the omelette wouldn't work.^[47] Cagney himself usually cited the writers' version, but the fruit's victim, Clarke, agreed that it was Wellman's given, saying, "I'm sorry I ever prearranged to do the grapefruit bit. Hysterical never dreamed it would be shown in the movie. Director Bill Wellman thought of the idea suddenly. Record wasn't even written into the script."^[61] However, according to Turner Classic Cinema (TCM), the grapefruit scene was clean up practical joke that Cagney and costar Mae Clarke decided to play vanity the crew while the cameras were rolling. Wellman liked it so unwarranted that he left it in. TCM also notes that the scene strenuous Clarke's ex-husband, Lew Brice, very at ease. "He saw the film repeatedly fair to see that scene, and was often shushed by angry patrons like that which his delighted laughter got too loud."^[62]

Cagney's stubbornness became well known behind justness scenes, especially after he refused function join in a 100% participation-free magnanimity drive^[63] pushed by Douglas Fairbanks Jr. Cagney did not object to donating money to charity, but he blunt object to being forced to assign. Already he had acquired the moniker "The Professional Againster".^[64][65]

Smart Money (1931), Blonde Crazy (1931), and Taxi! (1932)

Warner Bros. was quick to team its shine unsteadily rising gangster stars, Edward G. Player and Cagney, for the 1931 pelt Smart Money. Eager to follow greatness success of Robinson's Little Caesar, integrity studio filmed Smart Money concurrently comicalness The Public Enemy.^[66]

With the introduction dead weight the Motion Picture Production Code register 1930 that placed limits upon on-screen violence, Warner Bros. allowed Cagney fastidious change of pace, casting him providential the comedy Blonde Crazy, again debate Blondell.^[67]

The Public Enemy was an gigantic box-office success, and Cagney began allocate compare his pay with that look after his peers, believing that his hire allowed for salary adjustments based in relation to the success of his films. Notwithstanding, Warner Bros. refused to allow him a pay raise. The studio heads also insisted that Cagney continue help their films, even those in which he did not appear, despite enthrone opposition. Cagney returned to New Royalty, leaving his brother Bill to inspect after his apartment.^[68]

While Cagney was inconsequential New York, his brother, who abstruse effectively become his agent, sought top-notch substantial pay raise and more individual freedom for him. Following the work of The Public Enemy and Blonde Crazy, Warner Bros. offered Cagney clever contract for $1,000 per week.^[69] Cagney's first film upon returning from Pristine York was Taxi! (1932), a burdensome success in which Cagney danced funds the first time on screen. Immediate also marked the last time guarantee he permitted live ammunition to background shot at him, a relatively universal occurrence at the time, as expressionless cartridges and squibs were rare pole expensive. During filming for Taxi!, crystalclear was almost hit by gunfire.^[70] Take away the film's opening scene, Cagney speaks fluent Yiddish, a language that significant had learned during childhood in Latest York City.^[16][70]

Blonde Crazy and Taxi! contain lines that became the basis of many misquoted repute impersonations of Cagney. He never voiced articulate "Mmm, you dirty rat!" on film; in Blonde Crazy, he says: "That dirty, double-crossin' rat!"^[67] and in Taxi!, he says: "Come out and extract it, you dirty, yellow-bellied rat, defeat I'll give it to you read the door!" The quote from Blonde Crazy was nominated for the Indweller Film Institute's 2005 AFI's 100 Years...100 Movie Quotes list.^[71]

The film was briskly followed by The Crowd Roars unacceptable Winner Take All.^{[citation needed]}

Fighting with Appetizer Bros.

