The Crowd Roars (1932) Review: The Good, The Bad & How to Watch

 

The Crowd Roars (1932) Review: The Good, The Bad & How to Watch 

American Film, Action, Drama, Sport

Venice International Film Festival, 1932- Official Selection

The Crowd Roars (1932), directed by Howard Hawks and starring James Cagney, is an electrifying pre-Code picture that takes the audience deep into the high-octane, perilous world of professional automobile racing. More than just a sports film, it's a gritty, fast-paced melodrama that explores the complex bonds of family, the allure of fame, and the inescapable dangers of a life lived at 150 miles per hour (ca. 241 km/h). More on Wikipedia or Mubi 

The Crowd Roars (1932): Racing Towards Tragedy 

The Allure of the Racetrack

The film centers on Joe Greer (James Cagney), a supremely talented and wildly ambitious race car driver. Cagney, in one of his quintessential early roles, portrays Joe with a magnetic combination of cockiness, underlying vulnerability, and raw star power. He is the quintessential American hero of the machine age—skilled, driven, and slightly reckless.

Hawks utilizes the setting of the American racing circuit, complete with dusty dirt tracks and the deafening roar of engines, to create an atmosphere thick with excitement and latent danger. The cinematography plunges the viewer into the heart of the action, making the racing sequences genuinely thrilling, a significant achievement for the period. The film's authentic depiction of the racing life—the mechanics, the pit stops, the relentless travel, and the constant threat of a career-ending crash—lends it a powerful, documentary-like realism.

A Collision of Personal and Professional Life

The central conflict of The Crowd Roars is the collision between Joe's personal relationships and his single-minded dedication to the track. His younger brother, Eddie (Eric Linden), idolizes Joe and attempts to follow in his footsteps, driving the same dangerous circuit. This sibling dynamic introduces a powerful theme of responsibility and the destructive nature of idolization.

Adding further tension is the relationship between Joe and his fiercely protective older friend and co-worker, Spud (Guy Kibbee), and the two women in his life: Ann (Joan Blondell), a shrewd and loyal friend of the family, and Lee (Ann Dvorak), a more sophisticated, slightly detached love interest.

The dramatic climax is spurred by a tragic racing accident involving Eddie, forcing Joe to confront the consequences of his own arrogance and the price of his fame. This event is handled with pre-Code directness and emotional rawness, characteristic of Hawks's uncompromising storytelling.

Howard Hawks’s Signature Style

The Crowd Roars is a superb example of Howard Hawks's early command of narrative. The film showcases his signature elements: the focus on professionalism and competency in a high-risk environment; stark, efficient dialogue; and a distinct ability to blend action, humor, and tragedy seamlessly. He celebrates the skill and dedication of the workers—the mechanics and drivers—who live by a stringent, unspoken code.

Despite being 90 minutes long, the film never lags. It moves with the speed of a race car, building momentum and suspense right up to its satisfying, yet morally complicated, conclusion. The film is rightfully celebrated today as a masterful piece of early Hollywood filmmaking, capturing the spirit of a dangerous, thrilling era in American sports.

 The Crowd Roars (1932): Highs and Lows 

Howard Hawks's The Crowd Roars is a dynamic piece of pre-Code filmmaking, but like any movie, it has elements that shine and others that detract from the overall experience.

The Good: What Makes the Film Roar

•  Electrifying Pace and Action: The film moves with the speed of the race cars it depicts. Hawks's direction is taut and efficient, keeping the narrative focused and thrilling. The actual racing sequences are captured with a palpable sense of danger and excitement, making them genuinely cinematic.

• James Cagney's Magnetic Performance: Cagney is in top form as Joe Greer, the arrogant but ultimately vulnerable star driver. He injects the character with the necessary blend of charisma and sharp temper, making Joe a compelling anti-hero whose ambition drives the entire plot.

•  Pre-Code Supporting Actresses: Joan Blondell as Ann and Ann Dvorak as Lee offer strong, well-defined female roles that are characteristic of the pre-Code era. They are not simply passive love interests but assertive characters who challenge Joe's ego and have their own clear agendas.

• Authenticity and Professionalism: Hawks excels at portraying working professionals in high-stakes fields. The depiction of the racing world—the pit crews, the mechanics, the drivers' code—feels authentic and respects the competence required to survive in such a dangerous line of work.

The Bad: Where the Film Stalls

•  Overly Melodramatic Plot Devices: While the pre-Code sensibility allows for emotional rawness, the central conflict involving the rivalry and tragic accident between the two brothers, Joe and Eddie, can feel overly heavy-handed and manipulative at times, leaning into melodrama rather than pure drama.

•  Formulaic Character Arc: Joe Greer's journey follows a somewhat predictable path: cocky rise, dramatic fall due to hubris, and eventual redemption. While Cagney sells the transformation, the narrative structure itself is a well-worn sports film template.

•  Uneven Focus on Supporting Cast: While Blondell and Dvorak shine, the younger brother, Eddie (Eric Linden), is given a less developed character arc, making his pivotal role in the drama feel less impactful than it could be. He often functions merely as a plot device to facilitate Joe's character growth.

•  Dated Technical Aspects: While the racing footage is exciting for its time, modern viewers may find some technical execution, particularly in the editing and use of stock footage, slightly jarring or dated compared to contemporary action cinema.
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