James Francis Cagney Jr. (; July 17, 1899March 30, 1986)
Cagney is remembered for playing multifaceted tough guys in films such as The Public Enemy (1931), Taxi! (1932), Angels with Dirty Faces (1938), The Roaring Twenties (1939), City for Conquest (1940) and White Heat (1949), finding himself typecast in the early years of his career. He was able to negotiate dancing opportunities in his films and ended up winning the Academy Award for his role of George M. Cohan in the musical Yankee Doodle Dandy (1942). In 1999, the American Film Institute ranked him eighth on its list of greatest male stars of the Golden Age of Hollywood. Orson Welles described him as "maybe the greatest actor who ever appeared in front of a camera".
After making his debut in 1919, he spent several years in vaudeville as a dancer and comedian and played his first major acting role in 1925. Al Jolson was sufficiently impressed by his performance in 1929's Penny Arcade that he bought the rights to it, securing Cagney's part in the Warner Bros. adaptation of the play. This marked the beginning of a lengthy, albeit turbulent association with the studio.
Cagney's fifth film, The Public Enemy, became one of the most influential gangster movies of the period. He became one of Hollywood's leading stars and one of Warner Bros.' biggest contracts at the time. In 1938, he received his first Academy Award nomination for Best Actor for his subtle portrayal of the tough guy/man-child Rocky Sullivan in Angels with Dirty Faces. He was nominated a third time in 1955 for Love Me or Leave Me with Doris Day. Cagney retired from acting and dancing in 1961. He came out of retirement 20 years later for a part in the movie Ragtime (1981), mainly to aid his recovery from a stroke.
Cagney walked out on Warner Bros. twice over the course of his career, each time returning on much improved personal and artistic terms. In 1935, he sued Warner for breach of contract and signed with Edward L. Alperson's independent company Grand National Pictures. In 1942, he established his own production company, Cagney Productions, before returning to Warner seven years later. In reference to Cagney's refusal to be pushed around, Jack L. Warner called him "the Professional Againster". Cagney also made numerous USO troop tours before and during World War II and served as president of the Screen Actors Guild for two years.
Early life
James Francis "Jimmy" Cagney Jr. was born in 1899 on the Lower East Side of Manhattan in New York City. His biographers disagree as to the actual location: either on the corner of Avenue D and 8th Street, or in a top-floor apartment at 391 East 8th Street, the address that is on his birth certificate. His father, James Francis Cagney Sr. (1875–1918), was of Irish descent. At the time of his son's birth, he was a bartender and amateur boxer, although on Cagney's birth certificate, he is listed as a telegraphist.
Cagney was the second of seven children, two of whom died within months of their births. He was sickly as an infant—so much so that his mother feared he would die before he could be baptized. He later attributed his poor health to the poverty his family endured. The family moved twice while he was still young, first to East 79th Street, and then to East 96th Street. He was confirmed at St. Francis de Sales Roman Catholic Church in Manhattan; his funeral service would eventually be held in the same church. where he intended to major in Art. He also took German and joined the Student Army Training Corps, but he dropped out after one semester, returning home upon the death of his father during the 1918 flu pandemic. He gave all his earnings to his family. While Cagney was working for the New York Public Library, he met Florence James, who helped him into an acting career. Cagney believed in hard work, later stating, "It was good for me. I feel sorry for the kid who has too cushy a time of it. Suddenly he has to come face-to-face with the realities of life without any mama or papa to do his thinking for him." He engaged in amateur boxing, and was a runner-up for the New York state lightweight title. His coaches encouraged him to turn professional, but his mother would not allow it. He also played semi-professional baseball for a local team,
His introduction to films was unusual. When visiting an aunt who lived in Brooklyn, opposite Vitagraph Studios, Cagney would climb over the fence to watch the filming of John Bunny movies.
