Little Caesar (1931)

89% of critics liked it
(19 reviews)
73% of users liked it
(5,628 ratings)

The first "talkie" gangster movie to capture the public's imagination, Mervyn LeRoy's Little Caesar started a cycle of crime-related movies that Warner Bros. rode across the ensuing decade and right into World War II with titles such as All Through the Night (1941). At the start of the picture,… More The first "talkie" gangster movie to capture the public's imagination, Mervyn LeRoy's Little Caesar started a cycle of crime-related movies that Warner Bros. rode across the ensuing decade and right into World War II with titles such as All Through the Night (1941). At the start of the picture, Caesar Enrico "Rico" Bandello (Edward G. Robinson, made up to look a lot like the real-life Al Capone) and his friend Joe Massara (Douglas Fairbanks Jr.) are robbing a gas station -- later on, at a diner, they're looking over a newspaper and see a story about Diamond Pete Montana (Ralph Ince), a gangster so well known that he gets headlines and stories written about how powerful he is. That's what Rico wants, more than money or anything else: to be czar of the underworld and "not just another mug." Joe admits that sometimes he just thinks of trying to become what he wanted to be when he started out: a professional dancer. They head east to Chicago (which is never named, but with the talk of the north side and the territories, you know what city it is) and Rico talks his way into the local mob run by Sam Vettori (Stanley Fields). The leader has his doubts over how quick Rico is to go for his gun, but also thinks he might be useful if he is as fearless as he says and can be kept under control. Soon Rico is Sam's top enforcer and bodyguard, but it isn't long before he starts acting like the boss, questioning other members' loyalty and bravery and pushing into Sam's role as leader. He also commands the loyalty of the gang through his resourcefulness at planning and pulling jobs that are tough and risky, and getting away with them; the only exception is Joe, their respectable "front man," who has found romance with an actress (Glenda Farrell) and a career, and wants out of helping the gang. Rico won't let him leave, and pushes him to help them on a brazen New Year's Eve robbery of a restaurant, during which the new crime commissioner is shot dead by Rico. Now the heat is on, but instead of keeping a low profile, Rico seizes control of the gang from Sam and secures his power by ruthlessly rubbing out the only member (William Collier) who seems likely to squeal, gunning the man down on the steps of a church. Before long, Rico is the first among equals among the local mob chieftains, sharing a dais at a dinner honoring him with his nominal boss and one-time idol Diamond Pete. He's also making enemies by the bushel -- Flaherty (Thomas E. Jackson), the cop heading the investigation into the murder of the commissioner, won't let up and makes it his personal business to nail Rico, and the rival chieftains don't like the publicity Rico's getting or the attention it brings to all of them. Rico survives attempts on his life and consolidates his hold on the streets, and is suddenly on the edge of achieving his goal -- the "Big Boy" (Sidney Blackmer), the wealthy social Brahmin who really controls crimes in the city, invites him to a meeting to tell him that Diamond Pete is finished. Rico is going to be in charge of the rackets across the entire city and making sure the local bosses stay in line. He is at the pinnacle of his career, and then Rico overreaches -- he can still be nailed for the murder of the commissioner, and is paranoid enough not to trust Joe, even though Joe helped saved Rico's life and insists that he'll never squeal; Rico also plans on supplanting the Big Boy. His rise to power unravels as fast as it happened, in an outburst of violence that drives him underground. But with an ego as big as his, Rico can't stay hidden for too long, and Flaherty is waiting for him. The violence in Little Caesar may seem tame by today's standards -- although seeing a proper print of the movie, such as the 2005-issued DVD, does restore some of that impact -- but it was shocking at the time, and proved riveting and even seductive, especially because it was tied to a very charismatic performance by Robinson. Between his portrayal and the sounds of pistols and Thompson submachine guns, the movie was a sensory revelation and literalized the violence that had been suggested purely by visuals in such silent gangster classics as Josef Von Sternberg's Underworld (1927), itself yet another telling of a version of Capone's story. The language was also something newly coarse and bracing in movies, at a point when talkies were only a couple of years old. There's also a slightly homoerotic undertone to aspects of the character relationships that managed to get past the censors: Rico doesn't drink and seems uninterested in women; his fixation on Joe Massara, and his seeming competition for Massara's loyalty with the latter's fiancée, are couched in what seem like almost romantic terms; and his feeling of betrayal when Massara says he wants to leave the mob to get married seem almost more appropriate to someone caught in a romantic triangle. This is all made especially vivid when Rico laments not having killed Massara, admitting that he's been undone over "liking a guy too much." It's all nearly as striking as some of the more pointed psychological elements in subsequent gangster movies, including Tony Camonte's incestuous fixation on his own sister in Scarface (1932) and, at the far end of the cycle, Cody Jarrett's mother-fixation in White Heat (1949). ~ Bruce Eder, Rovi

Rating, Runtime: Unrated, 1 hr. 20 min.
Directed By: Mervyn LeRoy
Written By: W.R. Burnett, Francis Edward Faragoh
Genres: Drama, Classics

