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Monday, December 4, 2017

KISS TOMORROW GOODBYE (1950)

Having just made a pile of dough for Warner Bros playing tough-guy/psycho killer in WHITE HEAT/’49, James Cagney encored the characterization for his own production company with Warners just releasing. It has its moments, but not a patch on its older sibling. With drably efficient megging via Gordon Douglas, Cagney goes from prison break to new hood in town, even picking up on the kid sister (Barbara Payton) of the prison pal he left behind. After that, the film drifts from one action scene to another, hoping we won’t notice the lack of connective dramatic tissue. Instead, Cagney uses & abuses partners (including laughably corrupt cops Ward Bond & Barton MacLane) and even switches pretty girls, succumbing to Helena Carter’s spoiled rich girl. (Cagney must do more smooching here than in all his other pics combined. Yet, still spends a honeymoon night in separate twin beds! Ah, the Production Code.) Added to ill-motivated romance, a courtroom flashback template that adds nothing, not even clarity. WHITE HEAT fans may want another go on the ride, but it only diminishes the brand. And Cagney seems to know the score, overcompensating by overplaying.

ATTENTION MUST BE PAID: This film began something of 5-yr Cagney decline; major flops even with John Ford (WHAT PRICE GLORY/52) and Raoul Walsh (A LION IS IN THE STREET/’53). But then his 1955 annus mirabilis with Oscar nom (LOVE ME OR LEAVE ME); top grosser of the year (MISTER ROBERTS); and a George M. Cohan reprise/cameo (SEVEN LITTLE FOYS).

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