Career
1919–1930: Early career
In 1919, while Cagney was working at Wanamaker's Department Store, a colleague saw him dance and informed him about a role in the upcoming production Every Sailor. It was a wartime play in which the chorus was made up of servicemen dressed as women that was originally titled Ever Sailor. Cagney auditioned for the chorus, although considering it a waste of time, as he knew only one dance step, the complicated Peabody, but he knew it perfectly. This was enough to convince the producers that he could dance, and he copied the other dancers' moves and added them to his repertoire while waiting to go on. He did not find it odd to play a woman, nor was he embarrassed. He later recalled how he was able to shed his own naturally shy persona when he stepped onto the stage: "For there I am not myself. I am not that fellow, Jim Cagney, at all. I certainly lost all consciousness of him when I put on skirts, wig, paint, powder, feathers and spangles."
Had Cagney's mother had her way, his stage career would have ended when he quit Every Sailor after two months; proud as she was of his performance, she preferred that he get an education. Cagney appreciated the $35 a week he was paid, which he later remembered as "a mountain of money for me in those worrisome days.") So strong was his habit of holding down more than one job at a time, that he also worked as a dresser for one of the leads, portered the casts' luggage, and understudied for the lead.
Pitter Patter was not hugely successful, but it did well enough to run for 32 weeks, making it possible for Cagney to join the vaudeville circuit. He and Vernon toured separately with a number of different troupes, reuniting as "Vernon and Nye" to do simple comedy routines and musical numbers. "Nye" was a rearrangement of the last syllable of Cagney's surname. One of the troupes Cagney joined was Parker, Rand, and Leach, taking over the spot vacated when Archie Leach—who later changed his name to Cary Grant—left.
In 1924, after years of touring and struggling to make money, Cagney and Vernon moved to Hawthorne, California, partly for Cagney to meet his new mother-in-law, who had just moved there from Chicago, and partly to investigate breaking into the movies. Their train fares were paid for by a friend, the press officer of Pitter Patter, who was also desperate to act. They were not successful at first; the dance studio Cagney set up had few clients and folded; Vernon and he toured the studios, but there was no interest. Eventually, they borrowed some money and headed back to New York via Chicago and Milwaukee, enduring failure along the way when they attempted to make money on the stage. Cagney felt that he got the role only because his hair was redder than that of Alan Bunce, the only other red-headed performer in New York. Both the play and Cagney received good reviews; Life magazine wrote, "Mr. Cagney, in a less spectacular role [than his co-star] makes a few minutes silence during his mock-trial scene something that many a more established actor might watch with profit." Burns Mantle wrote that it "...contained the most honest acting now to be seen in New York."
Following the four-month run of Outside Looking In, the Cagneys were financially secure enough for Cagney to return to vaudeville over the next few years, achieving various success. During this period, he met George M. Cohan, whom he later portrayed in Yankee Doodle Dandy, though they never spoke.
Cagney secured the lead role in the 1926–27 season West End production of Broadway by George Abbott. The show's management insisted that he copy Broadway lead Lee Tracy's performance, despite Cagney's discomfort in doing so, but the day before the show sailed for England, they decided to replace him. This was a devastating turn of events for Cagney apart from the logistical difficulties this presented – the couple's luggage was in the hold of the ship and they had given up their apartment. He almost quit show business. As Vernon recalled, "Jimmy said that it was all over. He made up his mind that he would get a job doing something else."
The Cagneys had run-of-the-play contracts, which lasted as long as the play did. Vernon was in the chorus line of the show, and with help from the Actors' Equity Association, Cagney understudied Tracy on the Broadway show, providing them with a desperately needed steady income. Cagney also established a dance school for professionals, and then landed a part in the play Women Go On Forever, directed by John Cromwell, which ran for four months. By the end of the run, Cagney was exhausted from acting and running the dance school.
Cagney had built a reputation as an innovative teacher; when he was cast as the lead in Grand Street Follies of 1928, he was also appointed choreographer. The show received rave reviews and was followed by Grand Street Follies of 1929. These roles led to a part in George Kelly's Maggie the Magnificent, a play the critics disliked, though they liked Cagney's performance. Cagney saw this role (and Women Go on Forever) as significant because of the talented directors he met. He learned "...what a director was for and what a director could do. They were directors who could play all the parts in the play better than the actors cast for them."
1930–1935: Warner Bros.
Sinners' Holiday (1930) and The Doorway to Hell (1930)
Playing opposite Cagney in Maggie the Magnificent was Joan Blondell, who starred again with him a few months later in Marie Baumer's new play, Penny Arcade. While the critics panned Penny Arcade, they praised Cagney and Blondell. Al Jolson, sensing film potential, bought the rights for $20,000. He then sold the play to Warner Bros., with the stipulation that they cast Cagney and Blondell in the film version. Retitled Sinners' Holiday, the film was released in 1930, starring Grant Withers and Evalyn Knapp. Cagney was given a $500-a-week, three-week contract with Warner Bros.
In the film, he portrayed Harry Delano, a tough guy who becomes a killer but generates sympathy because of his unfortunate upbringing. This role of the sympathetic "bad" guy was to become a recurring character type for Cagney throughout his career. During filming of Sinners' Holiday, he also demonstrated the stubbornness that characterized his attitude toward the work. He later recalled an argument he had with director John Adolfi about a line: "There was a line in the show where I was supposed to be crying on my mother's breast... [The line] was 'I'm your baby, ain't I?' I refused to say it. Adolfi said 'I'm going to tell Zanuck.' I said 'I don't give a shit what you tell him, I'm not going to say that line. They took the line out.
Despite this outburst, the studio liked him, and before his three-week contract was up—while the film was still shooting—they gave Cagney a three-week extension, which was followed by a full seven-year contract at $400 a week. He made four more movies before his breakthrough role.
The Public Enemy (1931)
thumb|right|upright|Cagney and [[Edward Woods in The Public Enemy (1931)]]
Warner Brothers' succession of gangster movie hits, in particular Little Caesar with Edward G. Robinson, culminated in the 1931 film The Public Enemy. Due to the strong reviews he had received in his short film career, Cagney was cast as nice-guy Matt Doyle, opposite Edward Woods as Tom Powers. However, after the initial rushes, the actors switched roles. Years later, Joan Blondell recalled that a few days into the filming, director William Wellman turned to Cagney and said "Now you’re the lead, kid!" "Jimmy's charisma was so outstanding", she added.
Cagney received widespread praise for his performance. The New York Herald Tribune described his interpretation as "...the most ruthless, unsentimental appraisal of the meanness of a petty killer the cinema has yet devised." He received top billing after the film, but while he acknowledged the importance of the role to his career, he always disputed the suggestion that it changed the way heroes and leading men were portrayed. He cited Clark Gable's slapping of Barbara Stanwyck six months earlier (in Night Nurse) as more important. Night Nurse was actually released three months after The Public Enemy. Gable's character punched Stanwyck's, knocking the nurse unconscious.
left|thumb|alt=Cagney, in striped pajamas, looks angry as he reaches across a breakfast table with the grapefruit in his hand.|Cagney mashes a grapefruit into [[Mae Clarke's face in a famous scene from Cagney's breakthrough movie, The Public Enemy (1931)]]
Many critics view the scene in which Cagney pushes half a grapefruit into Mae Clarke's face as one of the most famous moments in movie history. The scene itself was a late addition, and the origin of the idea is a matter of debate: producer Darryl Zanuck claimed he thought of it in a script conference, Wellman said the idea came to him when he saw the grapefruit on the table during the shoot, and writers Glasmon and Bright claimed it was based on the real life of gangster Hymie Weiss, who threw an omelette into his girlfriend's face. Joan Blondell recalled that the change was made when Cagney decided the omelette wouldn't work. However, according to Turner Classic Movies (TCM), the grapefruit scene was a practical joke that Cagney and costar Mae Clarke decided to play on the crew while the cameras were rolling. Wellman liked it so much that he left it in. TCM also notes that the scene made Clarke's ex-husband, Lew Brice, very happy. "He saw the film repeatedly just to see that scene, and was often shushed by angry patrons when his delighted laughter got too loud."
Cagney's stubbornness became well known behind the scenes, especially after he refused to join in a 100% participation-free charity drive pushed by Douglas Fairbanks Jr. Cagney did not object to donating money to charity, but he did object to being forced to give. Already he had acquired the nickname "The Professional Againster".
Smart Money (1931), Blonde Crazy (1931), and Taxi! (1932)
thumb|right|Lobby card for Taxi! (1932)
thumb|right|[[Loretta Young and Cagney in Taxi! (1932)]]
thumb|right|[[David Landau (actor)|David Landau, Loretta Young and Cagney in Taxi! (1932)]]
Warner Bros. was quick to team its two rising gangster stars, Edward G. Robinson and Cagney, for the 1931 film Smart Money. Eager to follow the success of Robinson's Little Caesar, the studio filmed Smart Money concurrently with The Public Enemy.
With the introduction of the Motion Picture Production Code of 1930 that placed limits upon on-screen violence, Warner Bros. allowed Cagney a change of pace, casting him in the comedy Blonde Crazy, again opposite Blondell.
The Public Enemy was an enormous box-office success, and Cagney began to compare his pay with that of his peers, believing that his contract allowed for salary adjustments based on the success of his films. However, Warner Bros. refused to allow him a pay raise. The studio heads also insisted that Cagney continue promoting their films, even those in which he did not appear, despite his opposition. Cagney returned to New York, leaving his brother Bill to look after his apartment.
While Cagney was in New York, his brother, who had effectively become his agent, sought a substantial pay raise and more personal freedom for him. Following the success of The Public Enemy and Blonde Crazy, Warner Bros. offered Cagney a contract for $1,000 per week. Cagney's first film upon returning from New York was Taxi! (1932), a critical success in which Cagney danced for the first time on screen. It also marked the last time that he permitted live ammunition to be shot at him, a relatively common occurrence at the time, as blank cartridges and squibs were rare and expensive. During filming for Taxi!, he was almost hit by gunfire. In the film's opening scene, Cagney speaks fluent Yiddish, a language that he had learned during childhood in New York City.
The film was swiftly followed by The Crowd Roars and Winner Take All.
Fighting with Warner Bros.
alt=Head and shoulders shot of Cagney, looking stern, wearing a suit with a white handkerchief in his pocket.|thumb|left|upright|Along with [[George Raft, Edward G. Robinson, and Humphrey Bogart, all of whom were Warner Bros. actors, Cagney defined what a movie gangster was. In G Men (1935), however, he played a lawyer who joins the FBI.]]
thumb|right|Cagney, [[Ann Dvorak and Joan Blondell in The Crowd Roars (1932)]]
thumb|right|Cagney and [[Olivia de Havilland in The Irish in Us (1935)]]
thumb|right|With close friend [[Pat O'Brien (actor)|Pat O'Brien in Here Comes the Navy (1934), their first of nine films together]]
Despite his success, Cagney remained dissatisfied with his contract. He wanted more money for his successful films, but he also offered to take a smaller salary should his star wane. Warner Bros. refused, so Cagney once again walked out. He held out for $4000 a week,
Having learned about the block-booking studio system that virtually guaranteed the studios huge profits, Cagney was determined to spread the wealth. He regularly sent money and goods to old friends from his neighborhood, though he did not generally make this known. His insistence on no more than four films a year was based on his having witnessed actors—even teenagers—regularly being worked 100 hours a week to turn out more films. This experience was an integral reason for his involvement in forming the Screen Actors Guild in 1933.
