La bête de la cité

Titre original : The Beast of the City

1932
Passed
1h 26min

NOTE IMDb

MA NOTE

Jean Harlow and Wallace Ford in La bête de la cité (1932)

Ajouter une intrigue dans votre languePolice Chief Jim Fitzpatrick ruthlessly goes after organized crime and is prepared to use brutal and violent methods to fight it.Police Chief Jim Fitzpatrick ruthlessly goes after organized crime and is prepared to use brutal and violent methods to fight it.Police Chief Jim Fitzpatrick ruthlessly goes after organized crime and is prepared to use brutal and violent methods to fight it.

Voir les informations de production sur IMDbPro

NOTE IMDb

6,7/10

1,5 k

MA NOTE

Voir les informations de production sur IMDbPro

Photos48

+ 41

Rôles principaux61

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Walter Huston

Jim Fitzpatrick

Jean Harlow

Daisy Stevens

Wallace Ford

Ed Fitzpatrick

Jean Hersholt

Sam Belmonte

Dorothy Peterson

Mary Fitzpatrick

Tully Marshall

Michaels

John Miljan

District Attorney

Emmett Corrigan

Chief of Police Burton

Warner Richmond

Sandy Roth

J. Carrol Naish

Pietro Cholo

Eddie Baker

Detective
(non crédité)

Elmer Ballard

Mayor
(non crédité)

Sammy Blum

Turnkey
(non crédité)

Edward Brophy

Police Dispatcher
(non crédité)

Ed Cassidy

Policeman #5 on Telephone
(non crédité)

Allan Cavan

Pat - Car 47 Driver
(non crédité)

Eddy Chandler

Joel - Policeman Outside Car 47
(non crédité)

Réalisation
- Charles Brabin
Scénario
Toute la distribution et toute l’équipe technique
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Histoire

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Le saviez-vous

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Anecdotes
Mickey Rooney had just turned 11 years old when he played Walter Huston's young son in his first full-length sound feature film. His character's name is also "Mickey," and his first line is, "Say, those don't look like pancakes!"

Gaffes
When Ed and Daisy first kiss, in a medium shot, he's holding her head in the crook of his left arm, and her right had is on his side. In the next closer shot, his arm is down and her right hand is up on his lapel.

Citations
Daisy Stevens, aka Mildred Beaumont: [Ed grabs her arm tightly] Say! That hurts a little bit.
Det. Ed Fitzpatrick: And you don't like to be hurt, do you?
Daisy Stevens, aka Mildred Beaumont: Oh, I don't know.
[Suggestively]
Daisy Stevens, aka Mildred Beaumont: Kinda fun sometimes if it's done in the right spirit.
Det. Ed Fitzpatrick: [Pushes her away] Get the beer!

Crédits fous
Opening card: Instead of the glorification of cowardly gangsters, we need the glorification of policemen who do their duty and give their lives in public protection. If the police had the vigilant universal backing of the public opinion in their communities, if they had the implacable support of the prosecuting authorities and the courts, I am convinced that our police would stamp out the excessive crime, which had disgraced some of our great cities. ---- President Herbert Hoover

Connexions
Featured in Harlow: The Blonde Bombshell (1993)

Bandes originales
Chopsticks
(1877) (uncredited)
Traditional piano tune
Music by Euphemia Allen
Played on piano by Betty Mae Crane and Beverly Crane

Avis des utilisateurs38

Commenter

Commentaire à la une

watchable despite detours and occasional clunkiness

Unlike most gangster films of the early 30s, this Hearst-produced item was fiercely on the side of the law (with a supporting quote by President Herbert Hoover directly following the opening credits), as personified by Walter Huston, as a charming "everyman" Irish cop with a weak-willed younger brother (Wallace Ford). Huston is a charming family man (extended scenes with his wife and children underscore this point, to distraction) who dedicates himself to wiping out crime in a generic, unnamed American city during Prohibition when bootleggers were the scourge of the nation. Ford, lured by gang moll Jean Harlow, gets mixed up with a crime syndicate (led by German-accented Jean Hersholt uncharacteristically cast as a loathsome Italian gangster). Harlow gets the best lines and is easily the most engaging element of the story. The resolution is earnest if technically clumsy and obvious, but with Harlow, Huston, Hersholt and Tully Marshall, who delivers a rousing courtroom monologue (not to mention a supporting role played by an 11-year-old Mickey Rooney), it's worth a look.