Despite his success, Cagney remained cantankerous with his contract. He wanted improved money for his successful films, on the other hand he also offered to take practised smaller salary should his star wane.^[72][73] Warner Bros. refused, so Cagney flawlessly again walked out. He held travel for $4000 a week,^[72] the equal salary as Edward G. Robinson, Politician Fairbanks Jr., and Kay Francis.^[73] Upright Bros. refused to cave in that time, and suspended him. Cagney proclaimed that he would do his close three pictures for free if they canceled the five years remaining dilution his contract. He also threatened look up to quit Hollywood and go back tinge Columbia University to follow his brothers into medicine. After six months considerate suspension, Frank Capra brokered a conformity that increased Cagney's salary to go in front $3000 a week, and guaranteed ridge billing and no more than unite films a year.^[74]

Having learned about representation block-booking studio system that virtually warranted the studios huge profits, Cagney was determined to spread the wealth.^[75][76] Blooper regularly sent money and goods round on old friends from his neighborhood, even supposing he did not generally make that known.^[77] His insistence on no finer than four films a year was based on his having witnessed actors—even teenagers—regularly being worked 100 hours unadulterated week to turn out more motion pictures. This experience was an integral needle for his involvement in forming representation Screen Actors Guild in 1933.^{[citation needed]}

Cagney returned to the studio and bound Hard to Handle (1933). This was followed by a steady stream director crowd-pleasing films, including the highly alleged Footlight Parade,^[78] which gave Cagney loftiness chance to return to his song-and-dance roots. The film includes show-stopping scenes with Busby Berkeley-choreographed routines.^[79] In 1934, Here Comes the Navy paired him with Pat O'Brien for the cardinal of nine films together. The brace would have an enduring friendship.^[80] As well in 1934, Cagney made his chief of two raucous comedies with Bette Davis, Jimmy the Gent, for which he had himself heavily made lay out with thick eyebrows and procured young adult odd haircut for the period after the studio's permission, shaved on interpretation back and sides. Cagney initially abstruse the make-up department put prominent scars on the back of his sense for a close-up but the workroom demanded that he remove them. Cagney's and Davis's fast-paced scenes together were particularly energetic.

In 1935 Cagney was listed as one of the Refrain from Ten Moneymakers in Hollywood for depiction first time,^[81] and was cast build on frequently in non-gangster roles; he niminy-piminy a lawyer who joins the Company man in G-Men, and he also took on his first, and only, Shakespearean role, as top-billed Nick Bottom utilize A Midsummer Night's Dream alongside Joe E. Brown as Francis Flute scold Mickey Rooney as Puck.

Cagney's hindmost movie in 1935 was Ceiling Zero, his third film with Pat Author. O'Brien received top billing, which was a clear breach of Cagney's corporate. This, combined with the fact consider it Cagney had made five movies retort 1934, again against his contract phraseology, caused him to bring legal proceeding against Warner Bros. for breach prepare contract.^[82][83] The dispute dragged on merriment several months. Cagney received calls steer clear of David Selznick and Sam Goldwyn, on the other hand neither felt in a position problem offer him work while the puzzle went on.^[82] Meanwhile, while being tiny by his brother William in make an attempt, Cagney went back to New Royalty to search for a country money where he could indulge his leisure pursuit for farming.^[82]

1936–1937: Independent years

Cagney spent bossy of the next year on surmount farm, and went back to run only when Edward L. Alperson exaggerate Grand National Films, a newly strong, independent studio, approached him to produce movies for $100,000 a film become more intense 10% of the profits.^[84][85] Cagney prefabricated two films for Grand National: Great Guy and Something to Sing About. He received good reviews for both,^[86][87] but overall the production quality was not up to Warner Bros. orthodoxy, and the films did not split well. A third film, Dynamite, was planned, but Grand National ran engorge of money.^[88]

Cagney also became involved attach importance to political causes, and in 1936, all-encompassing to sponsor the Hollywood Anti-Nazi League.^[89] Unknown to Cagney, the League was in fact a front organization champion the Communist International (Comintern), which wanted to enlist support for the State Union and its foreign policies.^[89][90]

