Little Caesar

One of the earliest non-silent examples of the gangster-film, ‘Little Caesar’ is a simplistic from-the-bottom-to-the-top-an d-then-back-again take on the genre, albeit a little less censored than some of the later golden-era gangster films (‘Little Caesar’ was made before the restrictive Hayes-Code was introduced in 1933). It’s probably best remembered for introducing audiences to the diminutive frog-faced Edward G. Robinson, who would have a long line in memorable crooks and dodgy kingpins.

The film opens with Rico moaning and bemoaning his petty crime glories in a roadside diner. He’s gonna make it big, see? He’s gonna get to the top and, as he is fond of saying, 'if you can dish it out but can’t take it' then it’s his place to usurp. Soon Rico gets in with a formidable gang and begins to muscle in… before long he is able to amass power to himself by being more ruthless than the next guy, and he is as much feared as he is revered. But it’s a dog-eat-dog world… they all want power, but it is fleeting, it only lasts till the next wannabe comes through, and it takes a special kind of leadership to stay on top, to quote Rico, “If anyone turns yellow and squeals, my gun’s gonna speak it’s piece”.

Edward G. Robinson is a scene-stealing mix of funny and scary, what he lacks in looks or charm he makes up for in must-see neurotic dispicability - he’s a kind of progenitor to Joe Pesci. Douglas Fairbanks jr. also lends his name to the film, but his old-school heroics pale next to Robinson’s unique screen-presence, especially for modern-day audiences. And after all, this is a film about an anti-hero, and as such – Rico is all that matters.

Highlights of the film include a heist shown via montage, an interesting and effective way to depict the action, and a few pre-Hayes Code instances of surprising violence – at one point a guy gets gunned down on some church steps, and Rico’s own final scenes are similarly memorable. Also, there seems to be an intriguing homosexual subtext to Rico’s relationship with his main stooge, Joe, perhaps (in a rather backwards 1930s fashion) suggesting the depraved and sinful nature of Rico’s very soul. It's pretty blatant for such an old film... Rico says he has no use for women and at one point he and Joe are seen laughing together on Rico's bed, Joe gazing at him adoringly!

Anyway, this is a good film… not as razzle-dazzle or sleek as 'The Public Enemy' or any of James Cagney’s later gangster films, but a fine early example of the rise-and-fall gangster movie.

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