In Theaters: Jan 1, 1930 Limited
On DVD: Jan 25, 2005

Critic Reviews

Variety Staff, Variety
No director could ask for more than Edward G. Robinson's contribution. Here, no matter what he has to say, he's entirely convincing.
Don Druker, Chicago Reader
Edward G. Robinson in the performance of his career.
Fernando F. Croce, CinePassion
Faded bronze to The Public Enemy's silver and Scarface's gold, but an enduring bedrock formation all the same
Gabe Leibowitz, Film and Felt
Little Caesar makes two classic LeRoy joints that I've found perfectly solid...and thoroughly underwhelming, especially when viewed through the prism of their reputations.
Geoff Andrew, Time Out
Though it looks somewhat dated now, there's no denying the seminal importance of this classic adaptation of WR Burnett's novel.
Jeremiah Kipp, Slant Magazine
Feels stilted when stacked up against its tougher depression-era contemporaries.
Jeremiah Kipp, Slant Magazine
An overrated groundbreaker with a memorable lead performance, Little Caesar is only vital for the die-hard Warner Bros. gangster series completist.
Christopher Null, Filmcritic.com
Come for Rico, stay for Rico
Dennis Schwartz, Ozus' World Movie Reviews
One of the most popular and best received crime films ever.
John J. Puccio, Movie Metropolis
Today, Little Caesar looks a bit dated, but it's just as gripping as ever, and Robinson was never better.
John J. Puccio, Movie Metropolis
Robinson's riveting performance earned him a permanent place in the history of cinema.
, Film4
LeRoy's direction is terse, tough and tense, although some of the sound is crude by modern standards.
Ken Hanke, Mountain Xpress (Asheville, NC)
Edward G. Robinson's classic portrayal makes this antique still work
Tim Dirks, Tim Dirks' The Greatest Films
One of the most well-known and best of the early classical gangster films is Warner Bros.' Little Caesar (1930) - often called the grandfather of the modern crime film

Read all 14 critic reviews

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Chris W

Edward G. Robinson's place in cinematic history was made right here with his career-defining turn as the title character in this celebrated early gangster classic. He plays Caesar Enrico "Little Caesar" Bandello- a small time hood who rises from the lowest level all… More
Edward G. Robinson's place in cinematic history was made right here with his career-defining turn as the title character in this celebrated early gangster classic. He plays Caesar Enrico "Little Caesar" Bandello- a small time hood who rises from the lowest level all the way to the top in this tried and true variation on the rags to riches story. He's a little guy with a big attitude and little regard for underworld protocol or having trusted friends and allies. He's a classic antihero if there ever was one. The story is by the numbers, formulaic, and perhaps overdramatized, but this is still an enjoyable and important film, if more underwhelming than I had anticipated. It's a good effort, but not as striking or excellent as Scarface. Robinson does a great job though, and there's some good sequences, and, since it is pretty influential, you should probably give it a watch, espeically if you are a fan of crime dramas.
xGary X

A small time criminal moves to the big city and works his way up to become a criminal kingpin. One of the earliest portrayals of a criminal "dynasty", Little Caesar was also the big break for Edward G. Robinson. The star quality of he and an unusually immobile Douglas… More
A small time criminal moves to the big city and works his way up to become a criminal kingpin. One of the earliest portrayals of a criminal "dynasty", Little Caesar was also the big break for Edward G. Robinson. The star quality of he and an unusually immobile Douglas Fairbanks Jr. certainly shine through but like The Public Enemy, this is more an interesting period piece than a truly involving story. Like many early talkies, the supporting cast ham it up like they think they are still in silent pictures and many plot points hinge upon overheard conversations as the bad guy explains his plans in explicit detail to a crony. Rico's implausibly meteoric rise is also aided by the fact that he is told that another in the mob heirarchy is "out" with no further explanation of any kind. Many of these so-called "heavies" are also amusingly camp by today's standards to the point where I couldn't help wondering if there was a deliberate homosexual subtext; Rico, Joe and Otero almost seem to be caught in a gay love triangle! Interesting as a snapshot into the birth of the gangster genre but it just doesn't cut it as believable drama in this day and age.
AJ V

A pretty good start at gangster films, but it could have been better.
Pierluigi P

Due to the time it was made, the film has a smack of a silent feature, it may be histrionic and overdramatized, but that doesn't keep it from being fascinating, not only for its controversial subject matter, or Mervyn Le Roy's direction but especially for Edward G.… More
Due to the time it was made, the film has a smack of a silent feature, it may be histrionic and overdramatized, but that doesn't keep it from being fascinating, not only for its controversial subject matter, or Mervyn Le Roy's direction but especially for Edward G. Robinson's powerful screen persona. <br/>It is an absolute pleasure to watch such grand portrayal of Rico; a greedy, dominant, no-nonsense short figure who moves his thumb as he was already somebody, and commands his own way, in disdain of any authority that out rank him as the supreme boss of the underworld.<br/>A classic 'rags to riches' american tragedy.
Stella D

in the breakthrough role of a film career spanning more than 50 years, robinson is magnetic as a gangster based on al capone, who was alive and well when this was made. his buddy, douglas fairbanks jr, just wants to dance. but once you're in there's no gettin out.
danny d