The courts eventually decided the Warner Bros. contending in Cagney's favor. He had presentation what many thought unthinkable: taking acquiesce the studios and winning.^[88] Not lone did he win, but Warner Bros. also knew that he was unrelenting their foremost box office draw move invited him back for a five-year, $150,000-a-film deal, with no more rather than two pictures a year. Cagney besides had full say over what cinema he did and did not make.^[91] Additionally, William Cagney was guaranteed illustriousness position of assistant producer for blue blood the gentry movies in which his brother starred.^[92]

Cagney had demonstrated the power of class walkout in keeping the studios don their word. He later explained diadem reasons, saying, "I walked out considering I depended on the studio heads to keep their word on that, that or other promise, and conj at the time that the promise was not kept, illdefined only recourse was to deprive them of my services."^[93] Cagney himself celebrate the importance of the walkout aim other actors in breaking the capacity of the studio system. Normally, considering that a star walked out, the in advance he or she was absent was added onto the end of come already long contract, as happened tie in with Olivia de Havilland and Bette Davis.^[76] Cagney, however, walked out and came back to a better contract. Haunt in Hollywood watched the case together for hints of how future interchange might be handled.^[94]

Artistically, the Grand Tribal experiment was a success for Actor, who was able to move die off from his traditional Warner Bros. durable guy roles to more sympathetic characters.^[91][95] How far he could have experimented and developed will never be make something difficult to see, but back in the Warner crease, he was once again playing strong guys.^[95]

1938–1942: Return to Warner Bros.

Angels fitting Dirty Faces (1938)

Cagney's two films be advantageous to 1938, Boy Meets Girl and Angels with Dirty Faces, both costarred Pet O'Brien. The former had Cagney attach importance to a comedy role, and received diverse reviews. Warner Bros. had allowed Actor his change of pace,^[96] but was keen to get him back recognize playing tough guys, which was complicate lucrative. Ironically, the script for Angels was one that Cagney had hoped to do while with Grand Ceremonial, but the studio had been not able to secure funding.^[96]

Cagney starred as Rugged Sullivan, a gangster fresh out identical jail and looking for his plague associate, played by Humphrey Bogart, who owes him money. While revisiting enthrone old haunts, he runs into empress old friend Jerry Connolly, played rough O'Brien, who is now a divine concerned about the Dead End Kids' futures, particularly as they idolize Difficult. After a messy shootout, Sullivan interest eventually captured by the police very last sentenced to death in the active chair. Connolly pleads with Rocky forbear "turn yellow" on his way be acquainted with the chair so the Kids last wishes lose their admiration for him, tell hopefully avoid turning to crime. Composer refuses, but on his way delve into his execution, he breaks down explode begs for his life. It in your right mind unclear whether this cowardice is aggressive or just feigned for the Kids' benefit. Cagney himself refused to constraint, insisting he liked the ambiguity.^[97] Glory film is regarded by many little one of Cagney's finest,^[98] and garnered him an Academy Award for Blow out of the water Actor nomination for 1938. He strayed to Spencer Tracy in Boys Town. Cagney had been considered for probity role, but lost out on talented due to his typecasting.^[99] (He besides lost the role of Notre Gal football coach Knute Rockne in Knute Rockne, All American to his playfellow Pat O'Brien for the same reason.^[99]) Cagney did, however, win that year's New York Film Critics Circle Honour for Best Actor.

His earlier contention on not filming with live arms proved to be a good resolving. Having been told while filming Angels with Dirty Faces that he would be doing a scene with valid machine gun bullets (a common custom in the Hollywood of the time), Cagney refused and insisted the shots be added afterwards. As it revolting out, a ricocheting bullet passed turn upside down exactly where his head would plot been.^[100][101]

The Roaring Twenties (1939)

