Abstract
Roy Earle, a gangster on the run in W. R. Burnett’s High Sierra (1940), throws his newspaper down in disgust and launches into an indignant tirade against society’s injustices. He assails a system that defines and severely punishes John Dillinger as a criminal but does little to deter the corrupt policeman, the banker who loses the depositors’ money in the stock market, the judge who takes bribes tofix cases, the preacher who gyps his congregation, or the big-shot official who sells jobs. ‘Why do people stand it?’ Earle demands. ‘A few guys have got all the dough in this country. Millions of people ain’t got enough to eat. Not because there ain’t nofood, but because they got no money. Somebody else has got it all’ (150–1). Even when their criminal protagonists do not voice such forthright criticisms, the gangster-centred novels of the time are implicitly concerned with the issues raised by Roy Earle (himself a character whom Burnett based on Dillinger).’ Gangster novels repeatedly depict the cripplingly hierarchical nature of society, with its divisions between the haves and the have-nots, and draw attention to the similarity between apparently respectable businessmen and those whom society defines as criminals. The mythologised gangster can only be understood in relation to the wider society, whether he is cast as a villain whose actions confirm the need for law and order or as an outlaw hero admired for the toughness and energy with which he defies the system.
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Notes
Richard Gid Powers, G-Men: Hoover’s FBI in American Popular Culture (Carbondale, Ill.: Southern Illinois University Press, 1983), pp. 19–25, analyses the anticrime mythology of vigilante and G-Men films. The fullest and best recent discussion of the representation of the gangster in Holly-wood films is in Munby’s Public Enemies.
‘Public enemy’ is a phrase that entered popular rhetoric after the April 1930 release of a Crime Commission list of Chicago’s 28 most dangerous ‘public enemies’. See David E. Ruth, Inventing the Public Enemy: the Gangster in American Culture (Chicago: The University of Chicago Press, 1996), p. 2.
Ruth, p. 25, referring to S. Tee Bee, ‘With the Gangsters’, Saturday Evening Post, 198 (26 June 1926), p. 54.
Powers, pp. 90–1; Jack Shadoian, Dreams and Dead Ends: the American Gangster/Crime Film (Cambridge, Mass.: MIT Press, 1977), pp. 59–60.
Burnett in Pat McGilligan, Backstory (Berkeley: University of California Press, 1986), p. 57, quoted by Munby, Public Enemies, p. 46.
Alain Silver and Elizabeth Ward (eds), Film Noir (London: Secker and Warburg, 1979, 1992), pp. 17 and 324–5.
For example, Foster Hirsch, Film Noir: the Dark Side of the Screen (San Diego: A. S. Barnes, 1981), pp. 170–2, argues that in comparison to the weaker noir anti-hero the gangster is lacking a psychological dimension. Many gangster novels, like those by Burnett and Trail, do, however, explore the motivations and neuroses that drive the gangster and do give him the ability to confront and understand his problems (see discussion in this chapter of Trail’s Scarface). See also Munby, Public Enemies, pp. 47–9: ‘Little Caesar’s desires for the signs of official society signify his yearning for cultural inclusion and acceptance.’
George Grella, in John M. Reilly (ed.), Twentieth-Century Crime and Mystery Writers (New York: St Martin’s Press, 1980, 1985), p. 129. Once paperback originals began to be published in the fifties, Burnett wrote some of his novels (Underdog and Big Stan, for example) for Gold Medal. His novels of the forties and early fifties, however, were all published in hardcover with Knopf. Blanche and Alfred Knopf were also responsible for furthering the careers of other hard-boiled writers, such as James M. Cain, Chandler and Hammett.
See James Naremore, More Than Night: Film Noir in its Contexts (Berkeley: University of California Press, 1998), p. 52.
That is, the 1934–5 stories published by Lion in 1953 as Dock Walloper. This is the edition cited here. It includes a story, ‘Dock Walloper’, written in 1953 for this edition: this story is reprinted by Bill Pronzini and Jack Adrian (eds), Hard-Boiled: an Anthology of American Crime Stories (Oxford: Oxford University Press, 1995), pp. 230–56.
Steve Chibnall and Robert Murphy (eds), British Crime Cinema (London: Routledge, 1999), pp. 5–7.
‘Fritz Lang’, New York World Telegram, 11 June 1941, quoted by Siegfried Kracauer, From Caligari to Hitler: a Psychological History of the German Film (Princeton University Press, 1947, 1974), pp. 248–9.
Paul Duncan, ‘It’s Raining Violence: a Brief History of British Noir’, Crime Time, 2, No. 3 (1999), p. 81.
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© 2009 Lee Horsley
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Horsley, L. (2009). Big-shot Gangsters and Small-time Crooks. In: The Noir Thriller. Crime Files Series. Palgrave Macmillan, London. https://doi.org/10.1057/9780230280755_3
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