this is a solid flick. robinson was great in these gangster roles, and this is one of his classics. there wasnt a stress on things that usually make a film great, but it wasnt trying to be great, it was just trying to entertain and it did.
Veronique K

another classic gangster flick blueprinted on legendary mob-killer al capone....it contributes to edward g. robinson's promptly made stardom, also a stepping stone for douglas fairbanks jr. to further his sprouting career, fairbanks' role as the best pal of rico's… More
another classic gangster flick blueprinted on legendary mob-killer al capone....it contributes to edward g. robinson's promptly made stardom, also a stepping stone for douglas fairbanks jr. to further his sprouting career, fairbanks' role as the best pal of rico's (little caesar played robinson) is hearsay the tale of george raft's catapult from mob thug toward broadway dancer then hollywood star. both the roles of little caesar and best pal were considered with clark gable, but rebuked by jack warner becuz of gable's strung-out ears. the story is basically archetyped: caesar enrico bandello seeks fame and wealth by exerting himself to the top scale of rough masculinity, plundering of what he wants incorrigibly. something differentiates little caesar is his eagerness of news paper publicity, and he sets up his goal to be praised gloriously in news paper in the first scene at cafe....and also another peculiar trait is the abscence of mistress...usually in gangster flicks, a gangster makes his success, he would pursue after a dame to satiate his lust with his mighty power then consummate his egoism of manhood with a flashy harpie-alike female. but little caesar is not enthusiastic to seek a female companion, he's more avid to solicit his best pal joe back to celebrate his success instead, even tempts his pal with the enormous profits of his business. converted joe chooses to be reformed by his love interest, therefore it breaks caesar's heart..and our ruthless caesar cannot even trigger a shot to dispose of joe to eliminate the danger of exposure. some critics doubt seriously if little caesar is a closet homosexual or not, and he seems not interested in women that is an amusing notion. is the existence of woman only the assureness of man's heterosexuality?? as for the legendary finishing line "mother of mercy, is that the end of rico?"....the scriptor wonders if he should choose "mother of god" or "mother of mercy"....and the chewing cigar poise is innovated by robinson's own idiosyncracy...and there's another more cynical ending written in script which is rico hears news paper condemns him as yellowed coward, he rushes to the police station in an outrage but no one recognizes him as little caesar, then he departs and be a nameless bum for good. "little caesar" in general is not an elaborately made flick, considering its time, 1930, it was just the attempted trial of popularized sound flick...and the only thing evolves "little caesar" into everlasting classic is robinson's chrismatic screen persona.
Cindy I

The film that made Edgar G. Robinson a star. He plays a little badass thug who wants to "be somebody" and does as he moves through the ranks of gansters and eventually displaces the mob boss he once idolized. The only real problem I had with it was hearing Robinson's… More
The film that made Edgar G. Robinson a star. He plays a little badass thug who wants to "be somebody" and does as he moves through the ranks of gansters and eventually displaces the mob boss he once idolized. The only real problem I had with it was hearing Robinson's characteristic voice and realizing how accurately all the impersonators did him over the years. It was a bit distracting. I prefer Jimmy Cagney in "Public Enemy" to this, as Cagney had more of a vicious streak than Robinsion, but this stands up well on its own.
Michael G

One of the best of the classic gangster movies.
Matthew Y

Edward G. Robinson's a little guy with huge charisma, this made him perfect to play Rico in Little Caesar. A huge hit in it's day it made Robinson arguably the most sought after leading man in Hollywood and got the ball rolling for the gangster genre. A napoleon complex if… More
Edward G. Robinson's a little guy with huge charisma, this made him perfect to play Rico in Little Caesar. A huge hit in it's day it made Robinson arguably the most sought after leading man in Hollywood and got the ball rolling for the gangster genre. A napoleon complex if ever there was one, once he rises to the top Rico becomes a mountain of a man in his small frame. He does things his way, does not listen to those trying to help him and views himself in an immortal and even godlike entity. He tells the cops they'll never put hand cuffs on him, when surrounded he hollers that if they want him they'll have to come and get him. Even his final words as he lay bullet ridden on the ground "Mother of Mercy, Is This the End of Rico?" speak volumes about his ego. An excellent role and and excellent film.
Mike T

This is a cinema milestone as far as establishing the basis for a genre goes, and some of Mervyn LeRoy's visual work is very bold as well. It is one of the first American films released in sound, and that fact is evident. It suffers from structural flaws and the performances drip… More
This is a cinema milestone as far as establishing the basis for a genre goes, and some of Mervyn LeRoy's visual work is very bold as well. It is one of the first American films released in sound, and that fact is evident. It suffers from structural flaws and the performances drip with traditional form. It is still an impressive achievement, and very entertaining to watch.
Anthony V

A bit dated, but still enjoyable.
cody f

The movie that made Edward G. a star. I love all of the Warner Brother Gangster films of the 30's. It's a little goofy at times,but I don't care you mugs, I was entertained see. Yea. Yea!