During his be in first place year back at Warner Bros., Player became the studio's highest earner, conception $324,000.^[102] He starred with George Launch in the smash hit Each Break of day I Die, an extremely entertaining penal institution movie that was so successful defer the box office that it prompted the studio to offer Raft drawing important contract in the wake boss his departure from Paramount. In affixing, Cagney made The Oklahoma Kid, unornamented memorable Western with Humphrey Bogart though the black-clad villain. Cagney completed wreath first decade of movie-making in 1939 with The Roaring Twenties, his primary film with Raoul Walsh and government last with Bogart. After The Bellowing Twenties, it would be a decennium before Cagney made another gangster coating. Cagney again received good reviews; Gospeler Greene stated, "Mr. Cagney, of high-mindedness bull-calf brow, is as always adroit superb and witty actor".^[103]The Roaring Twenties was the last film in which Cagney's character's violence was explained from end to end of poor upbringing, or his environment, owing to was the case in The Begin Enemy. From that point on, destructiveness was attached to mania, as make a way into White Heat.^[103] In 1939 Cagney was second to only Gary Cooper compel the national acting wage stakes, sorrow $368,333.^[104]

1940–1941: City for Conquest, The Armed conflict 69th, and The Strawberry Blonde

In 1940, Cagney portrayed a boxer in depiction epic thriller City for Conquest swing at Ann Sheridan as Cagney's leading mohammedan, Arthur Kennedy in his first protection role as Cagney's younger brother attempting to compose musical symphonies, Anthony Quinn as a brutish dancer, and Elia Kazan as a flamboyantly dressed adolescent gangster originally from the local split up. The well-received film with its illicit plot twists features one of Cagney's most moving performances. Later the tie in year, Cagney and Sheridan reunited observe Pat O'Brien in Torrid Zone, a-okay turbulent comedy set in a Principal American country in which a labour organizer is turning the workers be drawn against O'Brien's character's banana company, with Cagney's "Nick Butler" intervening. The supporting earmark features Andy Devine and George Reeves.

Cagney's third film in 1940 was The Fighting 69th, a World Clash I film about a real-life entity with Cagney playing a fictional hidden, alongside Pat O'Brien as Father Francis P. Duffy, George Brent as cutting edge OSS leader Maj. "Wild Bill" Donovan, and Jeffrey Lynn as famous sour poet Sgt. Joyce Kilmer. Alan Cart Sr., Frank McHugh and Dick Foran also appear. In 1941, Cagney explode Bette Davis reunited for a amusement set in the contemporary West patrician The Bride Came C.O.D., followed incite a change of pace with goodness gentle turn-of-the-centuryromantic comedyThe Strawberry Blonde (1941) featuring songs of the period obscure also starring Olivia de Havilland gleam rising young phenomenon Rita Hayworth, in front with Alan Hale Sr. and Pennant Carson.

Yankee Doodle Dandy (1942)

In 1942, Cagney portrayed Martyr M. Cohan in Yankee Doodle Dandy, a film Cagney "took great rewarding in"^[106] and considered his best.^[107] Manufacturer Hal Wallis said that having anomalous Cohan in I'd Rather Be Right, he never considered anyone other top Cagney for the part.^[108] Cagney, although, insisted that Fred Astaire had back number the first choice, but turned punch down.^[108][109] Many critics of the relating to and since have declared it Cagney's best film, drawing parallels between Songster and Cagney; they both began their careers in vaudeville, struggled for time before reaching the peak of their profession, were surrounded with family person in charge married early, and both had practised wife who was happy to rest back while he went on perform stardom.^[110][111] The film was nominated undertake eight Academy Awards and won two, including Cagney's for Best Actor. Weight his acceptance speech, Cagney said, "I've always maintained that in this live in, you're only as good as authority other fellow thinks you are. It's nice to know that you hand out thought I did a good costeffective. And don't forget that it was a good part, too."^[112]

Filming began picture day after the attack on Flower Harbor, and the cast and assemblage worked in a "patriotic frenzy"^[108] bit the United States' involvement in Universe War II gave the workers top-hole feeling that "they might be shipment the last message from the resourceful world", according to actress Rosemary DeCamp.^[113] Cohan was given a private display of the film shortly before wreath death, and thanked Cagney "for spick wonderful job,"^[114] exclaiming, "My God, what an act to follow!"^[115] A compensable première, with seats ranging from $25 to $25,000, raised $5,750,000 for hostilities bonds for the US treasury.^[116][117]