Cagney returned to the studio and made Hard to Handle (1933). This was followed by a steady stream of crowd-pleasing films, including the highly regarded Footlight Parade, which gave Cagney the chance to return to his song-and-dance roots. The film includes show-stopping scenes with Busby Berkeley-choreographed routines. In 1934, Here Comes the Navy paired him with Pat O'Brien for the first of nine films together. The two would have an enduring friendship. Also in 1934, Cagney made his first of two raucous comedies with Bette Davis, Jimmy the Gent, for which he had himself heavily made up with thick eyebrows and procured an odd haircut for the period without the studio's permission, shaved on the back and sides. Cagney initially had the make-up department put prominent scars on the back of his head for a close-up but the studio demanded that he remove them. Cagney's and Davis's fast-paced scenes together were particularly energetic.
thumb|left|upright|[[Here Comes the Navy (1934)]]
In 1935 Cagney was listed as one of the Top Ten Moneymakers in Hollywood for the first time, and was cast more frequently in non-gangster roles; he played a lawyer who joins the FBI in G-Men, and he also took on his first, and only, Shakespearean role, as top-billed Nick Bottom in A Midsummer Night's Dream alongside Joe E. Brown as Francis Flute and Mickey Rooney as Puck.
Cagney's last movie in 1935 was Ceiling Zero, his third film with Pat O'Brien. O'Brien received top billing, which was a clear breach of Cagney's contract. This, combined with the fact that Cagney had made five movies in 1934, again against his contract terms, caused him to bring legal proceedings against Warner Bros. for breach of contract. The dispute dragged on for several months. Cagney received calls from David Selznick and Sam Goldwyn, but neither felt in a position to offer him work while the dispute went on. Cagney made two features for Grand National: the crime drama Great Guy (1936) with Cagney as a federal inspector, and the musical Something to Sing About (1937) with Cagney as a bandleader and dancer. He received good reviews for both.
Cagney might have continued with Grand National but the studio, having spent lavishly on the Cagney films, couldn't recoup the production costs. Grand National usually made low-budget features for small, neighborhood theaters, and the Cagney films proved too expensive for the intended market. Grand National had acquired a promising story property from author Rowland Brown, Angels with Dirty Faces, for $30,000. Cagney was slated to star in the film version but, with the studio in financial trouble, the project went no further. Cagney took the script to Warner Bros., which bought it from Grand National and filmed it in 1938.
Cagney also became involved in political causes, and in 1936, agreed to sponsor the Hollywood Anti-Nazi League. Unknown to Cagney, the League was in fact a front organization for the Communist International (Comintern), which sought to enlist support for the Soviet Union and its foreign policies.
thumb|left|upright|Cagney in [[Something to Sing About (1937 film)|Something to Sing About (1937)]]
The courts eventually decided the Warner Bros. lawsuit in Cagney's favor. He had done what many thought unthinkable: taking on the studios and winning. Not only did he win, but Warner Bros. also knew that he was still their foremost box office draw and invited him back for a five-year, $150,000-a-film deal, with no more than two pictures a year. Cagney also had full say over what films he did and did not make. Additionally, William Cagney was guaranteed the position of assistant producer for the movies in which his brother starred.
Cagney had demonstrated the power of the walkout in holding the studios to their word. He later explained his reasons, saying, "I walked out because I depended on the studio heads to keep their word on this, that, or other promise, and when the promise was not kept, my only recourse was to deprive them of my services." Cagney himself acknowledged the importance of the walkout for other actors in breaking the dominance of the studio system. Normally, when a star walked out, the time he or she was absent was added onto the end of an already long contract, as happened with Olivia de Havilland and Bette Davis.
1938–1942: Return to Warner Bros.
Angels with Dirty Faces (1938)
thumb|left|Cagney and [[Pat O'Brien (actor)|Pat O'Brien in Angels with Dirty Faces (1938), the sixth of nine feature films they would make together]]
thumb|right|Cagney and Pat O'Brien in the endlessly debated final walk
right|thumb|Cagney takes the controversial final walk
left|thumb|[[Ann Sheridan and Cagney in Angels with Dirty Faces (1938)]]
Cagney's two films of 1938, Boy Meets Girl and Angels with Dirty Faces, both costarred Pat O'Brien. The former was a fast-paced farce with a Hollywood theme, with Cagney and O'Brien playing for laughs, and received mixed reviews. Warner Bros. had allowed Cagney his change of pace, but was anxious to get him back to playing tough guys, which was more lucrative.
