Customer Reviews

Johnny Apollo [VHS]

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A dazzling proto-noir gangster film, featuring Tyrone Power in one of his best roles, as "Johnny Apollo," a wealthy man's son who changes his name and turns to a life of crime after his father is exposed as an embezzler and sent to prison. Power effectively sheds his pretty-boy image as a romantic leading man, and does an excellent turn as a cynical tough guy -- even more astonishing is Dorothy Lamour's performace as Lucky, a hard-bitten gun moll who takes Johnny under her wing. Snarling out her lines in a thick urban accent, Lamour is about as far away from her Polynesian and exotic hottie typecasting as possible; she also gives one of the most convincing gangster gal portrayals I've ever seen. Better still, is Lloyd Nolan's turn as crime boss Mickey Dwyer, whose grinning, boyish enthusiasm and charismatic charm belies his violence yet completely explains Apollo's devotion to him. Nolan plays a cheerful psychopath -- the kind of role that Robert Deniro and Joe Pesci have so artlessly beaten to death -- with such naturalness and ease that his performance may actually be the heart of this film. Look for his scene with the icebox lock, and you'll see what I mean. I really enjoyed this film: if you're looking for a good gangster flick, or a Hollywood classic, check this one out!

This gangster film marked a distinct change of pace for both Tyrone Power and Dorothy Lamour. Indeed the shift really shows both performers in a very favourable light and reveals other sides to their performing abilities.

Tyrone Power by 1940 was at the peak of his popularity and had been named Box Office King of Hollywood the year before. He was however unsatisfied with being regarded solely as the glamour boy of Hollywwod and was eager to stretch himself as a performer in more serious roles. "Johnny Apollo" provided him with such a vechicle and he portrays an interesting multi dimensional character who is at times a likeable innocent but who develops into a hardened criminial because of circumstances beyond his control.

Dorothy Lamour was borrowed from Paramount for this role and in her Autobiography "My Side of the Road" she states how excited she was to find herself teamed with the number one heartthrob of Hollywood. Like all his co stars she found Tyrone to be a total joy to work with and someone who lacked any ego normally associated with alot of leading men. Dorothy had already enjoyed stardom at Paramount in such notable films as "The Hurricane" where she usually played a native girl in a sarong. In "Johnny Apollo" she has a complete change of pace playing Mabel 'Lucky' DuBarry the girl friend of gangster Lloyd Nolan who develops an interest in Tyrone's character. She is excellent portraying the world weary singer and gangsters mole with the heart of gold . Edward Arnold also is a stand out in the role of Tyrone's father Robert Cain Sr. His initial arrest on corruption charges is the catalyst which sends Johnny's life crashing down around him and while he reforms and learns the errors of his ways it has the opposite effect on Johnny who moves into a life of crime and corruption. Arnold, a superb character actor in many diverse performances has never been better than in this role and his great chemistry with Tyrone is obvious from their interactions and really gives the film an electricity and dramatic build up.

Twentieth Century Fox went all out with this production showing the seamy side of the gangsters world and included one very violent and brutal scene when Tyrone apprehends a gang member and has a fight with him in the street involving smashing his head into the pavement. Brutal stuff which gives the scenerio a raw edge which seems very realistic. Even Tyrone's very famous goodlooks have a more mature, darker look about them as if anticipating a more mature outlook in his screen presence for the future.

"Johnny Apollo" may lack a little of the gritty quality so evident in the classic Warner Bros gangster movies of the early thirties but it shows an interesting variation on the crime theme by displaying White Collar crime and in displaying prison as a possible place of rehabilitation that can have a positive influence.

Being a big Tyrone Power fan I do tend to enjoy him in his famous swashbuckling roles but "Johnny Apollo" is a particular favourite of mine as it combines a gripping story with great characterisations by Power, Lamour, Arnold and Nolan. These four really set the sparks flying in the story and all reveal pleasing aspects of their screen personas not greatly utilised before. If you like well written gritty dramas combined with just that touch of exciting melodrama you can't go past "Johnny Apollo" .

"Johnny Apollo" is one of those films that seem merely interesting at first, yet by the end, you're waiting breathlessly for the final word, your heart clenched with anticipation over what will befall the characters you've learned to care for.

Dorothy Lamour is excellent in this movie, fully convincing as the gangster's girl with a soft heart. Edward Arnold is simply wonderful as the title character's father, stubborn and standing by his morals no matter what the cost. Lloyd Nolan's performance is top notch, as well, the hard-hearted gangster whose ability to care for someone else is overwhelmed by his self-serving nature.

Tyrone Power gives the performance of his life (up to this point) as the son of a convicted criminal who is soon in over his head but too blind to see it. He lacks the light-hearted charm that is so much appreciated in many of his other films, but that kind of attitude would be out of place in a gangster movie such as this. His is a dark, brooding performance, excellently mature and moving, restrained yet honest. Such is his performance that his looks, strange as it may sound, are noticed only as an afterthought.