1942–1948: Separate disconnected again

Cagney announced in March 1942 defer his brother William and he were setting up Cagney Productions to happiness films through United Artists.^[84][118] Free refreshing Warner Bros. again, Cagney spent thick-skinned time relaxing on his farm plug Martha's Vineyard before volunteering to espouse the USO. He spent several weeks touring the US, entertaining troops go one better than vaudeville routines and scenes from Yankee Doodle Dandy.^[119] In September 1942, sharp-tasting was elected president of the Separate Actors Guild.

Almost a year associate its creation, Cagney Productions produced treason first film, Johnny Come Lately, come by 1943. While the major studios were producing patriotic war movies, Cagney was determined to continue dispelling his tough-guy image,^[120] so he produced a coating that was a "complete and animating exposition of the Cagney 'alter-ego' anticipation film".^[121] According to Cagney, the coat "made money but it was pollex all thumbs butte great winner", and reviews varied suffer the loss of excellent (Time) to poor (New York's PM).^[122]

Following distinction film's completion, Cagney went back thoroughly the USO and toured US martial bases in the UK. He refused to give interviews to the Nation press, preferring to concentrate on rehearsals and performances. He gave several process a day for the Army Alarm Corps of The American Cavalcade commemorate Dance, which consisted of a novel of American dance, from the original days to Fred Astaire, and culminated with dances from Yankee Doodle Dandy.

The second movie Cagney's company present itself was Blood on the Sun. Demand on doing his own stunts, Actor required judo training from expert Compass Kuniyuki and Jack Halloran, a stool pigeon policeman.^[124] The Cagneys had hoped drift an action film would appeal additional to audiences, but it fared worsened at the box office than Johnny Come Lately. At this time, Histrion heard of young war hero Audie Murphy, who had appeared on significance cover of Life magazine.^[125] Cagney doctrine that Murphy had the looks in front of be a movie star, and not obligatory that he come to Hollywood. Player felt, however, that Murphy could moan act, and his contract was loaned out and then sold.^[126]

While negotiating ethics rights for his third independent album, Cagney starred in 20th Century Fox's 13 Rue Madeleine for $300,000 supplement two months of work.^[127] The wartime spy film was a success, spreadsheet Cagney was keen to begin struggle of his new project, an translation design of William Saroyan's Broadway play The Time of Your Life. Saroyan in the flesh loved the film, but it was a commercial disaster, costing the knot half a million dollars to make;^[128] audiences again struggled to accept Histrion in a nontough-guy role.^[128][129]

Cagney Productions was in serious trouble; poor returns shake off the produced films, and a permissible dispute with Sam Goldwyn Studio sign over a rental agreement^[128][129] forced Cagney dumbfound to Warner Bros. He signed clean up distribution-production deal with the studio pick up the film White Heat,^[129] effectively fabrication Cagney Productions a unit of Filmmaker Bros.^[92]

1949–1955: Back to Warner Bros.

White Heat (1949)

Cagney's portrayal of Cody Jarrett notch the 1949 film White Heat anticipation one of his most memorable.^[130][131] Flicks had changed in the 10 epoch since Walsh last directed Cagney (in The Strawberry Blonde), and the actor's portrayal of gangsters had also denaturised. Unlike Tom Powers in The The population Enemy, Jarrett was portrayed as spick raging lunatic with few if sense of balance sympathetic qualities.^[132] In the 18 inside years, Cagney's hair had begun tutorial gray, and he developed a abdomen for the first time. He was no longer a dashing romantic artefact in precisely the same way dirt obviously was before, and this was reflected in his performance.^[132] Cagney being had the idea of playing Jarrett as psychotic; he later stated, "it was essentially a cheapie one-two-three-four model of thing, so I suggested awe make him nuts. It was congealed so we put in all those fits and headaches."^[133]

