Free of the nagging headaches of White Heat James Cagney once again goes to his bread and butter gangster role for the second time in row after putting it on sabbatical for a decade. He's no Cody Jarret but homicidal nonetheless.
Ralph Cotter (Cagney) busts out of prison with the help of an inmate's sister (Barbara Payton). Returning to his life of crime other opportunities become available when he switches his identity. Soon he has a pair of corrupt cops in his pocket while being ably assisted by a crooked lawyer and the cash begins to roll in. When he falls for a society dame matters get tenuous.
Unlike Jarrett Cagney's Cotter has the intemperate rage under better control in Goodbye allowing him to convey his cocksure threatening arrogance with a degree of sanity and control. More grounded without the mother fixation it extends his reach in things both criminal and romantic.
Barbara Payton in her first big role shines and shows great promise in a career that would nosedive as fast as rise while Falcon detective duo Barton McClain and Ward Bond, stretching his role more than usual, reprise their occupations but this time they are on the take. Luther Adler's corrupt lawyer 'Cherokee' Mandon gives an excellent understated performance buttressing Cagney by being a worthy adversary and advocate in attempting to keep Cotter on his game.
Prolific director Gordon Douglas ( 5 features in 1950, 4 more in 51) keeps things moving along at a decent pace with straightforward storytelling and handling of subplots that clearly in comparison lacks the desperation and intensity of Heat but remains a decent follow-up worth the watch.
Ralph Cotter (Cagney) busts out of prison with the help of an inmate's sister (Barbara Payton). Returning to his life of crime other opportunities become available when he switches his identity. Soon he has a pair of corrupt cops in his pocket while being ably assisted by a crooked lawyer and the cash begins to roll in. When he falls for a society dame matters get tenuous.
Unlike Jarrett Cagney's Cotter has the intemperate rage under better control in Goodbye allowing him to convey his cocksure threatening arrogance with a degree of sanity and control. More grounded without the mother fixation it extends his reach in things both criminal and romantic.
Barbara Payton in her first big role shines and shows great promise in a career that would nosedive as fast as rise while Falcon detective duo Barton McClain and Ward Bond, stretching his role more than usual, reprise their occupations but this time they are on the take. Luther Adler's corrupt lawyer 'Cherokee' Mandon gives an excellent understated performance buttressing Cagney by being a worthy adversary and advocate in attempting to keep Cotter on his game.
Prolific director Gordon Douglas ( 5 features in 1950, 4 more in 51) keeps things moving along at a decent pace with straightforward storytelling and handling of subplots that clearly in comparison lacks the desperation and intensity of Heat but remains a decent follow-up worth the watch.