A psychopathic criminal with a mother complex makes a daring break from prison and leads his old gang in a chemical plant payroll heist.A psychopathic criminal with a mother complex makes a daring break from prison and leads his old gang in a chemical plant payroll heist.A psychopathic criminal with a mother complex makes a daring break from prison and leads his old gang in a chemical plant payroll heist.
- Nominated for 1 Oscar
- 1 win & 2 nominations total
Joel Allen
- Operative
- (uncredited)
Claudia Barrett
- Cashier
- (uncredited)
Ray Bennett
- Guard
- (uncredited)
Marshall Bradford
- Chief of Police
- (uncredited)
Chet Brandenburg
- Convict
- (uncredited)
John Butler
- Motorist at Gas Station
- (uncredited)
Robert Carson
- Agent at Directional Map
- (uncredited)
Bill Cartledge
- Car-Hop at Drive-In Theatre
- (uncredited)
Bill Clark
- Guard
- (uncredited)
Leo Cleary
- Railroad Fireman
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThe character of Cody Jarrett was based on New York murderer Francis Crowley, who engaged in a pitched battle with police in the spring of 1931 at the age of 18. Before his execution in the electric chair on 1/21/32, Crowley's last words were, "Send my love to my mother."
- GoofsThe gas station attendant removes the radiator cap with his bare hand.
- Quotes
Cody Jarrett: Made it, Ma! Top of the world!
- Crazy creditsMax Steiner altered the Warner Brothers familiar introductory theme to segue directly into his theme for the opening credits,
- Alternate versionsAlso Available in a Colorized Version.
- ConnectionsEdited into Dead Men Don't Wear Plaid (1982)
- SoundtracksFive O'Clock Whistle
(1940) (uncredited)
Music by Josef Myrow, Kim Gannon & Gene Irwin
Played on a radio
Featured review
Cagney's ability to shock is constant and each new gangster he creates shows a new facet of the psychopathic mind. White heat is the perfect antidote to the earlier movies- the structure where good triumphs in the last reel is still there but the killer, out of control is far less romanticised- if only current directors could develop this message. Cody Jarrett is the product of an over protective mother and thug father in the classic pattern. His whole view of the world is simplistic without subtlety or shade. Like all people of his type his self-confidence betrays him because he sees other people as stereotypes and while he has insight into the sorts of people who form his support network, he, very unwisely, dismisses the intelligence of the opposition. Like all gangsters, he has very little grasp of the outside world- throughout the film he is trapped in boxes, just like the man he kills in the boot of his car. Cagney's portrayal is his greatest role- his avoidance of pathos and his refusal to bend emotionally mean that we are never invited to pity him- wherever there seems to be a point of access for the audience he delivers the lines with a flatness which denies us sympathy. His maudlin obsession with his mother invites us to loathe his infantile mental paralysis.
Not enough comments praise the real co-star: Margaret Wycherley. She is a sinister mother who can handle the police and the gang and Cody's wife. Her world-weary cynicism, her obsession with her son delivered in the same dead-pan style is such a total antithesis to the usual hollywood 'caring parent' model that she raises the character to the level of an Empress Livia or an Agrippina. The final scene works on multiple levels- the good-guy cannot easily destroy the villain- does the world blow up in Cody's face or are we being told that the Jarretts of the world will dominate until they bring the universe to destruction? A film which still demands analysis and does more to reveal the nature of criminal amorality than anything Tarrantino or Scorsese could produce- The latter types of director are too caught up in the 'romance' of the villainous life- they need to develop Raoul Walsh's objectivity and Cagney's penetration. It is Cagney's unequivocal hatred of the character he's portraying and the personal honesty which allows him to objectify both the character he is playing and himself as an actor that makes the whole thing work. The crude method actors we're stuck with today could learn a lot from his Cody Jarrett!
Not enough comments praise the real co-star: Margaret Wycherley. She is a sinister mother who can handle the police and the gang and Cody's wife. Her world-weary cynicism, her obsession with her son delivered in the same dead-pan style is such a total antithesis to the usual hollywood 'caring parent' model that she raises the character to the level of an Empress Livia or an Agrippina. The final scene works on multiple levels- the good-guy cannot easily destroy the villain- does the world blow up in Cody's face or are we being told that the Jarretts of the world will dominate until they bring the universe to destruction? A film which still demands analysis and does more to reveal the nature of criminal amorality than anything Tarrantino or Scorsese could produce- The latter types of director are too caught up in the 'romance' of the villainous life- they need to develop Raoul Walsh's objectivity and Cagney's penetration. It is Cagney's unequivocal hatred of the character he's portraying and the personal honesty which allows him to objectify both the character he is playing and himself as an actor that makes the whole thing work. The crude method actors we're stuck with today could learn a lot from his Cody Jarrett!
- How long is White Heat?Powered by Alexa
Details
- Release date
- Country of origin
- Language
- Also known as
- Alma negra
- Filming locations
- 198th Street and Figueroa, Torrance, California, USA(final scene at Shell Oil plant)
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $1,300,000 (estimated)
- Gross worldwide
- $5,534
- Runtime1 hour 54 minutes
- Color
- Aspect ratio
- 1.37 : 1
Contribute to this page
Suggest an edit or add missing content