White Heat (1949)

Director:

Raoul Walsh

Writers:

Ivan Goff (screenplay) and
Ben Roberts (screenplay) ...

Release Date:

1952 (Austria)

Genre:

Action | Crime | Film-Noir

Tagline:

James Cagney Is Red Hot In "White Heat"!

Plot:

A psychopathic criminal with a mother complex makes a daring break from prison and leads his old gang in a chemical plant payroll heist. Shortly after the plan takes place, events take a crazy turn

Plot Keywords:

Prison | Heist | Escape | Undercover | Gangster

Awards:

Nominated for Oscar. Another 1 win & 1 nomination

Cast

James Cagney	...	Arthur 'Cody' Jarrett
Virginia Mayo	...	Verna Jarrett
Edmond O'Brien	...	Vic Pardo
Margaret Wycherly	...	Ma Jarrett
Steve Cochran	...	Big Ed Somers
John Archer	...	Philip Evans
Wally Cassell	...	'Cotton' Valletti
Fred Clark	...	Daniel Winston

Runtime:

114 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (RCA Sound System)

Certification:

Iceland:12 | UK:15 | West Germany:16 (nf) | Sweden:15 (re-rating) (1962) | Sweden:(Banned) (original rating) (1949) | Canada:PG (video rating) | South Korea:15 | Portugal:M/16 | Australia:PG | Finland:(Banned) (1950) | Finland:K-15 (re-rating) (2004) | USA:Approved (PCA #13852) | Australia:M (DVD rating)

Filming Locations:

Chatsworth, Los Angeles, California, USA

Company:

Warner Bros. Pictures

Trivia:

If the surprise expressed by James Cagney's fellow inmates during "the telephone game" scene in the prison dining room appears real, it's because it is. Director Raoul Walsh didn't tell the rest of the cast what was about to happen, so Cagney's outburst caught them by surprise. In fact, Walsh himself didn't know what Cagney had planned; the scene as written wasn't working, and Cagney had an idea. He told Walsh to put the two biggest extras playing cons in the mess-hall next to him on the bench (he used their shoulders to boost himself onto the table) and to keep the cameras rolling no matter what.

Goofs:

Continuity: Roughly 33 minutes in. As Evans and Pardo drink coffee, Evans' coffee cup changes several times from a dark to a light cup.

Quotes:

Cody Jarrett: [while eating a chicken leg, Jarrett speaks to Parker in the trunk of the sedan] How ya doin', Parker?
Roy Parker: It's stuffy in here, I need some air.
Cody Jarrett: Oh, stuffy, huh? I'll give ya a litte air.
[pulls a gun from his pants and shoots four times into the trunk]

Movie Connections:

Referenced in The Adventures of Ford Fairlane (1990)

Soundtrack:

Five O'Clock Whistle

a boy's best friend is his mother

James Cagney lights up the screen in all respects in this violent and hard-driving film. There's nary a dull moment with Jimmy on hand, whether having his mother ease his migraine tantrums by rubbing his head or shooting a fellow gang member through the trunk of his car in order to give him a little air. Raoul Walsh vigorously directs this movie with remarkable gusto given that he was over sixty at the time and at at this point in his career had nothing to prove.

Cagney's character of Cody Jarrett is shown to be a madman at the start of the film. There's no need for his confederates to engage in a little is-he-or-isn't-he chitchat regarding his sanity a la The Caine Mutiny. They know he's mad. Even his mother knows he's mad. No matter. Cody continues on his crime spree, and his gang stays loyal to him, if only for the consequences of leaving him being to frightening to contemplate. He has a girl, who two-times him with another gang member. A federal agent who infiltrates the gang and becomes a surrogate mother by easing his headaches in the same manner, also betrays him, though it's his job to do so. Only Ma Jarrett, it seems, could be trusted.

One of the many charms of this film is its absolute refusal to make a statement, which wasn't Raoul Walsh's bag anyway; and screenwriters Ivan Goff and Ben Roberts, though they delve into Freud a bit, don't get too heavy over Cagney's psychopathology. They just accept it, show us its various sides, and leave it at that. This movie is a far cry from other films made around the same time, was highly popular when first released, and remains so to this day. It is not quite film noir, being too bright and rational. Nor is it a study in perverse psychology, despite its main character. For all the location filming it is no semi-documentary in the manner of House On 92nd Street. It is basically a lively action picture whose makers, taking a cue from Hiroshima bomb, decided to end their movie with a bang, making their show a fine example of good, clean apocalyptic fun.