[Quick Summary: A small time criminal elbows his way into the big leagues with the help of his old buddies.]
Actor Edward G. Robinson is best known playing gangster Cesar Enrico Bandello ("Rico") in this film.* It would follow him for the rest of his life.
I found Rico interesting because he's ruthless, yet has a conscience.
He's a contradiction: He's loyal to the boss, Big Boy, but has his eye on his job. He'll shoot strangers, but can't shoot his old friend Joe.
One of my favorite scenes (below) demonstrates his ruthlessness is less about the threats, and more about how it FEELS to the audience. In this scene:
- Rico has finally pushed out Big Boss's right hand man.
- Rico was promoted and has just moved to a new apartment.
- Rico wants to bring his old buddy Joe back into the fold. He invites him for a visit.
- Joe left the gangster life for Olga, a dancer. They are now professional dancing couple together.
- Notice how Rico first plays to Joe's loyalty, "can't quit the team" mentality. When that doesn't work, he moves to threats on Olga.
- Notice also how Rico shows his own vulnerabilities ("I need somebody I can trust.")
JOE (uneasily shifting in his chair as he is seen closer): We gonna start that again? Can't you just forget about me?
RICO (with a certain softness in his voice, as both men are seen in a close-up): How can I forget about my pal, Joe? We started off together -- we gotta keep on goin' along together. Who else have I got to give a hang about? (Now he jumps up and goes over to Joe.) I need you, Joe. Just before you came, I was over to see the Big Boy. He handed me the whole North Side. But it's too big for one man to handle alone...I need somebody -- a guy like you -- somebody I can trust, somebody to work in with me.
JOE (shaking his head): It can't be me, Buddy. I've quit.
Fierce rage takes possession of Rico's face and he grabs Joe by the shoulder:
RICO: You didn't quit! Nobody ever quit me. Get that! You're still in my gang. I don't care how many fancy dames you got stickin' on to you. That skirt can go hang. It's her that's made a softy outa you.
JOE (a menacing look coming into his face): You lay off Olga, Rico!
RICO (furiously): I ain't layin' off her. I'm after her. She an' me can't both have you. One of us has gotta lose -- an' it ain't gonna be me! There's ways of stoppin' that dame...!
As he says the last sentence, he makes his old significant gesture of reaching for his gun.
JOE (terror-stricken as he interprets the movement): You're crazy! Leave her out of this...
RICO (his face distorted with rage now; fairly shrieking): It's curtains for her, see? She's through...she's out of the way...that's what she is!
JOE (drawing back; almost insanely): You're lyin'. You wouldn't...
RICO: I wouldn't? I'll show you...that dirty, painted-up...
JOE (almost shrieking): I love her! We're in love! Don't that mean nothin' to you?
RICO: Nothin'! Less than nothin'! Love -- soft stuff! When she's got you, you ain't safe...you know too much. I ain't takin' no chances You're stayin' here!
JOE: I'm not!
RICO (gripping his shoulder): You move an' it's suicide...suicide for both of you!
A close-up of Joe alone shows him almost paralyzed with fear. He sinks back against the chair and drops into it. He shuts his eyes and puts a guarding hand up against his face.
JOE (hoarsely): No...no, no...
WHAT I'VE LEARNED: What makes this scene stand out is that:
1) It's emotional. It's not just that Rico pokes at Joe's vulnerabilities, but he reveals his own too.
2) The story continues to rise in tension. With this promotion, Rico has even more to lose and the stakes are higher. So it's not surprising that he lashes out at Joe when Joe refuses to come along.
Little Cesar (1931)
by Francis Edward Faragoh
Based on the novel by W.R. Burnett
*I myself also found him very compelling in Double Indemnity.
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