NR | 1 h 39 mins | Romance, Comedy | 1941
What movies come to mind when you think of James Cagney? Even if you can’t recall the names of his most famous films, like “The Public Enemy” (1931), “Angels with Dirty Faces” (1938), and “White Heat” (1949), you probably associate him with his gangster and tough guy roles.
Although he played thugs and mobsters very effectively throughout his three-decade movie career, there was so much more to Cagney’s talents than these stereotypical roles. One of my favorite movies with this dynamic actor is “The Strawberry Blonde” from 1941. Also starring Olivia de Havilland, Rita Hayworth, and Jack Carson, it’s a thoroughly enjoyable film, which is perfect for any occasion because it defies genres.
A Nostalgic Story
“The Strawberry Blonde” is set around the turn of the century in New York. It begins on a Sunday afternoon when disgruntled dentist Biff Grimes (Cagney) picks a fight with some college students over the song a nearby band is playing. He confides in his Greek barber friend, Nick (George Tobias), that his dentistry business has been slow because people keep discovering that he was in prison. Don’t jump to conclusions, though! I promise that Biff isn’t a racketeer.When he receives a call to do an emergency extraction for an old nemesis, Hugo Barnstead (Jack Carson), Biff recalls what happened between them 10 years ago. At that time, Biff was taking a correspondence course on dentistry while doing odd jobs to support himself and his fun-loving, good-for-nothing father (Alan Hale). Biff is friends with the cocky, enterprising Hugo, who hires him to sell tickets to a boat trip. Like all the men in the barber shop, Hugo and Biff admire the pretty strawberry blonde who passes by, Virginia Brush (Hayworth).
Classic Americana
This movie has the flavor of traditional Americana. The Warner Bros. lot was beautifully transformed into a quiet street in New York City during the 1890s. There are barbershop quartets, bands in the park, horse-drawn carriages, and plenty of historic costumes. Best of all, the story glorifies old-fashioned morality.
Amy tries to shock Biff into being interested in her by describing her scandalous free-thinking views. He’s horrified when she says she smokes, but he really is scared when she announces that she doesn’t believe in marriage but still wants a man, a home, and children. Later, when he hints at taking her up on the idea while on the rebound from a recently married Virginia, Amy properly resists his advances. It’s so refreshing to see an older movie, which accurately depicts the conservative values that American society upheld in earlier generations.
“The Strawberry Blonde” seems especially nostalgic in the 21st century, but it was a tribute to a bygone era upon its first release. Some of the characters’s sensibilities, such as no smoking or drinking for women and feigned coyness in courtship, were outdated by 1941. However, the sanctity of marriage and the importance of chastity were still very relevant, at least as far as Hollywood films were concerned.
From 1934 to 1954, the Motion Picture Production Code was the Golden Rule for American filmmakers, under the prudent leadership of Joseph I. Breen at the Production Code Administration. American morality may have slipped during the Roaring Twenties and been totally disregarded in Pre-Code movies of the early 1930s, but the code got Hollywood back on track.
This movie stars an amazing cast of Warner Bros’ finest talent. The script is brilliant, and the characters seem very real. When you watch this movie, you’ll laugh as some comic scenes and you’ll smile at the romantic scenes. You’ll scowl at Hugo’s deceit, but you’ll gasp at the plot switches. You may cry during the tragic hospital scene, but you’ll definitely sing the title song along with the bouncing ball at the end credits.
