Little Caesar 1931 123movies

Watch: Little Caesar 1931 123movies, Full Movie Online – Rico is a small-time hood who knocks off gas stations for whatever he can take. He heads east and signs up with Sam Vettori’s mob. A New Year’s Eve robbery at Little Arnie Lorch’s casino results in the death of the new crime commissioner Alvin McClure. Rico’s good friend Joe Massara, who works at the club as a professional dancer, works as the gang’s lookout man and wants out of the gang. Rico is ambitious and eventually takes over Vettori’s gang; he then moves up to the next echelon pushing out Diamond Pete Montana. When he orders Joe to dump his girlfriend Olga and re-join the gang, Olga decides there’s only one way out for them..
Plot: A small-time hood shoots his way to the top, but how long can he stay there?
Smart Tags: #gangster #chicago_illinois #organized_crime #murder #crime_boss #henchman #armed_robbery #new_year’s_eve #drive_by_shooting #funeral_procession #shootout #shot_to_death #nickname #tough_guy #two_word_title #homosexual_subtext #ruthlessness #teetotaler #dancer #attempted_assassination #betrayal_by_friend

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Ratings:

	7.2/10 Votes: 13,503
	92% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 201 Popularity: 10.003 | TMDB

Reviews:

Edward G. Robinson is great in this early gangster talkie. He is “Rico”, a clever and ambitious petty thief who decides it’s time to move to the big city. Initially, he goes to work for “Sam Vettori” (Stanley Fields) but not long after, the local Crime Commissioner “McClure” is assassinated. Luckily, his buddy “Joe Massara” (Douglas Fairbanks Jr”) is working at that self same club, and manages to warn “Rico” ahead of the subsequent police crackdown. It is now that he starts to smell an opportunity. First his boss, then the bigger boss “Pete Montana” (Ralph Ince) are toppled. Even his pal “Joe” and his gal “Olga” (Glenda Farrell) are not immune from his increasingly megalomanic tendencies. The thing I didn’t especially like about this film is the ending – it is just a little too tame, but otherwise this is a solid effort from Mervyn LeRoy that really did bring out the best in Robinson with a quickly paced and enjoyable film.

You tell him the cops couldn’t get me no other way, so they hired a couple of gunmen.

Rico Bandello quickly rises through the gangster ranks, earning himself the nick-name of Little Caesar. As he sets his sights on the top boss job held by Pete Montana, Rico knows the heat is closing in – fast.

Though not the first gangster picture to hit the big screen, Little Caesar is undeniably one of the genres landmark pictures. Adapted from W.R. Burnett’s (High Sierra) Al Capone inspired novel, Little Caesar would go on to influence many of the genre highlights that followed, while in the process typecasting its star and icon, Edward G. Robinson. What is perhaps the first striking thing about viewing the film now is actually just how un-violent it is in context to what would follow it, and yet it never needs to be because this is not just about a violent uprising. With the advent of sound proving to be a winner with the fact that it’s set outside of prison walls. The gangster genre by and large up to this point in 1931 consisted of mob characters behind bars, the sight of Rico about town amongst the noisy hustle and bustle surely would have depression jaded cinema goers, director Mervyn LeRoy exploits this by utilising opened the eyes and ears of the paying public.

I wasn’t around back then so have no on the spot frame of reference, but the professional critics point to many allegories that reside within Little Caesar’s structure. Talk of paranoias and conformities during economic collapse, which are for sure points of reference for those so inclined to analyse and dissect Caesar as a whole. Yet to me it’s a gangster picture first and foremost, outlaying the rise and fall of a very dubious man with big ideals above his relatively small social standing. Rico has ruthless violence constantly itching to burst out, add in definite hints of sexual ambiguity and this makes him a troubling yet most intriguing character. That it works so well obviously is down to Edward G. Robinson’s portrayal, big bulging eyes and snappy slang phrases (this themselves must have really hit a chord with the viewersback in the day), Robinson gives the performance that so many have imitated over the years, where he probably defined the archetype in the process.

It does look a little dated now, but of course that is only natural, but this is a powerful film that rises above merely being a hoodlum based piece. Producer Darryl Zanuck wanted something different for this burgeoning genre, and with the might of Warners revelling in the power of the talkie movie, they all crafted one hell of a picture that enthrals still today as much as it has influenced through the decades. Things most definitely changed with Little Caesar. 8/10

Birth of a genre
WARNING: This review may reveal some scenes of the movie!