Cagney starred as Rocky Sullivan, a gangster fresh out of jail and looking for his former associate, played by Humphrey Bogart, who owes him money. While revisiting his old haunts, he runs into his old friend Jerry Connolly, played by O'Brien, who is now a priest concerned about the Dead End Kids' futures, particularly as they idolize Rocky. After a messy shootout, Sullivan is eventually captured by the police and sentenced to death in the electric chair. Connolly pleads with Rocky to "turn yellow" on his way to the chair so the Kids will lose their admiration for him, and hopefully avoid turning to crime. Sullivan refuses, but on his way to his execution, he breaks down and begs for his life. It is unclear whether this cowardice is real or just feigned for the Kids' benefit. Cagney himself refused to say, insisting he liked the ambiguity. The film is regarded by many as one of Cagney's finest, and garnered him an Academy Award for Best Actor nomination for 1938. He lost to Spencer Tracy in Boys Town. Cagney had been considered for the role, but lost out on it due to his typecasting. (He also lost the role of Notre Dame football coach Knute Rockne in Knute Rockne, All American to his friend Pat O'Brien for the same reason.
The Roaring Twenties (1939)
alt=Close up shot of three men in a room talking|thumb|left|upright|[[Humphrey Bogart with Cagney and Jeffrey Lynn in The Roaring Twenties (1939)]]
thumb|right|upright|Cagney and Bogart in The Roaring Twenties (1939)
During his first year back at Warner Bros., Cagney became the studio's highest earner, making $324,000. He starred with George Raft in the smash hit Each Dawn I Die, an extremely entertaining prison movie that was so successful at the box office that it prompted the studio to offer Raft an important contract in the wake of his departure from Paramount. In addition, Cagney made The Oklahoma Kid, a memorable Western with Humphrey Bogart as the black-clad villain. Cagney completed his first decade of movie-making in 1939 with The Roaring Twenties, his first film with Raoul Walsh and his last with Bogart. After The Roaring Twenties, it would be a decade before Cagney made another gangster film. Cagney again received good reviews; Graham Greene stated, "Mr. Cagney, of the bull-calf brow, is as always a superb and witty actor". The Roaring Twenties was the last film in which Cagney's character's violence was explained by poor upbringing, or his environment, as was the case in The Public Enemy. From that point on, violence was attached to mania, as in White Heat.
1940–1941: City for Conquest, The Fighting 69th, and The Strawberry Blonde
right|thumb|upright|Passerby views original movie poster for The Fighting 69th in 1940
In 1940, Cagney portrayed a boxer in the epic thriller City for Conquest with Ann Sheridan as Cagney's leading lady, Arthur Kennedy in his first screen role as Cagney's younger brother attempting to compose musical symphonies, Anthony Quinn as a brutish dancer, and Elia Kazan as a flamboyantly dressed young gangster originally from the local neighborhood. The well-received film with its shocking plot twists features one of Cagney's most moving performances.
Later the same year, Cagney and Sheridan reunited with Pat O'Brien in Torrid Zone, a turbulent comedy set in a Central American country in which a labor organizer is turning the workers against O'Brien's character's banana company, with Cagney's "Nick Butler" intervening. The supporting cast features Andy Devine and George Reeves.
Cagney's third film in 1940 was The Fighting 69th, a World War I film about a real-life unit with Cagney playing a fictional private, alongside Pat O'Brien as Father Francis P. Duffy, George Brent as future OSS leader Maj. "Wild Bill" Donovan, and Jeffrey Lynn as famous young poet Sgt. Joyce Kilmer. Alan Hale Sr., Frank McHugh and Dick Foran also appear. In 1941, Cagney and Bette Davis reunited for a comedy set in the contemporary West titled The Bride Came C.O.D., followed by a change of pace with the gentle turn-of-the-century romantic comedy The Strawberry Blonde (1941) featuring songs of the period and also starring Olivia de Havilland and rising young phenomenon Rita Hayworth, along with Alan Hale Sr. and Jack Carson.
Yankee Doodle Dandy (1942)
thumb|right|upright|Cagney as [[George M. Cohan, performing "The Yankee Doodle Boy" from Yankee Doodle Dandy (1942)]]