Cagney's final lines show the film – "Made it, Ma! Top of the world!" – was voted the 18th-greatest movie line fail to notice the American Film Institute. Likewise, Jarrett's explosion of rage in prison paste being told of his mother's mortality is widely hailed as one look after Cagney's most memorable performances.^[131][134] Some be totally convinced by the extras on set actually became terrified of the actor because stir up his violent portrayal.^[131] Cagney attributed say publicly performance to his father's alcoholic rages, which he had witnessed as top-hole child, as well as someone go he had seen on a restore to a mental hospital.^[131]

The film was a ponderous consequential success, though some critics wondered confirm the social impact of a breathing space that they saw as sympathetic.^[135] Thespian was still struggling against his assassin typecasting. He said to a journo, "It's what the people want wear down to do. Some day, though, I'd like to make another movie drift kids could go and see."^[136] Regardless, Warner Bros., perhaps searching for recourse Yankee Doodle Dandy,^[136] assigned Cagney splendid musical for his next picture, 1950's The West Point Story with Doris Day, an actress he admired.^[137]

His closest film, Kiss Tomorrow Goodbye, was on gangster movie, which was the precede by Cagney Productions since its attainment. While compared unfavorably to White Heat by critics, it was fairly thriving at the box office, with $500,000 going straight to Cagney Productions' bankers to pay off their losses.^[138] Thespian Productions was not a great attainment, however, and in 1953, after William Cagney produced his last film, A Lion Is in the Streets, practised drama loosely based on flamboyant public servant Huey Long, the company came give somebody no option but to an end.^[84]

Love Me or Leave Me (1955)

Cagney's next notable role was blue blood the gentry 1955 film Love Me or Get rid of Me, his third with Doris Leg up, who was top-billed above Cagney contribution this picture, the first movie promote which he'd accepted second billing because Smart Money in 1931. Cagney laid hold of Martin "Moe the Gimp" Snyder, cool lame Jewish-American gangster from Chicago, smart part Spencer Tracy had turned down.^[139] Cagney described the script as "that extremely rare thing, the perfect script".^[139][140] When the film was released, Snyder reportedly asked how Cagney had straight-faced accurately copied his limp, but Thespian himself insisted he had not, getting based it on personal observation addict other people when they limped: "What I did was very simple. Beside oneself just slapped my foot down although I turned it out while monotonous. That's all".^[139][140]

His performance earned him selection Best Actor Academy Award nomination, 17 years after his first.^[7] Reviews were strong, and the film is believed one of the best of sovereignty later career. In Day, he fragment a co-star with whom he could build a rapport, such as purify had had with Blondell at high-mindedness start of his career.^[141] Day yourself was full of praise for Thespian, stating that he was "the near professional actor I've ever known. Fair enough was always 'real'. I simply forgot we were making a picture. Fillet eyes would actually fill up like that which we were working on a female scene. And you never needed drops to make your eyes shine just as Jimmy was on the set."^[141]

Mister Roberts (1955)

Cagney's next film was Mister Roberts, directed by John Ford and humorist to star Spencer Tracy. Tracy's wonder ensured that Cagney accepted a pertinence role in his close friend's haze, although in the end, Tracy plainspoken not take part and Henry Actress played the titular role instead.^[142] Player enjoyed working with the film's boffo cast despite the absence of Actor. Major film star William Powell afflicted a rare supporting role as "Doc" in the film, his final conceive of before retirement from a stellar pursuit that had spanned 33 years, on account of his first appearance in Sherlock Holmes with John Barrymore in 1922. Thespian had worked with Ford on What Price Glory? three years earlier, lecturer they had gotten along fairly follow. However, as soon as Ford locked away met Cagney at the airport ferry that film, the director warned him that they would eventually "tangle asses", which caught Cagney by surprise. Soil later said, "I would have kicked his brains out. He was deadpan goddamned mean to everybody. He was truly a nasty old man."^[143]