Film
The Roaring Twenties
James Cagney and Humphrey Bogart headline this seminal Prohibition gangster picture, narrated with newsreel-style captions that frame the whole thing as history already written. It's less shoot-'em-up than lament: a scrappy WWI vet claws his way up through bootlegging only to be undone by love, loyalty and bad timing. Elegiac, propulsive, and the template every rise-and-fall gangster film since has quietly borrowed from.
If you liked this
White Heat1949
Cagney returns to the genre a decade later playing a mother-fixated psychopath instead of a wounded romantic — same actor, same studio, a colder, meaner take on the American dream gone rotten.
But Harder and less sentimental than Roaring Twenties, with no doomed love story to soften the violence.

The Public Enemy1931
The film that made Cagney a star eight years earlier — leaner, meaner, and the direct ancestor of everything Eddie Bartlett becomes.
But Rougher production values and a simpler moral arc; more archetype than character study.

Angels with Dirty Faces1938
Cagney and Bogart together again, a year earlier, same studio machine, same Warner Bros grit — this time as childhood friends who took opposite paths.
But More sentimental, Catholic-guilt framing than Roaring Twenties' newsreel coolness.

The wildcard
Something you would not have found on your own.
Prohibition2011
This is the real history behind the myth — the actual bootleggers, gang wars and speakeasies that Roaring Twenties turns into tragic romance.
Ken Burns lays out how Prohibition actually created the gangster class Cagney's Eddie represents, using archival footage and a clarity no fiction film can match.
But Three documentary episodes with narration and talking heads — a totally different pace and register from a 104-minute studio picture.

More like this (8)
Little Caesar1931no page yet
Edward G. Robinson's defining gangster turn, the film that set the template Roaring Twenties later elegized — ambition, betrayal, a bullet-riddled fall from grace.
But Stagier and more theatrical than the smoother Warner productions that followed.
Scarface1932
Paul Muni's Tony Camonte is louder and more openly monstrous than Eddie Bartlett — the id where Eddie is the genre's wounded conscience.
But Censorship-era plotting feels choppy, and Muni's performance is big, almost operatic.

High Sierra1941
Bogart, two years after playing the heavy here, gets his own tragic anti-hero send-off — a weary criminal who wants out but can't get there.
But A slower build, more chase picture than rise-and-fall saga.

The Godfather1972
The genre's masterpiece decades later — the same rise-and-fall shape, the same idea that ambition curdles love, blown up to operatic scale.
But Three hours long, and a far more insular, dynastic moral universe.

GoodFellas1990
Scorsese's answer to the same question Roaring Twenties asks — what the business does to a man — filtered through cocaine and voiceover instead of Prohibition and dissolves.
But Much faster, funnier, and more viscerally violent; the tone couldn't be more different.

Once Upon a Time in America1984
A sprawling, elegiac gangster epic that shares Roaring Twenties' sense of Prohibition as a lost American age, just stretched across decades and drenched in regret.
But Nearly four hours in its full cut, and deliberately, achingly slow.

Underworld1927
This is where the gangster picture was invented — Roaring Twenties inherits its doomed romanticism and even its shootout choreography from this silent Von Sternberg film.
See the gangster genre before it had a voice — moody lighting, wordless menace, and a tragic rise-and-fall arc Warner Bros would spend a decade refining.
But Silent-film pacing and melodrama take some adjustment, and there's no Cagney snarl to carry you through.

Bugsy Malone1976
Same Prohibition gangster mythology, splurge guns instead of tommy guns, custard instead of blood — a kids' musical knowingly playing with the exact tropes Roaring Twenties made iconic.
A gleeful, deadpan spoof with an all-child cast and a young Jodie Foster, proving the genre's shapes are sturdy enough to survive becoming a musical comedy.
But It's a kids' film with songs and pie fights — if you want dramatic weight, this isn't it.

People
Cast
James CagneyEddie Bartlett
Priscilla LaneJean Sherman
Humphrey BogartGeorge Hally
Gladys GeorgePanama Smith
Jeffrey LynnLloyd Hart
Frank McHughDanny Green
Paul KellyNick Brown
Elisabeth RisdonMrs. Sherman
Edward KeaneHenderson
Joe SawyerThe Sergeant
Joseph CrehanMichaels
George MeekerMasters
Directing
- Raoul WalshDirector
Writing
- Jerry WaldScreenplay
- Richard MacaulayScreenplay
- Robert RossenScreenplay
- Mark HellingerStory
Production
- Hal B. WallisProducer
- Samuel BischoffProducer
Recommended by
The Public Enemy, Once Upon a Time in America, Prohibition, White Heat, Angels with Dirty Faces, Underworld