Old Dude, Old Movies - "Little Caesar"

I love this movie.

Released in 1931, it's got swagger for days. During the Depression era, at a time where come criminals and gangsters were more revered than bankers and captains of industry, this flick reflected the times quite well. Edward G. Robinson broke through with this role, and it set him up for years of tough-guy parts.

Robinson is "Caesar Enrico Bandello", known as "Rico" on the street. He's an up-and-coming gangster, all ambition and bravado. You can sense the confidence fairly bursting out of his character. He can't wait to be the big man, and the gangsters he works for are just Rico's mentors for the short term.

Whenever Robinson is on-screen, he dominates the picture. His confidence and sharp tongue keep other characters on edge. His fellow gangsters swiftly realize Rico isn't like the others. Rico is a threat to the mob as well as to the law-abiding citizenry. He feels that nothing or no one can keep him from the top of the heap. He's willing to do whatever it takes to be the kingpin in the end.

Rico's best friend "Joe" (a baby-faced Douglas Fairbanks, Jr.) is loyal to Rico, but not so enamored of the gangster lifestyle. Joe is a brilliant dancer/entertainer who's on the verge of his breakthrough in entertainment. While Joe pays his dues on the stage, he crosses paths with "Olga" (Glenda Farrell). Mutual sparks light up, and Olga wants to see Joe freed from his organized crime past. Joe finds himself torn between the two worlds. He doesn't want to be seen as soft, but he doesn't want to die over a way of life to which he's not completely committed.

"Sam Vettori" (Stanley Fields) is the local mobster training Rico. Rico sees himself in time stepping over Sam, on the way to more power and influence. Sam can barely keep Rico focused on the task at hand, and suspects what Rico covets. Sam works hard to keep Rico in his place, but Rico bristles at such.

"Big Boy" (Sidney Blackmer) is the guy Rico wants to be. Big Boy is the big boss who lives in a sumptuous home & has all the objects a rich, powerful man would have. Rico sees his role model up close, and intensifies his efforts to climb to the top of organized crime.

Rico's main foil is the grim, strait-laced "Sergeant Flaherty" (Thomas E. Jackson). Flaherty takes law-and-order seriously, and sees Rico as his opposite. Flaherty knows their paths will cross again and again.

The relationships, professional and personal, intersect continually. Rico eventually is on his way to the top of the mob, but his plans & his life get derailed. After a time laying low, Rico gets his dander up again, through Flaherty's manipulation. The story is destined to have only one conclusion.

"Mother of Mercy - is this the end of Rico?" Figuratively, no. The spirit of Rico lived on in all sorts of gangster films and films noir for decades to come. The cocky bantam with the Napoleonic complex, bullying and cajoling men much larger. Gangsters holding cities in their hands through sheer force of will. Mobsters who take what they want with no apologies. Naw, it wasn't the end of Rico.

I really enjoyed this one, and will watch it again when it's on.