Jimmy the Gent (Warner Bros.) (1934)

Wann Srories Bette Davis Socks Cagney To Avenge Movie Sisters Screen’s Most Famous Lady Smacker Finally Gets His In “Jimmy The Gent” OR two years Bette Davis has been waiting for a certain opportunity. That is approximately the term of service that Bette has put in in Hollywood. Also, it is two years, or a little over, since Jimmy Cagney first took to socking ladies on the screen. It happened, you’ll remember, in ‘‘The Public Enemy’’—both with grapefruit and the bare hand. Other famous socks have followed. Mae Clarke, Joan Blondell, Loretta Young, Alice White, Ann Dvorak—these are among the gifted gals of Hollywood who have taken Jimmy’s none-toogentle taps upon the chin in subsequent pictures. All of them have stood up smiling to the young redhead’s smiting hand— because the screen scripts read that way. But Bette Davis is the only leading lady who has been granted the privilege of retaliation. The others who have taken it—and had to like it—are consumed with envy. They feel that Bette got all the breaks. On her first team-up with Jimmy, she is tossed an opportunity that all of them have waited for these many months. Is that justice? In “Jimmy The Gent,” the Warner Bros. picture which comes to the Theatre on fee ere eee » Bette steps up to Jimmy, gives him a long and bitter look straight in the eye— then follows the same line with a tight-clenched fist. It is the sock perfect. So perfect, in fact, that despite the all-masculine line-up on the script, there have been suspicions that “Jimmy The Gent” was written by a woman. Bette, for her part, accepted her duty with a proper sense of its importance. To her was given the supreme moment of revenge. But she was humble before this privilege. She felt that she but represented her sex in exacting the age-old tribute of “an eye for an eye.” All past indignities, she states, were in her mind when she delivered that blow—and there was plenty behind it. That blow set Jimmy rocking on his heels. And if this were not enough revenge Bette again socks Jimmy in the jaw later in the picture. Two blows delivered and not a comeback on the part of the famous lady smacker. And did Bette’s eyes gleam when she relates the incidents. “I was honored, deeply honored,” she said. “I realized that I was on the threshold of a signal opportunity. I smacked with all my might and I believe I proved worthy of the trust imposed in me. At any rate I’ve done something to square it for the sisters who have gone before me in Cagney pictures. It was a blow a thousand girls would have died for.” Jimmy himself does plenty of smacking in the picture but never does he lay a hand on Bette with whom he is deeply in love. His socks in this picture are reserved mostly for Allen Jenkins and Alan Dinehart whom he manhandles in no gentle manner, although he does a bit of roughhousing with one girl, Mayo Methot. “Jimmy The Gent” is a hilarious comedy romance dealing with a new and novel racket in which Jimmy digs up phoney heirs to collect unclaimed inheritances. Others in the cast include Alice White, Arthur Hohl, Phillip Reea, Philip Faversham, Hobart Cavanaugh and Ralfe Harolde. Michael Curtiz directed the picture from the screen play by Bertram Milhauser, based on the story by Laird Doyle and Ray Nazarro. Cagney Plays Cupid Studio Bootblack Gets Role At Warner Bros. Howard, official bootblack at the Warner Bros, Studio, laid aside his polish and brushes and donned a swanky butler’s outfit for a role in ‘‘ Jimmy The Gent,’’ now showat the Theatre, with James Cagney in the stellar role. Howard has appeared in several Joe E. Brown pictures and in ‘“Tiger Shark,’’ with Edward G. Robinson, but always as himself— a bootblack. Consequently, he’s all puffed up to be doing a character role—with lines to speak, and everything. Jimmy Cagney is giving Arthur Hohl a knockdown to Alice White in this scene from “Jimmy The Gent,” Warner Bros. laugh sensa tion at the Strand. Bette Davis and Allen Jenkins are in the all star cast. Mat No. 7—20c ‘Jimmy the Gent’? Holds Kecord For Fast Dialogue Cagney Rattles Off 300 Words A Minute In Quick Action Scene With Jenkins WENTY-TWO takes. That many were necessary to record in celluloid a rapid-fire scene between Jimmy Cagney and Allen Jenkins in ‘‘Jimmy The Gent,’’ the Warner Bros. picture now showing at the Theatre. The scene bristled with action. It also bristled with dialogue—short, sharp exchanges, run off at breathless speed. by the two actors. It is a cinema truism that action always prevails over dialogue. It is faster, it is more significant. But here there was a difference. Fast as the action was in this scene, the dialogue was faster. Whereas, by a rough estimate, scme hundred words are spoken in the average minute of screen dialogue, three hundred words to a minute would be a nearer figure for this scene. That gives you some idea. It was a veritable torrent of talk, punctuated by action, almost but not quite, as fast. Jimmy was engaged in the business of beating up Allen, and pursuing him around the room, while both of them poured out that whirlwind dialogue. Michael Curtiz, who directed “Jimmy The Gent,” foresaw the complications. He rehearsed the scene carefully before he started shooting. More than once Jimmy or Allen had to stop short in the midst of it to gasp: “I’m out of breath!” But patiently all hands _ returned to work and started again. Then the actual shooting started. Jimmy belabored Allen, raved, spouted lines; Allen ducked here and there, behind desks, behind chairs, his head covered by his outstretched arms —and also rattled off his lines. It was a race between dialogue and action— and