In the film that made Edward G. Robinson a star, we get to see one of the nastiest, meanest characters ever put on film. As “Rico,” Robinson plays a no-holds barred gangster. As an example, at one point he believes one of his gang is feeling guilty and going to the priest to confess…so he guns him down on the steps of the church.

I first started watching the film simply because I’m a bit of a film buff and felt that it should be a film I see, regardless of how good (or bad) it might be. But by the end of the film, I had been pulled into the story. It revolves around a small-time thug and his buddy who go to the city to make it big. Soon Rico is muscling in on the “big guys” turf, taking over his territory with his own brand of shoot first, ask questions later. I could tell you more, but you should see the movie instead.

Robinson is great in the film. Toward the end of the film there is an amazing shot of just his face, staring into the camera — no words, no other characters, just Robinson as Rico, and you get a chance to see truly great acting! Just the mood he creates with his eyes alone in this one shot is worth seeing the entire film. Throw in a good storyline, an entire gang of thugs who are terrified of the chief thug, great direction, and you wind up with a great film. And don’t worry parents — this is still a film from 1930, so there is no sex, no language, and even the majority of the violence (which is minimal considering this is a film about the mob!) is hidden from sight. Even the ones you see have no blood involved — just the sound of a gun and a person slumps over to die.

When you see a film like this on a station like Turner Classic Movies, you get the added benefit of additional trivia. According to the introduction, the book upon which this movie was based was written after the author, listening to a friend of his sing on the radio live from a local club, was gunned down on the air when the mob broke into the club with Tommy guns blazing. Imagine the shock of hearing your friend killed live on the radio…

Finally, during the introduction of the film it was also stated that at the time of release, complaints were made that the film glorified the mob and their violent ways. I disagree. If Robinson’s portrayal doesn’t turn you off of violence and the mob, then you probably aren’t human — which is probably exactly the point of this film.

Birth of a genre
WARNING: This review may reveal some scenes of the movie!

In the film that made Edward G. Robinson a star, we get to see one of the nastiest, meanest characters ever put on film. As “Rico,” Robinson plays a no-holds barred gangster. As an example, at one point he believes one of his gang is feeling guilty and going to the priest to confess…so he guns him down on the steps of the church.

I first started watching the film simply because I’m a bit of a film buff and felt that it should be a film I see, regardless of how good (or bad) it might be. But by the end of the film, I had been pulled into the story. It revolves around a small-time thug and his buddy who go to the city to make it big. Soon Rico is muscling in on the “big guys” turf, taking over his territory with his own brand of shoot first, ask questions later. I could tell you more, but you should see the movie instead.

Robinson is great in the film. Toward the end of the film there is an amazing shot of just his face, staring into the camera — no words, no other characters, just Robinson as Rico, and you get a chance to see truly great acting! Just the mood he creates with his eyes alone in this one shot is worth seeing the entire film. Throw in a good storyline, an entire gang of thugs who are terrified of the chief thug, great direction, and you wind up with a great film. And don’t worry parents — this is still a film from 1930, so there is no sex, no language, and even the majority of the violence (which is minimal considering this is a film about the mob!) is hidden from sight. Even the ones you see have no blood involved — just the sound of a gun and a person slumps over to die.

When you see a film like this on a station like Turner Classic Movies, you get the added benefit of additional trivia. According to the introduction, the book upon which this movie was based was written after the author, listening to a friend of his sing on the radio live from a local club, was gunned down on the air when the mob broke into the club with Tommy guns blazing. Imagine the shock of hearing your friend killed live on the radio…

Finally, during the introduction of the film it was also stated that at the time of release, complaints were made that the film glorified the mob and their violent ways. I disagree. If Robinson’s portrayal doesn’t turn you off of violence and the mob, then you probably aren’t human — which is probably exactly the point of this film.

Other Information:

Original Language en
Runtime 1 hr 19 min (79 min)
Budget 0
Revenue 0
Status Released
Rated Not Rated
Genre Action, Crime, Drama
Director Mervyn LeRoy
Writer W.R. Burnett, Francis Edward Faragoh, Robert N. Lee
Actors Edward G. Robinson, Douglas Fairbanks Jr., Glenda Farrell
Country United States
Awards Nominated for 1 Oscar. 2 wins & 1 nomination total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Vitaphone) (Western Electric Sound System)
Aspect Ratio 1.20 : 1 (sound on film version), 1.37 : 1 (sound on disc version)
Camera N/A
Laboratory N/A
Film Length 2,144 m (Yugoslavia), 2,225 m (8 reels)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm