Born Reckless
"A Gangster in the Trenches... A Hero in the Underworld!"
Plot
Louis Beretti is a notorious New York gangster who, along with his associates, is apprehended following a daring jewelry store heist. Seeking to capitalize on the patriotic fervor of World War I for his re-election campaign, a savvy judge offers Beretti and his crew a choice: serve a lengthy prison sentence or enlist in the Army to fight on the front lines in France. Louis survives the horrors of the trenches and returns home as a decorated war hero, determined to leave his criminal past behind by opening a legitimate, albeit speakeasy-style, nightclub. However, his transition to a law-abiding citizen is jeopardized when his old gang leader, 'Big Shot,' kidnaps the child of a woman Louis promised to protect. Forced into a final confrontation, Louis must use his lethal skills one last time to rescue the infant and settle the score with his former underworld allies.
About the Production
The film was one of John Ford's earliest 'talkies' and served as a transitional piece as he adapted to sound technology. It was based on the 1929 novel 'Louis Beretti' by Donald Henderson Clarke. Interestingly, the film was originally intended as a vehicle for Paul Muni, but the role eventually went to Edmund Lowe. Director John Ford reportedly had little affection for the script and added a comedic baseball game sequence in France simply because he found it more interesting than the primary plot. The dialogue scenes were largely staged by Andrew Bennison, a common practice at Fox where Ford would handle the action and Bennison would manage the static sound recording requirements.
Historical Background
Released in 1930, the film sits at the intersection of several major historical shifts: the transition from silent to sound film, the height of Prohibition in America, and the lingering cultural memory of World War I. The plot reflects the 'Great War' as a transformative experience for the 'Lost Generation,' suggesting that even a criminal could be redeemed by national service. Simultaneously, it captures the public's fascination with the 'Gangster'—a figure that rose to prominence during the 1920s due to the illegal alcohol trade.
Why This Film Matters
'Born Reckless' is significant as an early entry in the gangster genre, predating the genre-defining 'Little Caesar' (1931) and 'The Public Enemy' (1931). It is also a crucial artifact in the filmography of John Ford, showing his early attempts to blend his signature themes of duty, camaraderie, and the 'outsider' with the new demands of talking pictures. The film's cynical view of political corruption (the judge using the war for re-election) is a hallmark of the Pre-Code era's disillusionment with authority.
Making Of
The production of 'Born Reckless' was marked by the technical limitations of early sound cinema. John Ford, who was used to the visual freedom of the silent era, found the bulky sound equipment and the need for actors to stay near hidden microphones frustrating. To combat the 'stiffness' of early talkies, Ford focused on the action-heavy war sequences and the final shootout, leaving the dialogue-heavy 'staged' scenes to co-director Andrew Bennison. The casting of Edmund Lowe was a point of contention for critics; while Lowe was a major star, many felt he lacked the authentic 'street' quality required for an Italian-American mobster, a role that might have redefined Paul Muni's career had he stayed with the project.
Visual Style
The cinematography by George Schneiderman utilizes the stark, high-contrast lighting typical of early noir and gangster films. Ford employs deep shadows in the urban scenes to create a sense of menace, contrasting with the more expansive, though technically constrained, shots of the battlefield in France. The film features a notable final shootout that uses the swinging doors of the nightclub to partially obscure and then reveal the violence, a sophisticated visual touch for 1930.
Innovations
One of the film's technical achievements was its attempt to move the camera during sound sequences, a difficult feat in 1930 when cameras were usually housed in soundproof 'booths.' Ford and his team experimented with ways to maintain visual dynamism despite the 'talkie' requirements, particularly in the nightclub and trench sequences.
Music
The soundtrack is primarily composed of diegetic music (music occurring within the world of the film) and early orchestral scoring by Peter Brunelli. The film famously concludes with a brisk rendition of 'The Caissons Go Rolling Along,' reinforcing the military theme that serves as the protagonist's path to redemption.
Famous Quotes
Judge: 'I'm going to give you three guys the greatest opportunity you ever had in your life... I'm going to give you a gun and make soldiers out of you instead of letting you eat your head off up there at Elmira.'
Louis Beretti: 'It's a game you can't beat. Now I'm making a lot of dough, but they'll bump me off first.'
Bill O'Brien: 'Louis' bottle! Get him a drink, he'll be alright.'
Memorable Scenes
- The courtroom scene where the judge cynically offers the gangsters a choice between the trenches and the 'big house' for his own political gain.
- The comedic baseball game played by the soldiers in the middle of the war-torn French countryside.
- The final, tense shootout in the nightclub where Louis confronts 'Big Shot' behind swinging doors, ending with a staggering, wounded Louis leaning on his friend.
Did You Know?
- This film features very early, uncredited appearances by future superstars John Wayne and Ward Bond as soldiers.
- It is the first of many collaborations between director John Ford and screenwriter Dudley Nichols, who would later win an Oscar for Ford's 'The Informer' (1935).
- The film was released during the 'Pre-Code' era, allowing for grittier violence and more cynical political themes than later 1930s films.
- Bela Lugosi, famous for 'Dracula', reportedly has an uncredited bit part as a nightclub patron.
- The character of Louis Beretti was modeled after real-life Italian-American gangsters of the Prohibition era.
- John Ford later admitted to Peter Bogdanovich that he didn't think the story was very good and largely directed it as a studio assignment.
- The film's title was changed from the novel's title 'Louis Beretti' to the more sensational 'Born Reckless' to appeal to action audiences.
- Randolph Scott makes one of his earliest screen appearances in an uncredited role as Dick Milburn.
What Critics Said
At the time of its release, reviews were mixed. The New York Times praised it as 'thoroughly entertaining' and 'blessed with clever acting,' while Variety was more critical, suggesting that Edmund Lowe was miscast and that the film lacked a strong romantic interest. Modern critics view it as a 'minor gem' and a fascinating look at Ford's development, noting that while the plot is disjointed, the visual execution of the action scenes remains impressive.
What Audiences Thought
Audiences in 1930 were generally receptive to the film's blend of war action and crime drama, as both genres were highly popular. Edmund Lowe's star power helped draw crowds, though the film did not achieve the legendary status of later gangster epics. Today, it is mostly sought out by John Ford completists and fans of early 1930s cinema.
Film Connections
Influenced By
- The novel 'Louis Beretti' by Donald Henderson Clarke
- Real-life Prohibition-era crime reports
- The Big Parade (1925) - for its depiction of WWI
This Film Influenced
- The Roaring Twenties (1939) - which also features a gangster returning from WWI
- Scarface (1932) - in its depiction of the Italian-American underworld
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Film Restoration
The film is preserved and exists in the 20th Century Fox archives. It has been released on DVD as part of the 'Ford at Fox' collection and is occasionally screened at retrospectives of John Ford's work.