First, the few bad points: 1) Paul Stewart's accent I think he picked it up when it rolled out of a gumball machine. He's a fine actor, and his character (Julio) was interesting, but only half of his dialog is decipherable. If anything, it's even worse than his accent in Citizen Kane, and that's saying something! 2) I normally don't mind character-tinged period lingo, but this film has way too much of it. Don't even try to count all the dames,' doughs,' and suckers.' After a while, it becomes tiresome. 3) Johnny hardly ever refers to his girlfriends by name; instead repeatedly calling them `sugar.' How annoying.
That said, there is much to recommend Johnny Eager. It is one of my favorites of all time.
THE LEADS: Robert Taylor (Johnny Eager), although slightly too young to play this big-boss gangster character, gives a convincing performance, making a great sociopath. He manages to turn that perfect face into a menacing sneer, staring both friends and enemies alike down with a furrowed brow and an icy, cold-blooded glare in his eyes. It is easy to dislike his character, which is rare for Taylor. I have heard that he pushed for the role in order to break out of his pretty-boy mold and expand his range, and Eager is the perfect vehicle for this. I just which he didn't have that silly moustache! GAH!
Van Heflin deserved his best supporting actor Oscar for his role in this film (a rare win for a pathetic character). He plays Jeff Hartnett, the very complex best friend of Johnny -- a self-loathing, alcoholic homosexual -- in an abusive, co-dependent relationship with Johnny. Heflin is the best male crier I've seen in filmdom (see also The Three Musketeers ('48), Madame Bovary ('49), 3:10 to Yuma). He excels in conveying sympathy for his characters and their various plights. Here, as Jeff, his expressive eyes alone speak volumes, as well as do his many philosophical, psychological speeches. (Still, some of his dialog is bizarre, to say the least.) An outstanding performance.
Lana Turner, as Lizabeth Bard, Taylor's love interest, gives a wonderful performance as well. Her character runs the full gamut of emotions, all of which she handles beautifully. (She and Taylor made a great pair -- the posters screamed T-N-T. Unfortunately, they were never paired again.) Her
beauty is so striking, that whenever she is onscreen with others, you find yourself drawn to her. It is a very mature acting job for the tender age of 21.
The homosexual element in the film is extraordinary for 1941. I think the Production Code people must have been on autopilot when they read the script. If this didn't tip them off, then you'd think the finished product would. (SPOILER) The scene where Taylor cradles the dog's head in his hands after fighting with Heflin is mirrored at the end of the film with the two actors, and that's the least of it! (I won't give any more away.) Hello? How it passed, I will never know, but it makes the characters, even that of Johnny, so humane and multi-dimensional. Very impressive, and well ahead of its time.
SUPPORTING PLAYERS: Edward Arnold: Ever dependable, again he does not disappoint. As Turner's step-dad, Arnold, too, expresses a wide range of emotions with ease and total believability as the law-enforcement element of the story. His conflict over Turner's lifestyle is portrayed fabulously. One of my favorite character actors ever! Robert Sheridan: Great as the noble and selfless Jimmy Courtney, Turner's `other man.' I wish his film career would have gone further. Glenda Farrell: Lovely, but wasted in a very small role. Patricia Dane: Her character is unsympathetic, but she manages to inject a high level of humanity into it, evoking concern nonetheless. Barry Nelson: in his very early twenties, and already a decent villain. Paul Stewart: (see above)
Special Mention goes to Gypsy Prince, the retired greyhound dog with such a sweet face, endlessly chasing the squeaky toy!
DO NOT MISS THIS FILM!
That said, there is much to recommend Johnny Eager. It is one of my favorites of all time.
THE LEADS: Robert Taylor (Johnny Eager), although slightly too young to play this big-boss gangster character, gives a convincing performance, making a great sociopath. He manages to turn that perfect face into a menacing sneer, staring both friends and enemies alike down with a furrowed brow and an icy, cold-blooded glare in his eyes. It is easy to dislike his character, which is rare for Taylor. I have heard that he pushed for the role in order to break out of his pretty-boy mold and expand his range, and Eager is the perfect vehicle for this. I just which he didn't have that silly moustache! GAH!
Van Heflin deserved his best supporting actor Oscar for his role in this film (a rare win for a pathetic character). He plays Jeff Hartnett, the very complex best friend of Johnny -- a self-loathing, alcoholic homosexual -- in an abusive, co-dependent relationship with Johnny. Heflin is the best male crier I've seen in filmdom (see also The Three Musketeers ('48), Madame Bovary ('49), 3:10 to Yuma). He excels in conveying sympathy for his characters and their various plights. Here, as Jeff, his expressive eyes alone speak volumes, as well as do his many philosophical, psychological speeches. (Still, some of his dialog is bizarre, to say the least.) An outstanding performance.
Lana Turner, as Lizabeth Bard, Taylor's love interest, gives a wonderful performance as well. Her character runs the full gamut of emotions, all of which she handles beautifully. (She and Taylor made a great pair -- the posters screamed T-N-T. Unfortunately, they were never paired again.) Her
beauty is so striking, that whenever she is onscreen with others, you find yourself drawn to her. It is a very mature acting job for the tender age of 21.
The homosexual element in the film is extraordinary for 1941. I think the Production Code people must have been on autopilot when they read the script. If this didn't tip them off, then you'd think the finished product would. (SPOILER) The scene where Taylor cradles the dog's head in his hands after fighting with Heflin is mirrored at the end of the film with the two actors, and that's the least of it! (I won't give any more away.) Hello? How it passed, I will never know, but it makes the characters, even that of Johnny, so humane and multi-dimensional. Very impressive, and well ahead of its time.
SUPPORTING PLAYERS: Edward Arnold: Ever dependable, again he does not disappoint. As Turner's step-dad, Arnold, too, expresses a wide range of emotions with ease and total believability as the law-enforcement element of the story. His conflict over Turner's lifestyle is portrayed fabulously. One of my favorite character actors ever! Robert Sheridan: Great as the noble and selfless Jimmy Courtney, Turner's `other man.' I wish his film career would have gone further. Glenda Farrell: Lovely, but wasted in a very small role. Patricia Dane: Her character is unsympathetic, but she manages to inject a high level of humanity into it, evoking concern nonetheless. Barry Nelson: in his very early twenties, and already a decent villain. Paul Stewart: (see above)
Special Mention goes to Gypsy Prince, the retired greyhound dog with such a sweet face, endlessly chasing the squeaky toy!
DO NOT MISS THIS FILM!