Let’s start this story with a little known fact courtesy of my favorite movie historian Robert Osborne. Jimmy Cagney started his show business career as a female impersonator on stage playing a chorus girl. I bet you didn’t know that and neither did I. Now other than that little factoid I don’t have much detail but most likely his vivid red hair may have assisted him in that short-lived endeavor. Adding to that carrot-top characteristic you’d think it would lend itself to color films but that didn’t take place until 1942’s Captain of the Clouds and he would not make another 3 strip Technicolor foray until ten years later. Interesting side note it was Jimmy who was slated to star in 1938’s big budget Technicolor epic Robin Hood but that of course went to Errol Flynn. Staying on this topic before the meat of this story James nixed Paramount’s Going My Way where Bing Crosby stole Best Actor and he also turned down the role of Vito Corelone in The Godfather. Back in his contract days with Warner Brothers 1932-42 he and Bette Davis were known as the “King and Queen of Suspensions” because they turned down so many roles and were suspended without pay every time they turned down a part.
Born on the Lower East Side in Manhattan in July of 1899 some described him rather deftly as an actor that had a spontaneous humor, innate intensity, curling lips, and a breathless slang. Jimmy just 5-foot 8 ½ inches had a one of a kind jaunt to his step and a choreographed motion to his body that lent to his Academy Award win in Yankee Doodle Dandy in which he danced his way into America’s hearts and that very same fancy footwork as a “hoofer” lent gloriously to his amazing fight scenes in and out of the ring in so many of his roles. Cagney could fake a punch better than anyone in Hollywood.
In 1931 he became the screen’s top mobster in Public Enemy and the scene that has been shown as part of movie lore has him stand up from the table with that patented contorted look as he responds to his girlfriends want of “respectability” and he ceremoniously squashes a half grapefruit into Mae Clarke’s face. Audiences were at first shocked but then enthralled by his bold act and after this movie his stardom was assured. Years later Mae would often credit Cagney and thanked him on numerous occasions for making her so famous for just that scene alone. Whether he played gangster, song and dance man or Military hero Cagney was a bankable star. Not all of his films were notable however but every one was, as critics would agree “Essentially Cagney”.
Jimmy looked with disdain on “method acting” he felt you act for the audience not for yourself. It was as if to say acting was a performance not something you psyched yourself up for. And who could argue with him. Cagney’s roles were so varied and intricate he didn’t need an acting coach he performed from within and didn’t engineer his performance as so many of the actors did beginning in the late 40’s and early 50’s. There’s no doubt new pioneers like Lee Strasberg who taught stars like Brando and Dean brought to the screen a new age of performance artists Cagney’s brand never went out of style.
Cagney off-screen was amiable, self-effacing didn’t smoke and rarely drank liquor. His colleagues, directors and stagehands admired him. The latter being a true measure of a person as Cagney never let his stardom precede him. He had a close circle of friends and avoided Hollywood parties and Night Life and was married to Frances Willard “Billie” Vernon from 1922 until his death in 1986. In 1974 he won the prestigious Lifetime Achievement Award of the American Film Institute and the Medal of Freedom in 1984.
Cagney loved country living and retired with “Billie” to their farm in Duchess County New York where he raised horses. He also owned a spread in Martha’s Vineyard where he would find retreat between films. Jimmy received many offers to return to films but steadfastly refused but did return for one cameo in 1981 when Milos Foreman convinced him to perform in Ragtime.
James Cagney a true American icon and his Star on the Hollywood Walk of Fame makes him a true legend in The Golden Age of Hollywood.
Footnote from last month in case you may have noticed. In my tribute to Ida Lupino the intended description was “herstory” not her story a play on history.
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