dialogue won every time, even when the two panting actors struck a snag and had to begin over again. On the first twenty-one takes, there was always a snag somewhere. Jimmy socked Allen too soon; or Allen dodged on the wrong lines; or Jimmy slipped some place in the river of words and came to a full stop; or Allen lost his breath again. Anything happened —and everything. On the twenty-seeond try Curtiz and the whole crew stood breathless too, holding their thumbs. Everybody wondered if the two actors would have the spirit or the strength —or the breath—to try again. This time the scene rushed on without a slip. It reached its end. Cagney and Jenkins sank into chairs, exhausted. Curtiz beamed. Twenty-two takes—but finally a perfect one. That’s what happens when there’s a race between dialogue and action— and dialogue wins every time. Although in “Jimmy The Gent” Jimmy gets rough with Jenkins they are really pals and co-conspirators in the novel racket of digging up phoney heirs. Bette Davis has the leading feminine role while others in the east include Alice White, Alan Dinehart, Arthur Hohl, Mayo Methot and Phillip Reed. His Pitchers Make Tough Guy Outta Jimmy Cagney Star of “Jimmy The Gent” Fears Public Will Think He’s Rough In Real Life By James Cagney HAT’S the truth. It’s the movies that have made me tough. I was born on the Hast Side and there was a lot of heavy going between there and here but I managed to stay fairly decent until I got into pictures. Then producers, directors and audiences got it into their collective heads that I was a hard guy. I don’t suppose I’ll evér be able to sell them on any other idea, either. But here I am, talking about myself again, trying to persuade somebody that just because a man is made to rough house women in his pictures, he needn’t necessarily be an A No. 1 heel personally. There were plenty of chances to learn to be tough where I started but my family was devoted to the theory that if you spared the rod your kid would soon be in the reform school. I got my share of discipline as a youngster and before my brothers or myself had time to absorb too much of the atmosphere of the East Side my mother saw to it that we moved out of the district. About the time I finished grammar school I got a job. I was office boy for the old New York Sun. And before the editorial bug had bitten too deeply I left that job to wrap packages for Wanamakers. Still I didn’t consider myself tough. For a time I was custodian of a branch of the New York public library—an influence that has never been accurately reflected in my screen roles. Then I studied art and started courses in Columbia University where my brothers were studying. I would probably have managed to get through college if the family finances hadn’t suddenly sagged to a new low level which made it necessary for me to earn some money. I was a chorus boy in a musical comedy. Let’s skip that. Then I had a specialty dance to do. I had bragged my way into the chorus without knowing a single dance step but I learned. For five years I did nothing but learn while I toured the tank towns. Sometimes I made $12.50 a week. Sometimes as high as $37.50 a week. Some weeks I didn’t make anything. Years like that toughen your stomach and tighten your belt but they don’t necessarily prepare you to do mayhem and murder such as I was to specialize in when I reached Hollywood. Making a long story short, I got myself a few Broadway jobs, ran a dancing academy during one lean period, staged the dances for “The Grand Street Follies” and then landed a part in “Pen ny Arcade.” That was the beginning of the end of my decency. Warner Brothers hired me for the same role in the picture “Sinner’s Holiday” which was the film name for “Penny Areade” and I started on my career of meanness. The studio began casting me in parts that made my own past seem sweet and simple. I slugged and murdered and mistreated women in a series of tough roles that started with “Doorway to Hell,” reached a climax in “Public Enemy” and eventually simmered down to plain hoodlumism in “Blonde Crazy,” “Taxi,” “Winner Take All,” “Lady Killer,” and other similar pictures. In my latest production, “Jimmy The Gent,” (Cagney’s current picture which comes to the .......... Theatre on ............... ), I run true to form. Not that I smack my leading lady, Bette Davis, but I marry her under false pretenses, making her think I am an honest guy when I’m just a tramp. I don’t do anything to Alice White this time but I two-time Mayo Methot and then get rough with her when she squawks. And Allen Jenkins and I give the works to Alan Dinehart, who is a worse heel than I am, if possible. I chase down phoney heirs and get the inheritance. My business goes on through bribery and perjury, anything to get the dough. Yeah, I’m a tough mug all right, although it’s all in fun, for the picture is a comedy, you know. So you see in just a few months the movies have done for me what years of hard work, an East Side beginning, and temporary periods of semi-starvation couldn’t do. They made me tough. Mothers use my name to frighten children into silence. Fathers point me out to their sons as a horrible example they are not to follow. And all this time I have lived quietly with my wife, paid my taxes and haven’t actually mistreated anybody. But I hardly expect you to believe that. After all, the movies have made a tough guy outta me, so far as everyone except my friends and family are concerned. It’s probably a waste of time to argue about it. A Gent In Love Hard-hitting James Cagney goes softie with Bette Davis in Warner’s “Jimmy The Gent” coming to the Strand soon. Mat No. 6—20c Page Five