The Guilty Generation

Having looked at a few of the other reviews here, some of which predictably say this is a "pale imitation of Warner Bros. gangster pictures," I have to chime in with a dissenting opinion. Those more famous films, such as "Little Caesar" and "Public Enemy," with their iconic Edward G. Robinson and Jimmy Cagney, respectively, are a whole different type of animal; you're comparing apples and oranges. Those are the seminal action films, bad guy as antihero, cautionary tales about the ultimate end of reckless lawlessness.

"The Guilty Generation" focuses instead on the offspring of two of the biggest crime families involved in bootlegging. While a gang war whirls around the shoulders of Robert Young & Constance Cummings's characters they are trying to get away from the business, while each has a brother who's trying to follow in father's footsteps. Apt comparisons to "Romeo & Juliet" are made, and the similarities extend to the fact that both began life as a play before being made into films.

And that's probably part of the problem movie purists have with TGG. While the aforementioned WB pics are more action-oriented, with lots of shootouts and chases, TGG is more about the internal and intergang politics and the romance. They are also more "talky," which some people have a real problem with. In this case it works, IMO.

Leo Carillo & Boris Karloff play the heads of the families; in keeping with the early '30s, their accents are not accurate (see Jimmy Stewart as a Hungarian in "The Little Shop on the Corner" for one of thousands of examples of worse casting in this regard), but they do well personality-wise in their roles.

Don't overlook the secondary characters, such as Ms. Cummings's excellent Italian grandma and her father's press agent, who provide terrific support and comic relief.

Maybe it's just the fact that this one took me completely by surprise, but I'd rather see it again than any of the aforementioned films or even the more-similar "Godfather" pictures. It avoids the bloody shootouts of the latter, yet has more to do with the human beings affected by the action than the former, and it ultimately shows a prime example of when it's most correct for children to rebel against their parents. An interesting story, well acted, perfectly paced, and with even a couple of nice plot twists. I think it holds up quite well.

The performances by Leo Carrillo, Constance Cummings, Robert Young and Leslie Fenton make compelling entertainment out of this rather routinely mounted drama about the social hardships faced by the grown children of successful Italian-American gangsters. While they live in the splendor of their parents' ill-gotten gains they remain social pariahs and must go to great lengths to achieve respectable lives.

Cummings and Young are a sort of Romeo and Juliet, offspring of rival criminal kingpins Carrillo and Karloff, respectively, who fall in love. Carrillo is quite scary as a cold-blooded hoodlum, but Karloff can't get the accent right and sounds awkwardly British, and bearing no resemblance of any kind to Robert Young doesn't help. Leslie Fenton as Carrillo's dissolute son does a good job playing nasty, particularly in a well-shot scene that has him rampaging through a garden party and knocking guest after fully clothed guest into the pool.

...no, not really, but the British Boris is playing the head of one of two feuding (Italian??)-American crime families. Boris plays the head of the Ricca clan, Tony Ricca. Leo Carrillo, who is actually Spanish in descent - in fact a member of an old California Spanish land grant family - plays Mike, the head of the rival Palmerro clan.

This is a late Prohibition Era film in which the public is said to be on to the Mafia and beginning to demand action - there were several of these made in the early 30's - as the bloodshed has begun to spill onto the streets and takes the lives of innocent children. Meanwhile the warring clans have taken to killing off each other's family members in a last ditch grab for sole control of "the rackets".

The central theme of the film is the romance between young Marco Ricca and Maria Palmerro, both straight kids caught in a gangster world. Marco was taken away from his father's life of crime by his mother at the age of ten, but he has returned to America an architect who has changed his name to John Smith. Maria Palmerro is the only daughter of Mike Palmerro, the enemy of Marco/John's father. John thinks there is no danger in this association since he has long been estranged from his father, is truly legitimate, and nobody knows of his true family ties. Marco has a brother who is working in his dad's criminal enterprise, and likewise Maria has a brother who is working in her father's criminal enterprise.

This is mainly Carillo's film, as his character gradually lets the desire for revenge get the best of his common sense at the expense of his entire family. He's a brutish man, such as in a scene where he threatens his daughter that if she doesn't change out of her black dress into a white party dress he'll cut the black dress right off her body with a pair of scissors. He has raised an equally brutish man in the person of his grown son, who decides if his speakeasy flapper girlfriends are not welcome at his sister's party he'll just shove the actual party guests into the pool.

You can tell something dreadful is coming, but you're not just sure how or when or to who it is coming. I'll let you watch and find out.

