While the gangster film may have enjoyed its heyday in the 1930s and ’40s, it has remained a movie staple for almost as long as cinema has existed. From the early films of Humphrey Bogart, James Cagney, and Edward G. Robinson to modern versions like Bugsy, Public Enemies, and Gangster Squad, such films capture the brutality of mobs and their leaders. In Gangsters and G-Men on Screen: Crime Cinema Then and Now, Gene D. Phillips revisits some of the most popular and iconic representations of the genre. While this volume offers new perspectives on some established classics—usual suspects like Little Caesar, Bonnie and Clyde, and The Godfather Part II—Phillips also calls attention to some of the unheralded but no less worthy films and filmmakers that represent the genre. Expanding the viewer’s notion of what constitutes a gangster film, Phillips offers such unusual choices as You Only Live Once, Key Largo, The Lady from Shanghai, and even the 1949 version of The Great Gatsby. Also included in this examination are more recent ventures, such as modern classics The Grifters and Martin Scorsese’s The Departed. In his analyses, Phillips draws on a number of sources, including personal interviews with directors and other artists and technicians associated with the films he discusses. Of interest to film historians and scholars, Gangsters and G-Men on Screen will also appeal to anyone who wants to better understand the films that represent an important contribution to crime cinema.
A chilling narration of the FBI's partnership with Boston's Irish gangsters in order to infiltrate and topple the Italian-American Mafia. G-Men and Gangsters reveals the bureau's perverse abuse of power and its willingness to use unlawful tactics to gain its objectives. The scandal shook both organizations and resulted in the convictions of top FBI officials and mobsters. G-Men and Gangsters is full of shocking revelations and raises questions about the government's potential reluctance to apprehend Bulger, America's most wanted fugitive criminal.
The first book to look at the structural, legal, and cultural aspects of J. Edgar Hoover's war on crime in the 1930s, a New Deal campaign which forged new links between citizenship, federal policing, and the ideal of centralized government. WAR ON CRIME reminds us of how and why our worship of violent celebrity hero G-men and gangsters came about and how we now are reaping the results. 10 photos.
This "latest episode in the Bob Lee Swagger saga ... finds Bob uncovering his family's secret Tommy gun war with 1930s gangsters like John Dillinger and Baby Face Nelson"--Amazon.com.
In the 1930s, lawmen were at a great disadvantage when it came to enforcing laws and arresting dangerous gangsters. Numerous lawmen were dying due to being outmanned and outgunned. However, a new breed of crimefighter soon appeared, the G-Man. That's the name given to federal agents by the gangsters of the era. Federal agents of the Bureau of Investigation (F.B.I.) faced danger and death nearly every day. The gangsters had more powerful weapons and faster cars. But these brave G-Men fought the war against crime as best they could. This book, Historic G-Men of the 1930s, tells the stories of these brave federal agents and the battles they won and lost. Read how these men left their families at home to travel the nation fighting crime and criminals. Many of their historic gun battles are told in this book.
In the summer of 1935, a nasty career criminal by the name of George Barrett shot to death a young FBI agent beside a flower garden in the little town of College Corner, which sat astraddle the state line between Ohio and Indiana. Indeed, when the shooting occurred, Barrett fired from Indiana and the agent fell dead in Ohio. It was only one peculiarity of the case of Barrett vs. J. Edgar Hoover's fledgling agency as it struggled for supremacy over the rampaging criminal elements of the chaotic 1930s. The case made national headlines for a number of reasons: the Cincinnati agent, Nelson Klein, was the first FBI agent to be killed in the line of duty; his killer, Barrett, a one-time Kentucky moonshiner who had killed his own mother, was only the second man tried under a new federal statute that made the murder of a government agent a federal offenseand the first to be executed.
The conventions of gangster movies have become well known: the gum-chewing moll, the kiss of death, incorruptible G-men and well-dressed gangsters toting machine guns. The genre was first popularized in the silent era and has continued with such contemporary releases as Billy Bathgate and Bugsy. Films, actors, directors, producers, cinematographers, plot devices, themes and more are included in this encyclopedic reference work to gangster films. For people, there are biographical sketches that focus on their work in gangster films. The film entries include year of release, distributor, cast and production credits, and a brief synopsis. Terms are placed in context of the genre, with relevant examples from gangster films given.
How global organized crime shapes the politics of borders in modern conflicts Separatism has been on the rise across the world since the end of the Cold War, dividing countries through political strife, ethnic conflict, and civil war, and redrawing the political map. Gangsters and Other Statesmen examines the role transnational mafias play in the success and failure of separatist movements, challenging conventional wisdom about the interrelation of organized crime with peacebuilding, nationalism, and state making. Danilo Mandić conducted fieldwork in the disputed territories of Kosovo and South Ossetia, talking to mobsters, separatists, and policymakers in war zones and along major smuggling routes. In this timely and provocative book, he demonstrates how globalized mafias shape the politics of borders in torn states, shedding critical light on an autonomous nonstate actor that has been largely sidelined by considerations of geopolitics, state-centered agency, and ethnonationalism. Blending extensive archival sleuthing and original ethnographic data with insights from sociology and other disciplines, Mandić argues that organized crime can be a fateful determinant of state capacity, separatist success, and ethnic conflict. Putting mafias at the center of global processes of separatism and territorial consolidation, Gangsters and Other Statesmen raises vital questions and urges reconsideration of a host of separatist cases in West Africa, the Middle East, and East Europe.
Winner of the 2023 Pulitzer Prize in Biography Winner of the 2022 National Book Critics Circle Award in Biography, the 2023 Bancroft Prize in American History and Diplomacy, and the 43rd LA Times Book Prize in Biography | Finalist for the 2023 PEN/Jacqueline Bograd Weld Award for Biography Named a Best Book of 2022 by The Atlantic, The Washington Post and Smithsonian Magazine and a New York Times Top 100 Notable Books of 2022 “Masterful…This book is an enduring, formidable accomplishment, a monument to the power of biography [that] now becomes the definitive work”—The Washington Post “A nuanced portrait in a league with the best of Ron Chernow and David McCullough.”—The Wall Street Journal A major new biography of J Edgar Hoover that draws from never-before-seen sources to create a groundbreaking portrait of a colossus who dominated half a century of American history and planted the seeds for much of today's conservative political landscape. We remember him as a bulldog--squat frame, bulging wide-set eyes, fearsome jowls--but in 1924, when he became director of the FBI, he had been the trim, dazzling wunderkind of the administrative state, buzzing with energy and big ideas for reform. He transformed a failing law-enforcement backwater, riddled with scandal, into a modern machine. He believed in the power of the federal government to do great things for the nation and its citizens. He also believed that certain people--many of them communists or racial minorities or both-- did not deserve to be included in that American project. Hoover rose to power and then stayed there, decade after decade, using the tools of state to create a personal fiefdom unrivaled in U.S. history. Beverly Gage’s monumental work explores the full sweep of Hoover’s life and career, from his birth in 1895 to a modest Washington civil-service family through his death in 1972. In her nuanced and definitive portrait, Gage shows how Hoover was more than a one-dimensional tyrant and schemer who strong-armed the rest of the country into submission. As FBI director from 1924 through his death in 1972, he was a confidant, counselor, and adversary to eight U.S. presidents, four Republicans and four Democrats. Franklin Roosevelt and Lyndon Johnson did the most to empower him, yet his closest friend among the eight was fellow anticommunist warrior Richard Nixon. Hoover was not above blackmail and intimidation, but he also embodied conservative values ranging from anticommunism to white supremacy to a crusading and politicized interpretation of Christianity. This garnered him the admiration of millions of Americans. He stayed in office for so long because many people, from the highest reaches of government down to the grassroots, wanted him there and supported what he was doing, thus creating the template that the political right has followed to transform its party. G-Man places Hoover back where he once stood in American political history--not at the fringes, but at the center--and uses his story to explain the trajectories of governance, policing, race, ideology, political culture, and federal power as they evolved over the course of the 20th century.
"Calling the Police! Calling the G-Men! Calling all Americans to War on the Underworld" was the sign-on of the first radio program to portray the agents of the FBI as action heroes. Thus began the remarkable collaboration between the government agency and the merchants of popular culture that was to continue for over forty years. In G-Men Richard Gid Powers explores the cultural forces that permitted the rise and fostered the fall of the nation's secret police as national heroes. He examines popular attitudes toward crime from the standpoint of functionalist (Durkheimian) theory and surveys the FBI's image in popular entertainment from the thirties to the recent "Today's FBI" as a vicarious ritual of national solidarity to explain the popularity of the action detective formula. Soundly based on extensive research and interviews, the book provides an account of how the FBI and the mass entertainment industry were able to transform the bureau and its biggest cases into popular mythology. Hoover and his FBI became national heroes through identification with the action detective hero of crime entertainment. Hoover's popular culture role made him and his bureau sacrosanct symbols of national pride and unity, but in turn made it very difficult for them to do anything that would not conform to the public's preconceptions about action heroes. Powers shows that the dynamics of popular culture are integral to an explanation of the collapse of the bureau's reputation following Hoover's death. Had Hoover and the popularizers of the FBI not attempted to turn the popular culture G-Man into an embodiment of traditional American virtues, the illegal activities that came to light following Hoover's death would have been excused as inconsequential in the larger context of a hard-boiled "War on the Underworld." G-Men examines a classic case of the manipulation of popular culture for political power. Seldom in American culture has such manipulation been so successful. As Powers states: "At the same time Hoover was casting his shadow over American public life his G-Men were the stars of movies, radio adventures, comics, pulp magazines, television series, even bubble gum cards." But he finds that Hoover--far from controlling his own destiny and the power of the agency he had built--was created, shaped, and then destroyed by the dynamics of popular culture and the public expectations it generated.
