'Little Caesar' had many interest points. Edward G. Robinson was a fine actor, who dominated when in lead roles and stole scenes in support. Mervyn LeRoy, in one of his earliest films here, went on to do a lot of solid and more films. Douglas Fairbanks Jr was good in the right roles and Glenda Farrell also had a knack for scene stealing. Also highly appreciate gangster pictures and have done so for some time now, ever since seeing 'The Godfather' for the first time ten years ago.

Is 'Little Caesar' one of the best gangster films? Definitely not, others have held up much better. Regardless of what one's opinion of the film though (and it is an easy target for criticism as well as praise),it is hard to deny that it was ground-breaking and important to the development and history of the gangster film. 'Little Caesar' was also the film that propelled Robinson to stardom and put him on the map, one can completely see why judging from his performance here. It is also one of overall LeRoy's better early films, though he did do a lot better since.

Robinson is absolutely terrific in 'Little Caesar'. Tough as nails, smart and deeply charismatic, he dominates every scene effortlessly without getting over hammy. Although the rest of the acting was on the most part not very good, Fairbanks is suitably carefree in an amiable way and Farrell is wonderfully scathing despite her role being thankless. LeRoy's direction has a nice style and verve.

The film also looks good, with some noir-ish lighting and inventive enough photography to stop things from looking static. Some atmospheric set design too, and some nice use of sound. The script is generally taut and has the right amount of grit and bite. The final line is unforgettable. The story has the bold tough as nails approach with some nice suspense. The ending is also memorable.

Despite Robinson being so great and Fairbanks and Farrell being more than game too, it is a shame that the rest of the acting is really not too good. Being either over the top or wooden, one of the worst offenders being Thomas E. Jackson.

Generally the characters are cliched ciphers with next to no development, even Rico himself could have done with more depth. The editing occasionally could have done with more fluidity.

On the whole, good and important but better was to come of this type of film. 7/10

This isn't the best film Robinson ever made, but from a historical point of view, it is THE film to see considering it made him a well-known and A-level actor. This is pretty much what also happened with Jimmy Cagney's THE PUBLIC ENEMY--which also came out the same year. Both films are "pre-Code" in style, as they show a higher level of violence than gangster films of the late 30s--though both pale in sleaziness and violence to Paul Muni's SCARFACE!

The film begins with friends Robinson and Douglas Fairbanks, Jr. as small-time hoods. They both decide they've had enough of this life so they move to "the big city" (though WHICH one is never said in the film). Robinson wants to move up and eventually control organized crime, while Fairbanks wants to be, believe it or not, a professional dancer! Both become very successful, but their lives are also inextricably intertwined. Exactly what occurs and how it all ends is really something you should see for yourself. It's an excellent ganger film--much better than average. However of the three gangster films I mentioned, my personal favorite would have to be THE PUBLIC ENEMY, as it's acting isn't quite as "over-the-top" and features a little more action and excitement.

FYI--For an interesting error, watch Robinson's arm when he is shot towards the end of the film. Despite clearly being shot in the right arm, later the left arm is in a sling! I assume this was just a mistake and wasn't done as an inside joke.

Little Caesar which popularized both the gangster film and Edward G. Robinson is a great study in the criminal mindset and the ruthlessness it takes to get to the top of that world. After all in White Heat look at the epitaph James Cagney gave to his career.

We meet Robinson and a friend Douglas Fairbanks, Jr. in some greasy spoon in the middle of nowhere. Fairbanks wants to go into dancing, but Robinson knows exactly what he wants. He wants to rise to the top of the criminal world. Not for riches or fame, but simply raw naked power. As he says to have a bunch of guys working for you who will do ANYTHING you say. The more men you have doing that, the more powerful you are.

And the film is a study in the rise and fall of Robinson in his chosen field. But the top is a lonely place.

It's been said there's an undercurrent of homosexuality running in Little Caesar between Robinson and Fairbanks by some critics. I've never subscribed to that point of view. In doing what he's doing Robinson essentially cuts himself off from all kind of human contact. His only other attachment is the fawning George E. Stone from his gang.

Robinson needs Fairbanks as a friend and confidante. We all need that, someone we can unbend with and show our true feelings, even if it's confiding our criminal ambitions.

But as the plot develops Fairbanks who's been on the fringe of Robinson's activities, meets Glenda Farrell and they fall in love. And through her partially Fairbanks develops a conscience about what he's seen.

How Robinson deals with it and what becomes of everyone involved is for those interested in viewing the film. But after over 70 years, Little Caesar holds up very well because of its universal theme.

Loneliness at the top is an occupational hazard for all ambitious people. It's never expressed in such raw terms as in the gangster film genre. But it's still used. Used in fact in both the Paul Muni version of Scarface and in Al Pacino's version as well.

Mervyn LeRoy did a fine job in directing this groundbreaking piece of entertainment. Robinson's portrayal once seen is never forgotten.