Pre-Code vs Post-Code: "The Crowd Roars" and "Indianapolis Speedway"

Pre-code versus post-code is the difference between a Duesenberg and a Hummer, between cafe au lait and chocolate milk, between a camisole and a union suit.

Take the differences, for instance, between the 1932 film "The Crowd Roars" and the 1939 film "Indianapolis Speedway." Same story (by Howard Hawks, who also directed the first film), same setting, same characters (with different names, in some cases), even much of the same racetrack footage. By the way, want to know how to switch up your stock footage of a crowd? Just flip the image, like this:












And, since these are Warner Bros. films made in the 1930s, naturally both of them feature Frank McHugh -- playing the same character, and even with the same name. Spud. (Frank McHugh was born to play guys named Spud.)

But there's a distinct difference in the way the film's romantic relationships are portrayed, and, by extension, in the relationship between the brothers at the center of the story.

The brothers are Joe and Eddie Greer, played by James Cagney and Eric Linden in "The Crowd Roars" and Pat O'Brien and John Payne in "Indianapolis Speedway." Joe is a world-famous racing driver who drinks and carouses a little too much, tilting slightly but not totally into arrogance. Eddie is his hero-worshiping brother, who also wants to race.

In the 1939 version, Joe's reluctance to work with Eddie has a noble basis -- he wants Eddie to finish college, at Joe's expense. But after Joe leaves his hometown and his visit with Eddie to return to Los Angeles, he finds an unexpected stowaway.

In the 1932 version, Joe's reluctant to work with Eddie for two reasons -- one is because of Eddie's inexperience, but the other is that Joe doesn't want Eddie to know that he's shacking up with longtime frail Lee (Ann Dvorak). Once Eddie enters Joe's life, Joe starts giving the cold shoulder to the bewildered Lee. In "Indianapolis Speedway," by contrast, Joe and Lee (Gale Page) are already engaged, which makes their coupling a little more legitimate. When Joe gives Lee the brushoff in "Indianapolis," he makes it clear it's because he wants to tutor Eddie. In "The Crowd Roars," Lee grins and bears it, but in "Indianapolis Speedway" she gets rightfully honked off. Here are the two scenes:






But the real woman trouble in both movies comes from Lee's friend. In "The Crowd Roars," her name is Ann (Joan Blondell) and in "Indianapolis Speedway" her name is Frankie (Ann Sheridan). In both movies, she's first portrayed as bad news, and Joe doesn't want her "corrupting" his pure younger brother. In "The Crowd Roars," when Ann meets Eddie and starts showing some leg, Joe sneers, "Why don't you stand on your head while you're at it?" -- a line that's as likely to show up in "Indianapolis Speedway" as I am to grow a tail. In "Indianapolis Speedway," Frankie -- who's the roommate of Ann -- is known for feminine wiles that have driven at least one racer track wacky. (Sheridan, at the peak of her reign as Warner's "Oomph Girl," is top billed here -- and like Blondell, she is shown in the skimpiest post-code outfits possible.)

Here's how Cagney and O'Brien handle the problem of the other woman:






Even by Cagney standards, the character of Joe is wound unusually tight. His obsession with keeping Eddie from sinful entanglements and what he perceives as loose women -- playing around for me, but not for thee -- goes beyond brotherly concern and makes him seem like a hypocrite.

O'Brien portrays Joe as a little wearier -- the movie is telling us that what he needs is to settle down with a good woman, but it'll take him about 65 minutes to figure that out.

All around, in fact, the Joe in "Indianapolis Speedway" seems more human and more vulnerable. The relationship between the brothers is much warmer -- in the 1932 film, Joe dominates Eddie the way that Cagney naturally dominates the more diffident Linden. Payne, by contrast, has a stronger screen presence and makes more of an impression opposite O'Brien.

In both versions, Joe's downfall comes when, out of anger at Eddie's romance, he causes a fiery crash that kills Spud (Twice!). Joe is spooked and can't bring himself to race again, but he gravitates toward Indianapolis on the day of the 500. Eddie is racing, and when he is injured, Joe jumps back behind the wheel with Eddie as his co-driver. Guess who wins?

In the 1932 film, the reunion between the brothers isn't even played out -- Joe just jumps in the car and takes off. But in the 1939 version, there's a spoken rapprochement between the brothers, capped off when Eddie gives Joe his trademark cigar to chomp on for good luck. Guess who wins?

Here are the full credits for "The Crowd Roars" (which also features several real-life drivers as themselves) and "Indianapolis Speedway."

"City for Conquest" Starring James Cagney and ... Jack Benny?

By the time "City for Conquest" was released in 1940, James Cagney had been one of the top stars at Warner Bros. for ten years. The movies that put him in that position -- tough, fast-moving urban dramas with lots of action and snappy dialogue -- were so successful financially, artistically and culturally that they came to symbolize the studio's style during the 1930s.

In a way, "City for Conquest" is the last Cagney picture of that type. It's an elegy for those movies, usually set in New York City, with Cagney as a working-class Irishman named Danny, Eddie or Tommy who fights passionately for what he believes in, regardless of what side of the legal fence he's on.

