CAINE ACTORS AND ACTRESSES, 4
th
EDITION
draw on his own youthful experiences. Cagney began his performing going down fighting. But bucking the odds has always been a signa-
career as a hoofer in a show called Every Sailor at Keith’s 86th Street ture move on Cagney’s part, whether knocking himself out to put on
Theatre, then, in 1920, he landed a specialty dance in the show Pitter- a show in Footlight Parade or sizing up Ann Sheridan on a rubber
Patter. His future wife, Frances Willard Vernon, was in the chorus plantation in Torrid Zone. Not only could he jump in the job pool from
line and after Pitter-Patter closed, they joined to form a dance team G-Man to America’s most wanted but he could also enliven Shake-
called ‘‘Vernon and Nye.’’ His first important acting assignment speare or impersonate Adm. ‘‘Bull’’ Halsey in The Gallant Hours
came in 1925 when he was cast with Charles Bickford in the Maxwell with the same self-confident droit du seigneur. Whereas less versatile
Anderson play Outside Looking In. stars played storybook versions of heroism, Cagney always scrapped
In 1929 he played opposite Joan Blondell in Maggie the Magnifi- for his honor because he was not a to-the-manner-born savior like
cent, and subsequently in Penny Arcade. Al Jolson procured the rights John Wayne but a conflicted hero who had to arrive at virtue by
for this play and then sold it to Warner Brothers. Cagney and Blondell sometimes battling his own instincts. Jimmy Cagney embodied the
were part of the package, and so Cagney went to Hollywood, where personal charisma of star acting during Hollywood’s Golden Era. His
Penny Arcade became Sinner’s Holiday. A year later he had the lead abilities were unique, and his classic films are forever marked by his
in The Public Enemy and was on his way to becoming a star. personal brilliance.
His great talent was confined by the apparently stereotyped roles
he often played over the next 25 years, but no one could do them better
—James M. Welsh, updated by Robert Pardi
than Cagney. He perfectly understood the characters of the punks he
portrayed, from the raw and brutal ambition of Tom Powers to the
psychotic complexity of Cody Jarrett in White Heat, 18 years later.
In his portrayal of ‘‘Gimp’’ Snyder for Charles Vidor in Love Me
CAINE, Michael
or Leave Me, Cagney drew upon all the vitality and charisma of his
old gangster roles to present the melancholy figure of a man who
Nationality: British. Born: Maurice Micklewhite in London, 14
loves and respects a woman, Doris Day’s Ruth Etting, whose sense of
March 1933. Military Service: 1951–53—served in Korea with
decency he is incapable of understanding. Cagney takes a modest
Royal Fusiliers. Family: Married 1) Patricia Haines, 1954 (divorced
melodrama and gives it an almost tragic dimension as Snyder
1956), one daughter; 2) Shakira Khatoon Baksh, 1973, one daughter.
attempts to reform but is finally driven crazy by his jealousy and
Career: Late 1940s-early 1950s—acted with amateur groups while
shoots the piano player (Cameron Mitchell), who is his rival.
working as a laborer; 1954–56—played small parts in provincial
Rat-a-tat-tating those famous feet like machine gun fire in his
theaters and Joan Littlewood’s Theatre Workshop; appeared fre-
musicals, Cagney was a whirling dervish whose finest performances,
quently on British television; 1956—began appearing in bit roles in
even in nonmusicals, seem choreographed. Both his upbringing in
feature films; 1964—critical attention for role in Zulu; 1965—played
Hell’s Kitchen and his vaudeville trouping inform every step this sui
role of Harry Palmer in first of series of films, The Ipcress File; early
generis takes. Unlike other male superstars of Hollywood’s Golden
1970s—involved with Klinger-Caine-Hodges Productions; 1980s—
Age, Cagney was unafraid of returning to his gangster roots through-
much work for TV, including Jack the Ripper, 1988, and Jekyll and
out his long, kinetic career. Only an actor unconstrained by image
Hyde, 1990. Awards: British Academy Award for Best Actor, for
considerations could deliver as chilling a portrait of psychopathy as
Educating Rita, 1983; Best Supporting Actor Academy Award, for
his migraine-plagued Mama’s boy, Cody Jarrett. By contrast, think of
Hannah and Her Sisters, 1986; CBE, 1993; Best Actor Golden Globe
the roles Gable, Stewart, Tracy, and Grant chose after their mass
Award for Little Voice, 1999. Address: c/o Dennis Selinger, Interna-
appeal hardened around their personas. Bringing humanity to his
tional Creative Management, Oxford House, 76 Oxford Street, Lon-
criminals and moral uncertainty to his good guys, Cagney created the
don W1N OAX, England.
myth of the streetwise cynic, who could just as fatefully be recruited
to walk the straight and narrow or stride through a police lineup with
attitude to burn. The only characterizational common ground was an
energy-level unknown to the rest of us. In One, Two, Three, a virtuoso
Films as Actor:
collaboration with Billy Wilder (then intended as Cagney’s retire-
ment film), the performer propels the Cold War farce forward and
1956 A Hill in Korea (Hell in Korea) (Amyes) (bit role as Pvt.
flies past topical references that date the film, as if his acting were
Lockyer)
independent of tired plot mechanics, as if his personality could simply
1957 How to Murder a Rich Uncle (Patrick) (as Gilrony)
burn through familiar gags until the audience is left only with the
1958 The Key (Reed) (bit role); Blind Spot (Maxwell) (bit role); The
distilled essence of Cagney. One wishes this vital actor had accepted
Two Headed Spy (de Toth) (bit role as 2nd Gestapo agent);
Jack Warner’s offer to play Alfred P. Doolittle in My Fair Lady,
Carve Her Name with Pride (Gilbert)
a museum piece that would have benefited from his irreverent cock-
1959 Passport to Shame (Room 43) (Rakoff) (bit role); Danger
of-the-walk strut.
Within (Breakout) (Chaffey) (bit role)
Whether tackling bad guys on-screen or battling the Brothers
1960 Foxhole in Cairo (Moxey) (as Weber); The Bulldog Breed
Warner offscreen in his heyday, Cagney always placed his convic-
(Asher) (bit role)
tions in the forefront. Going independent at a time in the forties when
1961 The Day the Earth Caught Fire (Guest) (bit role)
such ventures were considered suicidal, Cagney’s production com-
1962 Solo for Sparrow (Flemyng) (as Mooney); The Wrong Arm of
pany created some lovely films, such as Johnny Come Lately, before the Law (Owen) (bit role)
192
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