Spencer Tracy is not readily linked with gangster pictures, yet he started off his career with a number of efforts in this vein: these included John Ford's UP THE RIVER (1930) and Michael Curtiz' 20,000 YEARS IN SING SING (1933); this film (which happens to be director Brown's debut) is another and certainly the most typical.
In fact, its narrative follows much the same path as those of 'rival' productions (notably Warners', who were to the form what Universal was to Horror) which sees the protagonist – a former truck driver – build a criminal empire but getting his come-uppance eventually, for attempting to climb one step too many along the society ladder (while pushing his devoted commoner girlfriend around)! Tracy's entry into the racket is depicted via a droll sequence where he systematically destroys a number of parked cars, so that he can then offer his protection to the affected business!
While less inclined towards showing off with his camera here than in Brown's two subsequent – and only other – movies, this still emerges as possibly his best work owing to Tracy's compelling portrayal (on the strength of which I have set out to acquire a number of his early and, by all accounts, minor vehicles) and another stalwart 'gangland' presence i.e. George Raft (in a supporting role, which goes from lackey to defector to victim while also incorporating a rare opportunity to showcase his dancing skills[!], he would refine in Howard Hawks' SCARFACE [1932] on his way to achieving personal stardom).
The film (accompanied on the TCM-sourced copy I acquired by forced French subtitles!) is a breezy 66 minutes long – though other sources give its official running-time at 72! – highlighted by smart dialogue and a handful of nicely-judged action sequences (the ending is particularly great). Pity that, reportedly due to his temper, Brown would get into hot water with Hollywood bigwigs and eventually forced to abandon his directorial career for good (a brief sojourn to Britain in order to make the 1934 version of THE SCARLET PIMPERNEL would similarly fall through and end up being handed to someone else!)
In fact, its narrative follows much the same path as those of 'rival' productions (notably Warners', who were to the form what Universal was to Horror) which sees the protagonist – a former truck driver – build a criminal empire but getting his come-uppance eventually, for attempting to climb one step too many along the society ladder (while pushing his devoted commoner girlfriend around)! Tracy's entry into the racket is depicted via a droll sequence where he systematically destroys a number of parked cars, so that he can then offer his protection to the affected business!
While less inclined towards showing off with his camera here than in Brown's two subsequent – and only other – movies, this still emerges as possibly his best work owing to Tracy's compelling portrayal (on the strength of which I have set out to acquire a number of his early and, by all accounts, minor vehicles) and another stalwart 'gangland' presence i.e. George Raft (in a supporting role, which goes from lackey to defector to victim while also incorporating a rare opportunity to showcase his dancing skills[!], he would refine in Howard Hawks' SCARFACE [1932] on his way to achieving personal stardom).
The film (accompanied on the TCM-sourced copy I acquired by forced French subtitles!) is a breezy 66 minutes long – though other sources give its official running-time at 72! – highlighted by smart dialogue and a handful of nicely-judged action sequences (the ending is particularly great). Pity that, reportedly due to his temper, Brown would get into hot water with Hollywood bigwigs and eventually forced to abandon his directorial career for good (a brief sojourn to Britain in order to make the 1934 version of THE SCARLET PIMPERNEL would similarly fall through and end up being handed to someone else!)