This is a taut, gripping human drama with nothing seeming out of place. Witty dialogue, surprising moments, wonderful cast, and little enough predictability to spoil anything. Certain things you know will happen, and it's the execution that counts. And here it's superb.

I was really impressed by this flick! I couldn't imagine how marvelous it was when I bought it at Amazon...It's one of the best gangster movies I've ever seen.Tyrone is brilliant as usual
and I really enjoyed Lamour's singing too...Go for it!

It's a little farfetched that Robert Cain Junior, when forced by dire circumstance to find an alias for himself, can't think of anything but "Johnny Apollo." Talk about vain! I suppose in today's hiphop world he'd call himself "Li'l Apollo."

But there's nothing little about Tyrone Power, who makes his entrance into the movie wearing nothing but a tiny pair of swim trunks, the old fashioned drawstring kind that look like costumer designers molded wet, gray, supple canvas directly onto his amazing buttocks. He's part of a crew team celebrating a big college victory over Yale, so all the boys are roughhousing playfully with their hero, like pups in a blanket. No wonder the paparazzi want to snap his photo; however what he doesn't know is that his dad, Robert Cain Senior, has been playing close to the mark for years and he's now been caught in a complicated embezzlement scheme and he's about to be sent to prison. Henry Hathaway's mise en scene ensures that the audience is thoroughly aware, in a series of tableaux that anticipate, eerily enough, Foucauldian theories of discipline, that people are safer in prison than out on the streets, and Edward Arnold's character reminisces disgustedly about "friends," saying he has more "friends" in here than he ever did out there. What's that all about? It's one thing to hit the viewer over the head with the idea that the two societies, in prison and out, are mirrors of each other, but were 1941 audiences ready for this movie? Dorothy Lamour gets a wonderful part, for once, but for her pains she has to sing one of Tin Pan Alley's most irksome tunes, "This Is The Beginning Of The End," in which the syllable "this" is drawn out like the "O" in "Oklahoma," and then all the other words have to come rushing out in one beat. With a straight face she almost manages to sing this while looking soulfully at Tyrone Power's beat up face.

Within half an hour or so Lloyd Nolan, as the angry racketeer, is swinging both his fists into her face as she lies supine on a brocaded couch. You see his punches from the elbows only, and you don't hear the sounds of his fists connecting, but despite the restrictions of the Hays Code, it's pretty clear what's going on. It's domestic violence like Farrah in THE BURNING BED. Lloyd Nolan steals every scene that he's in with his affable grin and his mean, snakelike little eyes. You don't want to get within twenty feet of him and yet, he makes such a play for Johnny Apollo a guy could get his head turned big time. You just keep hoping that Tyrone Power's love will save Lloyd Nolan from his own excesses. The movie has an extraordinary emotional pull, and Dorothy Lamour has one amazing necklace of dangling fetishes that looks like something Iman would have worn in 1975. I want it!

The compelling 1940 film noir "Johnny Apollo" is movie that effectively sullies the demarcation between honesty and criminality. A terrific cast help director Henry Hathaway create a worthy gangster based drama.

The commanding Edward Arnold plays Robert Cain a wealthy stockbroker who is indicted and then convicted of embezzlement. His incarceration causes his collegiate son Robert Jr. played by Tyrone Power drop out of school and become castigated in his attempts to make his way through life. Arnold's former friends including his lawyer Jim McLaughlin played by Lionel Atwill abandon him and leave dedicated son Power to twist in the wind.

Desperate to arrange a parole for his father Power seeks out lawyer Emmett Brennan played by the venerable Charley Grapewin. Grapewin's legal manuevering had resulted in an early release for convicted crime boss Mickey Dwyer played by Lloyd Nolan. He meets Nolan's girl Lucky played by a sarongless Dorothy Lamour and soon Nolan himself. Sensing an opportunity and desperate for money Power alligns himself with the manipulative Nolan changing his name to Johnny Apollo. He soon becomes Nolan's chief lieutenant and in short order becomes the focus of the attention of the district attorney.

Nolan and Power are soon subpoenaed and convicted and sentenced to the same prison as Power's father. Arnold playing Cain Sr. has become a model prisoner, serving out his sentence in exemplary fashion. Meanwhile Lamour who has fallen deeply inlove with the handsome Power is working on the outside to secure his release. Power embittered by his life experiences allies himself with the schizophrenic Nolan and agrees to participate in a daring escape. Arnold gets wind of the plot but can't convince Power to abandon his plan and gets shot for his trouble.

The cinema ethics code of the day assures that even reformed criminals like Power and Arnold still must pay for their crimes. The acting performances particularly by Grapewin, Arnold and Nolan highlight this noteworthy film. The movie however has a happy ending and imparts a moralistic message to its viewers.