Plenty to Like, Plenty to Dislike

It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

I seem to like this film more than most, maybe because of the difference in tone it presents to the usual gangster fare. It's nice to see Joan Blondell in a more subdued role, and she pulls it off well, knowing her past taints her, off to marry an immigrant fisherman (Victor Jory) who will accept her anyway, but finding herself drawn to Cagney. It's nice to see the gravitas in her 'serious face'. Cagney is in the role of a safe cracker who has double-crossed some guys and is on the run, not knowing that he's being closely tracked. Innocent to all of this is the family they're staying with, who lead simple but happy lives, and who look forward to their son's marriage to Blondell. I have to say, the mom (Sarah Padden) is a joy to watch as Cagney ingratiates himself to her. Cagney and Blondell are more low-key than their usual screen personas, and this is not movie with a lot of action, but there is real tension in both the story lines – whether Blondell will go forward with her wedding, and whether Cagney will survive. The depth of their feelings does come out in more than one tender scene, and in fact, all three of them – Blondell, Cagney, and Jory – are altruistic, adding a sweetness to the movie. It seems some are unhappy with the ending as well, but I thought it was quite good (and side note, wow on the glimpse we get of the low-cut dress). I also liked how it was shot on location in Monterey, California. Underrated and enjoyable to watch.

James Cagney and Joan Blondell team up for the seventh and last time for "He Was Her Man," a Warner Brothers film from 1934.Cagney is Flicker Hayes. He tells the police about a robbery attempt so that they can catch the two men who put him in prison. One, Dan, escapes. The other kills a cop and winds up in the electric chair.Dan orders two hit-man to find Flicker and kill him. Flicker rents a room and meets Rose (Blondell), a young, sad woman who returns to the room to fetch her wedding dress. She is a former prostitute and needs a ride to a fishing village, where her betrothed, a Portugese fisherman (Victor Jory) is waiting to marry her.Sounds good to Flicker - it's obscure, anyway, so he accompanies her. The two fall for one another, and no doubt have sex when the camera isn't around - it is post-code, after all. Rose doesn't want to marry her boyfriend now, she wants to go away with Flicker. He buys a bus ticket for her and they go to the bus station together. Unfortunately, Flicker has been discovered by Dan and his thugs, who want to kill him.A dark film with two subdued performances by the leads, who are both very good. Cagney does a great job, as always - even though he's not a flying high, exuberant criminal, he still plays a confident man, and you can't help noticing him.Blondell, who did so many comedy roles, is dead serious here and very effective.Others in the cast, besides those mentioned, are George Chandler, Harold Huber, John Qualen - lots of familiar faces.Victor Jory is somewhat miscast but pulls off his role as a gentle person who truly cares for Rose.You're not really sure how this will end. It is a lovely ending, if poignant. Well directed by Lloyd Bacon.

This film slips under the wire--being released just two weeks before the toughened Production Code was enacted. Because of this, one plot element is in the film that probably would not have been allowed just a few days later--Joan Blondell's character having been a prostitute. While the word 'prostitute' is never used, it was heavily implied--like all Pre-Code films.The film begins with James Cagney double-crossing a couple of crooks who had done him wrong. One of the thugs is caught by the cops and sent to death row, but the other is still at-large and wants to pay Cagney back for his infamy. Cagney is no dummy, so he leaves town and hides out in San Francisco. However, he's soon discovered and beats it with Joan Blondell to a tiny fishing village to hide. It seems that Blondell's fiancé is waiting for her there and Cagney is able to talk her into keeping his real identity secret.The fiancé, his mother and the town embrace Cagney and make him feel very welcome. However, two problems develop. First, Blondell who is intended for Victory Jory instead is falling for Cagney. Second, eventually the baddies learn where Cagney is and come to get him--and pose a threat to anyone in the town who gets in their way. I won't tell you how all this works itself out, but it certainly WON'T be the way you'd expect for a Cagney-Blondell film! Because it kept me guessing, was very entertaining and was a nice change of pace, I enjoyed it very much.

A young San Francisco woman, who's lived rough, is torn between the Portuguese fisherman she admires & the petty criminal she adores.HE WAS HER MAN is a particularly good example of the sort of crime drama which Warner Bros. did so well in the early 1930's. Intelligent romantic dialogue and gentle humor, in addition to some very fine performances, are all ingredients which make this film a solid success - even though it is nearly forgotten now. This picture was produced just before the implementation of the Production Code and the climax, while completely appropriate, will surprise some viewers.Jimmy Cagney is entirely irrepressible, strutting through each scene like a banty rooster, shouting attention to himself without ever having to raise his voice. As a fellow on the lam from vicious mobsters who want him dead, Cagney plays a character not in control of his own circumstances - a rarity for him, which makes him at once more vulnerable and more human. Joan Blondell nicely underplays her part as the tough luck lady he befriends, avoiding any of the sass & sizzle from her comedic films which would be out of place here.At the other end of the spectrum from the grim roles with which he would become associated, Victor Jory is excellent as the quiet, decent fisherman who deeply loves Blondell. His performance is one of the major assets of the film.Bradley Page, Russell Hopton, Harold Huber & Ralf Harolde play various Manhattan crooks & killers, with Frank Craven especially good as a genial, albeit sinister, shadow. Solid support is given by Sarah Padden as Jory's exuberant old-world mother & John Qualen as the local delivery man.Outdoor location shooting took place around Monterey, California. While the film's setting, the seaside village of Santa Avila, is completely fictional, the Monterey Bay area has long enjoyed a strong Portuguese contingent as part of its fishing industry.