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In our post-Sopranos age, it's hard to take Rico's crew of well-spoken gangsters - who say "so long" when they exit a scene; presumably authentic mobster dialect was out-of-bounds in the early sound cinema - entirely seriously; same goes for Thomas Jackson, strangely effete as the lieutenant on Rico's case. And the film's portrayal of Italian-American homelife, all strings on the soundtrack and spaghetti on the stove, could scarcely be less convincing. Mervyn Le Roy's film proves better on the organisation of organised crime: the different strata Rico must pass through on his rise to prominence, which offer no safety net whatsoever upon his inevitable downfall. (An intertitle - one further legacy of the silent era - insists Rico is "starting from the gutter and returning back there".)
Dating from a time before audiences grew accustomed to - not to mention spoilt by - cinematic norms of glamour and beauty, when the movies (and the American cinema, in particular) could have developed in any direction, the film - an interesting relic - conferred a deserved, if unlikely, star status upon its leading man. Robinson - the 1930s equivalent of a contemporary character actor: all odd angles, with a face only a mother could truly love - remains fascinating to watch: puffing himself up to fill more of the screen the bigger Rico gets, like a creature hooked out of a swamp, and ending up bloated and grunting in a hostel, a nobody on the wrong side of the billboards.
Little Caesar is available on DVD from Warner Home Video.
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