The movie pulls some punches as it never actually comes out and says Prohibition is the source of the problem, instead everyone keeps talking about "the rackets". Likewise no one ever mentions the nationality of the warring families specifically. Ruth Warren is terrific as a gum-chewing gun moll-like publicist that Palmerro has hired. Although Phil Tead plays the news reporter who is writing stories on the warring clans, Mr. Tead is a dead ringer for Walter Brennan. Emma Dunn, who plays Mike Palmerro's mother, is the only member of the cast who convinces me she is Italian (although she is actually British) as she desperately tries to perform CPR on Mike's conscience.

I'd recommend this one - it certainly is rather unique among early 30's gangster films.

This is the closest the 1930s got to making THE SOPRANOS. It's a realistic, intelligent and grown-up character driven drama about a gangland boss' journey into the heart of darkness.

Compared with 'the big three' gangster movies of the early thirties, this is closest in character to SCARFACE. It's a dark subject and a dark film. Like me, you might prefer Warner Brothers' less subtle, slightly more 'fun' approach to making these types of film. This is definitely not fun and the main protagonist is, like Paul Muni's Tony (but unlike James Gandolfini's Tony) is not in any way likeable. When you can't like the person you're watching it's usually difficult to engage with the story but here, because of engaging writing, a believable script and good acting, you're immediately transfixed.

Unlike many films of this era, here we have a deep, multi-dimensional character driven drama. The Romeo and Juliet love story is secondary to that of Leo Carillo's psychological descent into megalomania. 'Power corrupts' it is said and Carillo certainly displays this trope as his actions and thoughts begin to lose all grounding in the world around him. This shows how, as the revenge killings escalate, murder becomes normalised and these gangland mobsters' concept of society has slipped out of synchronisation with reality.

The actual plot which runs alongside this fascinating fly on the wall observation of Carillo is the love affair between his daughter and the son of his gangland rival. Constance Cummings and Robert Young (even with comedy moustache) are excellent as the hapless but naively optimistic love-struck pawns in this symphony of hate. They meet at one of Carillo's house parties where Carillo is trying to push his glamorous daughter into high society. He sees his millions and his gaudy, tastelessly opulent mansion as a way in to respectability but to normal folk he's just something to experience like a thrilling fairground ride.

So who is THE GUILTY GENERATION? Like most of the early thirties gangster movies, there's the inevitable preaching. It might seem crass and pointless to have scenes where, in this case journalists are telling us how terrible gangsters are but it's the audience who are, or rather were the guilty generation. Attitudes to law, to the government and to the police were different then. The underworld was seen as sexy, exciting and something even to admire. This film certainly does not glamorise crime and the preachiness is just at the right level.

Overall it's a well made if somewhat somber and sober picture which reflects the mood of the time. If you like SCARFACE, you should like this.

'The Guilty Generation' has a misleading title. This movie would seem to indict a generation, but it's actually more interested in indicting an ethnic group ... to be precise, the Italians. This movie takes place in a universe where everyone named Angelo or Luigi is automatically a gangster. Late in the film, there's some brief dialogue about honest Italians vilifying the crooked members of their 'race' ... but most of this movie seems to indicate that Italian ancestry and criminal behaviour are mutually inclusive.

Robert Young is a rising young architect named John Smith, a name guaranteed to attract attention. Indeed, we soon find out that he was born Marco Ricca, son of gangster Tony Ricca. The latter is played by Boris Karloff, looking not remotely Italian. (Although Italian-American actor Abe Vigoda was a Karloff lookalike.) Karloff brings deep conviction and presence to this role, but his performance is not very convincing. Part of the problem is that Tony Ricca's dialogue is full of "ain't"s and other grammatical errors, yet Karloff speaks these thick-eared lines in his usual cultured tones. Elsewhere, Murray Kinnell is good in a supporting role, but his well-bred English accent seems out of place in a setting that's knee-deep in goombahs.

There are excellent performances by two actors unknown to me, Emma Dunn and Elliott Rothe. Also impressive is Leo Carrillo. Because of his short stature and thick accent, Carrillo is best known for comic roles. Here, he's chillingly believable as a crime lord, utterly ruthless and unforgiving. Much of the film takes place in the sumptuous Florida mansion owned by Carrillo's character. I was astounded that Columbia Pictures -- at this point, a studio barely out of Poverty Row -- were able to achieve these production values.

Also quite good, in a supporting role, is Ruth Warren as Carrillo's press agent. Unfortunately, Warren was precisely the same character type as several other better-known and better actresses -- Jean Dixon and Glenda Farrell spring to mind -- so she failed to claim a niche for herself among Hollywood's character actresses. As the romantic leads in this melange, Robert Young and the insipid Constance Cummings are as dull as dishwater. I've never yet seen a performance by Cummings that impressed me.

'The Guilty Generation', well-directed by the underrated Rowland V Lee, and nicely photographed by Byron Haskin, is probably of greatest interest to Karloff fans. Be advised that Karloff's role is actually quite small, and he's miscast. Overall, I'll rate this movie 6 out of 10.