Word: g-men
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...unnecessarily obscured from his viewers by the lack of any narration or subtitles identifying the scenes. Most viewers are hard pressed to identify the shock-stricken father of John Dillinger being interviewed after his son's violent death at the hands of J. Edgar Hoover's newly armed G-men. The significance of many of the scenes is reduced by their brevity and the breakneck pace at which Mora carries the viewer through the period...
...emerge as the two interpreters of the 1930s for the American people. Mora's attention to F.D.R. is reasonable, but his excessive treatment of Cagney is unconvincing. One of the cult heroes of the 1930s, Cagney reasserted the qualities of aggressiveness and independent thinking in Lady Killer (1934) and G-Men (1935), but this revival of ruggedly self-reliant attitudes was not as important as F.D.R.'s uniquely successful exorcism of fear and death during the New Deal...
...Penn's later brilliance and is probably better than some of his more popular work. The cast for this laconic look at class conflict in the rural South includes Marlon Brando--playing the archetypal Southern sheriff--and young versions of Robert Redford and Jane Fonda. It's playing with G-Men, a film in which Jimmy Cagney switches from hood to FBI agent. Well, out of the pan and into the fire...
...memorandum written by J. Edgar Hoover: "The purpose of this program is to expose, disrupt, and otherwise neutralize the activities of the various New Left organizations, their leadership, their adherents." The plan was eventually divided into three principal sections--Old Left, New Left and Black Nationalism. The Old Left G-Men were responsible for covering the Communist Party and the Socialist Workers Party. New Left operatives may well have included in their ranks the infamous "Tommy the Traveller," an agent provocateur working out of Hobart, Cornell and other colleges during the late sixties. The Black Activism unit focused...
...have been raised that the image of the bureau would be seriously impaired by his confirmation. That image, under Hoover, was always overburnished by excessive pressagentry. Americans grew up in the 1930s listening to radio's Gangbusters, and kids eagerly wrote in to get tin badges as "Junior G-Men." Hoover used his headquarters flacks to ghostwrite hundreds of magazine articles glorifying the FBI under his byline. Then came a succession of movies (The House on 92nd Street, I Was a Communist for the FBI). In its prime The FBI was watched by 45 million televiewers a week. The movie...