9th 04 - 2013 | 23 comments »

Taxi! (1932)

Director: Roy Del Ruth

James Cagney Blogathon

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By Marilyn Ferdinand

This post is part of the James Cagney Blogathon hosted by The Movie Projector.

There aren’t many actors with as defined and recognizable a screen persona as James Cagney. From his eccentric dancing in Yankee Doodle Dandy (1942) to his maniacal boast “Made it, Ma. Top of the world,” from White Heat (1949) and his star-making turn as Tom Powers in The Public Enemy (1930), which contained his most indelible moment—shoving half a grapefruit into Mae Clarke’s kisser—Cagney stands out like the genius performer he was to even the most casual film fan. Many people are familiar with the line “You dirty rat,” a stand-by for impressionists doing their best to imitate Cagney. That line, always misquoted, was actually “You dirty, yellow-bellied rat,” and it came from the film under consideration here, Taxi! The film is fairly typical fare from Warner Bros.: action-packed, urban, socially conscious, a scrappy central love affair between the lead performers, a comic secondary love affair between two character actors. Yet it has some interesting characteristics well worth closer examination: the toolbox of acting techniques Cagney developed from real life, the Irish-Jewish connection so common in the early decades of cinematic history, and scenes that harken back to the days before moving pictures talked.

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The story of Taxi! borrows from Harold Lloyd’s Speedy (1928), but instead of the consolidation of New York’s street cars, Taxi! concerns itself with the attempt of a taxicab company to drive independent cabbies out of business. As befits the pre-Code 1930s, Taxi! is more violent. In Speedy, the streetcar company merely tries to make Pop Dillon break his city contract by missing a day’s run, whereas Consolidated Cab, under orders from strong-arm boss Buck Gerard (David Landau), actually wrecks rival cabs—the film’s opening scene shows a metal worker fitting a Consolidated cab with steel beams under the wheel fenders to use as battering rams. Taxi! is also more topical, with Cagney’s character Matt Nolan preaching violent retaliation to an assembly of independent cabbies against the pleas to negotiate union-style terms by Sue Riley (Loretta Young), the daughter of a cabbie (Guy Kibbee) who went to prison for shooting the man who wrecked his cab. The fireworks of disagreement fan the attraction between Sue and Matt, and the two eventually marry.

What is so interesting about Taxi! is that it presents the complete Cagney: the tough guy, the lover, the dancer, and the mime. The latter isn’t something one necessarily thinks of when reviewing Cagney’s career, but his dancer’s background makes him a great physical actor. Director Roy Del Ruth, a silent film veteran, enjoys focusing on the wordless chemistry between Matt and Sue. Early on, Sue runs up the steep stairway to the elevated train, away from Matt, his friend Skeets (George E. Stone), and his brother Danny (Ray Cooke). The camera focuses on the backs of her legs, her stocking seams pointing toward parts more interesting, until Skeets finally says what our eyes have told us, “She’s got a great set of pins!”

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When Sue and Matt have a fight, a pantomime routine brings them back together. Matt throws his hat through Sue’s open door. She looks at the name in the hat band and signals to her friend Ruby (Leila Bennett) with just a nod that she will see him. Matt comes in. Sue turns away, as Matt silently cajoles. When they break their silence, Sue says something rude to Matt. He grabs her by the neck, puts a fist near her face and says, “If I thought you meant it,” and then kisses her. The last gesture was taken straight from Cagney’s father, one of many appropriations the actor would make from people he observed.

Perhaps to contrast the elegant simplicity of these gestures, Ruby is a chatterbox with one of the world’s most annoying voices. Methinks Del Ruth was making a bit of a comment on the annoyance of shooting with sound. Nonetheless, the director knew how to use sound economically to great effect. In a scene of two cars motoring urgently toward the hideout of Gerard—one bearing Matt to kill him for murdering Danny and the other carrying Sue, racing to try to prevent it—all we hear are the different pitches of the car engines in quick cross-cutting that builds to the film’s climax.

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Del Ruth had a sophisticated approach to his material that favored realism even while giving audiences what they wanted. He knew how to position the camera to show Cagney in all his fury, shooting him straight on with the pitiless look in his eyes the public craved. He shot a musical number, but avoided the usual production number obviousness that might have come from fellow director Mervyn LeRoy by making it a nightclub act and cross-cutting with Matt and Sue canoodling at a table as they celebrate their marriage earlier in the day. He also inserts a dance contest where Sue and Matt lose to a young woman and her dance partner (George Raft, in his screen debut), offering a bit of music while establishing Matt’s hot temper, which will drive a wedge between him and Sue and lead to tragedy.

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In an unusual tip of the hat to realism, an early scene has Matt listening to a Jew speak in Yiddish to an uncomprehending Irish cop. Cagney went to school with Jews and was fluent in the language. When he cuts in to the conversation and susses out what the man wants, he says to the man in Yiddish, “Did you think I was a gentile?” and replies to the cop’s skeptical question, “Nolan! What part of Ireland did you come from?” with a Yiddish-inflected, “Delancey Street,” a street Jews settled when they came to New York. At the time this film was made, Jews and Irish shared a similar experience as working-class immigrants who were near the lowest rung of American society, and as such, they were often paired in movies to suggest a social milieu audiences would identify immediately. With a plot built around the plight of the independent worker in a society that was fixed to favor big business, this suggestion of working-class solidarity would have driven home the social message with the subtlety that distinguishes this film and makes it relevant today. There is even a divorce to wrestle with.

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Cagney and Young are a very attractive couple who run hot and cold with believable intensity. Any actress who can hold her own with Cagney has my respect, but in fact, Young was making pictures before Cagney ever set foot on a sound stage (she has a cameo in Her Wild Oat [1927]). Some of my favorite character actors, like Guy Kibbee and David Landau, turn in affecting performances, and there is even a treat for fans of The Public Enemy. Matt and Sue double-date with Ruby and Skeets to see “Her Hour of Love,” a dummy film starring Donald Cook, who lost the part of Tom Powers to Cagney, settling for the part of Tom’s brother instead. When Sue praises Cook’s romantic technique, Cagney bests him again by giving Sue a passionate kiss that would curl anyone’s toes. The whole scene is a bit of a commercial for Warner Bros. (they also advertise John Barrymore’s The Mad Genius [1932] with a poster and a bit of dialogue) and a vintage bit of insider referencing for cinephiles that I adored.

James Cagney has a huge body of work, but for me, his work in the ’30s is unparalleled. The roiling social conditions, the frontier aspects of working with sound for the first time, and the pre-Code freedom filmmakers took full advantage of make many ’30s films unique treasures. Taxi! is one of them.


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