In this movie, Cagney is in the unique position of being a kind of hero and elder statesman at the same time. There's crime in the picture, but unlike in the old days, he doesn't get directly mixed up in it. He's showing his age slightly -- his teaming with Ann Sheridan as his romantic interest, who's supposed to be the same age (there's a 15-year difference), is a little off. But in many ways, "City for Conquest" is the quintessential Cagney performance, combining his natural pugnaciousness and physical style with low-key drama and naturally played sentiment.

We begin in the city's Lower East Side, of course, led there by a philosophical and slightly annoying tramp (Frank Craven) who's supposed to symbolize the unbreakable spirit of New York. This part would seem a natural for Craven, who played a similar role, the omniscient stage manager, in the Broadway production of "Our Town." It isn't that it's a bad performance -- it's just that the character is more of a dramatic conceit than a person, and Craven has to make his way through purple pronouncements about the city like this: "Look at it! Seven million people fighting, fighting, clawing away to get one foot on a ladder that'll take em to a penthouse." See for yourself:


We first see Danny (Cagney) and Peggy (Sheridan) as kids -- Peggy demonstrates her love of dancing by doing a number on the sidewalk, and Danny demonstrates his gift for fighting by decking a kid who interrupts her act. Oh, and there's one other kid hanging around -- Danny's artistic brother Eddie (Arthur Kennedy), fingering his accordion and staring into space, dreaming of the symphony he's going to compose.

Then we fast forward a few years -- Danny is driving a dump truck and boxing for relaxation. Eddie is giving piano lessons and still dreaming of that symphony, which he describes in phrases that might as well be spoken by our verbose tramp friend: "It's the city, with all of its proud, passionate beauty and all of its sordid ugliness ... of its teeming seven millions and its barren loneliness."

Meanwhile, Peggy's dream of dancing is given life by the smooth, arrogant Murray (Anthony Quinn in his days as the second-string Cesar Romero), and they become a team. Danny's happy for her success -- she's always gonna be his goil, no matter what -- but when Murray starts bad-mouthing Peggy and her friends, Danny gets hot:


Despite his skill in the ring, and despite the entreaties of his buddy Mutt (longtime Cagney sidekick Frank McHugh) Danny's always been resistant to a boxing career. Then, when Eddie loses his music scholarship and Peggy tells him of her dreams of being upwardly mobile, Danny realizes he's going to need some extra kale. So he signs with kindhearted fight promoter Scotty MacPherson (Donald Crisp) and starts making the boxing circuit at the same time that Murray and Peggy start making the vaudeville circuit. We learn this in one of those great Warner montages:


About this time, we're introduced to a character who's a lot like the characters Cagney used to play -- Oogie, a pal from the old neighborhood (director Elia Kazan in an early role). Oogie's back from a stretch in the pen, and Danny stakes him to a meal and a new pair of shoes. As Danny rises in the fight game, Oogie's star is rising, too, most likely through nefarious means.

Then comes heartbreak -- Peggy leaves Danny for a nightclub tour, and a heartbroken Danny starts fighting outside his class out of anger and spite. This leads to a championship match where the opponent plays dirty by rubbing rosin dust in Danny's eyes, causing him to lose his sight. For the rest of the movie Cagney plays his role with a squint -- and he's one of the few guys who can make a squint look heroic. Oogie takes it upon himself to avenge Danny, and ends up eating lead on the waterfront. You can almost hear him say "I ain't so tough" a la Cagney in "The Public Enemy."

At the movie's climax, only Eddie has achieved his dream -- to conduct his symphony at Carnegie Hall. Danny listens on the radio, from his newsstand in Times Square:

You might call this ending over the top -- I would, but I think it's bad form to poke fun at a scene that brings tears to your eyes.

One of the best parts of Jack Benny's radio show were parodies of current movies, and "City for Conquest" did not escape scrutiny. By this point in Benny's career, he was the country's most popular radio comic and the regular cast that would be with him for decades was firmly in place -- jovial announcer Don Wilson; comic foil Mary Livingstone (Benny's real-life wife); vain, boozing bandleader Phil Harris and naive singer Dennis Day.

This is during the period when Benny's show, written by Bill Morrow and Ed Beloin, hadn't quite fallen into its postwar sitcom phase -- there is an opening about Jack putting his footprints at Grauman's Chinese Theatre, with Benny exhibiting the same kind of false modesty as Anne Hathaway accepting a Golden Globe for "Les Miserables."

The "City for Conquest" sketch is short, concentrating mainly on the boxer plot. Targets include the film's overblown "poetry" and Eddie's musical aspirations (Phil Harris plays Eddie, who is composing his symphony on a drum set instead of a piano. His solution for the big finish: more cowbell.) There's also fun poked at Cagney's Lower East Side patois:

Benny (as Cagney, to Mary): Is that a new skoit?

Mary (as Sheridan): Yeah. Is that a new shoit?

Benny: Yes, it's a new shoit. How do you like my shoit?

Mary: It's a little short around Detroit.



Here are the credits for "City for Conquest," and a trailer: