A captivating and tragic symphony of New York, this precursor of Raging Bull tells the story of two brothers, one a boxer, the other a musician rising from the slums of the city. The elder, James Cagney’s Danny Kenny, is a prize-fighter who eventually loses both his girl (Ann Sheridan) and his eyesight. Only when his vision is gone, does he begin to see his place in the world and opens – perhaps in an allegorical move –a newsstand. It is from his modest kiosk that he listens to his kid brother’s triumphant debut classical concert. The idol of Madison Square Garden falls so the new god of Carnegie Hall can rise. Litvak’s nods to sophistication didn’t sit too well with Cagney who wanted Raoul Walsh to direct, and more rawness and action. Litvak’s re-examination of Cagney’s popular persona – similar to what he achieved with Edward G. Robinson in The Amazing Dr. Clitterhouse – irked Cagney, as did his unfamiliar, camera-oriented style. Yet, it is not hard to see how much Litvak has toned down and sometimes even repressed his signature methods in favour of Warner’s fastpaced, editing-based house style. But who else could give Cagney the scene at the end when, in his blurred vision, the image of Ann Sheridan comes into full focus? It is one Litvak’s most lyrical moments and one of Cagney’s most moving. The actors are all brilliant, especially in smaller roles. Arthur Kennedy (as Cagney’s brother) and Elia Kazan in their first acting roles found the experience rewarding. Kazan, being personally handpicked by Litvak and appearing in two of his films (the other, Blues in the Night), soon developed a desire to make films. And isn’t Kazan’s On the Waterfront about an ex-boxer’s costly fight for social status with tales of betrayal, success and failure running in parallel something right out of Litvak’s world where one brother’s downfall becomes the grit and drama of the other brother’s art?

Ehsan Khoshbakht