Photoplay Editions & Movie Tie-Ins
The Golden Years [1912-1969] ... Gangster Films

As alcohol prohibition and the human need for consumption of such led to the rise of organized crime in the 1920s, Hollywood was quick to satisfy moviegoers with Tommy Guns galore.  The story of a street hood rising to the level of crime ‘Boss’ with power, riches, dames, and fame only to die violently is a common literary and screenwriting theme.  Book publishers and authors followed suit as readers and theatergoers alike couldn’t get enough of the big city gangster culture.

The first of three prime examples of gangster photoplay editions would be Little Caesar (1931) by W. R. Burnett published by A. L. Burt.  This reprint novel had four stills and repeated the dust jacket artwork from first publisher Lincoln McVeigh.  Edward G. Robinson as Caesar Enrico ‘Rico’ Bendello just had that natural gangster ‘look and sound’ that may have stereotyped his film career.  “Mother of Mercy! Is this the end of Rico?”, the last line of the dying Rico allowed Hollywood to send the message ‘crime doesn’t pay’. 

The Grosset and Dunlap first edition of The Public Enemy (1931) by Kubec Glasman & John Bright from their screenplay is the second prime example.  The role of Tom Powers played by James Cagney skyrocketed another film career in his depiction of an Irish American mobster.  The famous film scene where Cagney pushes the grapefruit into Mae Clarke’s face is iconic.  His death scene in the pouring rain and utterance “I ain’t so tough” is memorable.  This set’s up the simple phone message received by Tom’s brother and conveyed to Tom’s Mom “They’re bringing Tom home”.  As she prepares Tom’s bedding, there’s a knock at the door and Tom’s corpse falls onto the entrance carpet – The End.  An ending with a powerful message.  If you enjoy a little collector frustration, try to find the second dust jacket for The Public Enemy.

The third prime example of gangster photoplays would be Scarface (1932) by Armitage Trail (Maurice Coons) published by A. L. Burt (NYC) and Leisure Library (London).   Scarface is a nickname for Al (Alphonse) Capone, a Chicago resident who happens to have a knife scar on his cheek.  Capone is easily the name most often conjured when thinking of a famous gangster.  Paul Muni rose to stardom with his role as Tony Camonte, a character loosely based on Capone.  The most accurate film biography of Capone and his life of crime is the 1959 film Al Capone with Rod Steiger playing ‘The Boss” who became the most famous prisoner on Alcatraz Island in San Francisco Bay.  There are at least three nice paperback movie tie-ins for this film by Dell, Panther, and Pyramid publishers.  The St. Valentine’s Day Massacre, a 1967 film allowed Jason Robards to play the mastermind behind the execution of 7 members of the Bugs Moran’s gang and is published as a movie tie-in by Dell. 

Jean Harlow photoplay editions in dust jackets are highly prized.  She developed a film persona that had her often on the fringes of crime.  Examples include the Grosset and Dunlap editions for The Secret Six (1931), The Public Enemy (1931), and The Beast of the City (1932).

These three films were major factors in the increase of screen violence and the reactions that called for censorship in the movies.  The newly created Motion Picture Production Code refused to grant their Seal of Approval to Scarface due to the 43 murders depicted on screen.  Gangster movies had become the most profitable avenue for film production companies which continues today with our attraction to the criminal element.

Other classic gangster photoplay editions include Me-Gangster (1928), Lon Chaney in The Unholy Three (1930), The Big House (1930), and the 1931 films Born Reckless, Bad Sister, Paid, The Finger Points. 

Readers and audiences could not get enough of scenarios where the street-tough rose to Godfather status, only to be gunned down by competitors or police.  Films and biographies that have appeared depicting real-life individuals who gained folklore standing, continue to the present day and are usually profitable.  Bonnie and Clyde, John Dillinger, Meyer Lansky, Bugsy Siegel, and Al Capone are names that conjure fear and sometimes a “Robin Hood” persona.  Peter Falk as Abe Reles in Murder Inc. introduced the American Mafia, another aspect of a criminal enterprise that thrills readers and audiences alike.

The 1940s output can be seen on subject pages for Mystery, Film Noir and Femme Fatale.  Most tie-ins from the 50s-60s are of the paperback variety and crime films turned more towards the ‘big heist’ film or drug-related.

Webmaster: webadm@photoplay-edition.com (Bay State Systems)

Last Revision:  May 6, 2021 9:18 PM