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The Public Enemy

The Public Enemy

Crime · Drama · 1931

Two young Chicago hoodlums, Tom Powers and Matt Doyle, rise up from their poverty-stricken slum life to become petty thieves, bootleggers and cold-blooded killers. But with street notoriety and newfound wealth, the duo feels the heat from the cops and rival gangsters both. Despite his ruthless criminal reputation, Tom tries to remain connected to his family, however, gang warfare and the need for revenge eventually pull him away.

Movie details

The Public Enemy

“All his life he took what he wanted...Why not women?”

1931 Crime · Drama 1h 24m

Critical arithmetic

One number, for now.

TMDB

7.2 / 10

Community rating

Two young Chicago hoodlums, Tom Powers and Matt Doyle, rise up from their poverty-stricken slum life to become petty thieves, bootleggers and cold-blooded killers. But with street notoriety and newfound wealth, the duo feels the heat from the cops and rival gangsters both. Despite his ruthless criminal reputation, Tom tries to remain connected to his family, however, gang warfare and the need for revenge eventually pull him away.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Public Enemy?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

William A. Wellman

Written by

John Bright · Kubec Glasmon

James Cagney

James Cagney

Tom Powers

Jean Harlow

Jean Harlow

Gwen Allen

Edward Woods

Edward Woods

Matt Doyle

Joan Blondell

Joan Blondell

Mamie

Donald Cook

Donald Cook

Mike Powers

Leslie Fenton

Leslie Fenton

Samuel 'Nails' Nathan

Beryl Mercer

Beryl Mercer

Ma Powers

Court is in session

Put The Public Enemy on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Form is the argument.”

Every composed frame and deliberate cut is evidence that control can be thrilling in its own right.

The prosecution The Popcorn Loyalist

“Technique in search of a pulse.”

Immaculate construction is still construction. The film may be too busy proving its craft to feel alive.