James Cagney Net Worth Income Profile and Salary (New York, 1904-1986) American actor. He grew up in a humble family of Irish origin, in one of Yorkville’s most dangerous neighborhoods. He performed all kinds of trades to get paid for his studies, which he had to give up after his father died. Hired as a theater decorator, he had the opportunity to make his debut at the Music Hall in 1919.
During the twenties he performed in musical comedies, often forming a duet with Frances Vernon, his wife, and for five years in dramatic plays on Broadway. Like many other actors of his generation, he came to Hollywood at the same time as the spoken films. Silent cinema had gone down in history and the time had come for actors with strength in the voice and physical dynamism.
He signed, along with Bette Davis and Edward G. Robinson, a long contract with Warner Bros., after a series of insignificant roles, soon gained fame incorporating the gangster Tom Powers in the unforgettable film William A. Wellman The Public Enemy (1931). Crucial, hard and violent, Cagney’s performance was memorable.
In spite of the extreme cruelty of the personage, the public felt quickly identified with the actor and asked for its participation in other films. Between 1930 and 1941, James Cagney played 38 films for the company of the Warner brothers. Although most can be considered action and crime dramas or comedies, with little budget and rapid production, many of them are considered authentic black gangsters or action classic.
He turned his career by taking the side of William Keighley’s Law Against the Empire of Crime (1935). Cagney, raised by a swindler, becomes an agent of F.B.I., when a friend is killed by a band of gangsters. Three years later he returned to his natural side, that is, far from the law, as his admirers wanted, in Michael Curtiz’s masterful dirty-faced Angels. Ruin and abject, Cagney is in this movie the type of gangster who was stylized at the time, but will get redemption through a mythical end: doomed to the electric chair, accept the plea of his old friend the priest and passes by Cowardly in the eyes of those young people for whom he should not be an example. Cagney, pleading for mercy at the feet of a policeman, got one of the grandest interpretations of film history.
He was once again splendid in W. Keighley’s Each Dawn I Die (1939), in the role of a journalist who, after denouncing the prosecutions of the district prosecutor, finds himself the victim of a montage that leads him to jail. No less splendid was Raoul Walsh’s The Violent Twenties (1939), where he plays a war veteran who, returning from the front, proud of having served his homeland, is on the street, out of work and, almost , With no place to sleep. It will have no choice but to create a distribution network of Whiskey, along with a cruel and temperate Humphrey Bogart, during the years of the dry ban. He falls in love but is rejected; He tries to redeem himself, driving a taxi, but they will not let him. Another actor would not have managed to give such doses of drama, as much disenchantment as Cagney was able to offer his character.
He was nominated three times for the Oscar for Best Actor: in 1938 for Angels with Dirty Faces, in 1955 for Love Me or Leave Me, an issue in which he got it, and in 1942 for Yanky Dandy, where he gave life to composer George M. Cohan . The film offered Cagney the opportunity to display his enormous talent as a talented singer and dancer, something that Warner did not know how to exploit in his time.
A series of disputes, always around the salary, with Warner Bros, led Cagney to form, along with his brother William, once also actor, a small and independent producer, Cagney Productions. Unfortunately, the firm did not produce films that were too successful, getting United Artist (the company of Chaplin and Mary Pickford) to distribute only the first three (The Tramp, Blood on the Sun and The Time of Your Life), but they opened a path In the industry that many would soon follow.
In 1949, Cagney returned to Warner Bros., and did so with a masterpiece by Raoul Walsh, Al Red, where he played a tremendously violent gangster with a clear fixation around his mother. On this occasion, Cagney, under Walsh’s masterful leadership, took the image of a gangster, a psychopath, to extremes of Freudian complexity. Never the actor, in the role of Arthur Cody Jarrett, was so intense, electric or dangerous. In the incredible final scene, Cagney, before being shot by the police, shouts from the top of a burning tower: “Look, Mother, I’m on top of the world.”
During the fifties, Cagney played films where he often incorporated villain characters for different film studios and, occasionally, for his own production company. He also directed, in this decade, his unique film, Short Cut to Hell (1957), based on a novel of the British writer Graham Greene. Unlucky, he did not get back behind the camera. He was previously masterfully directed by Raoul Walsh in A Lion in the Streets (1953), in which he played an unstable globe-trotter who passes in a town in a southern state, where he meets a teacher who gives balance To his life, uses his gift of people to become a popular local politician and ends up surrendering, of course, to the corrupt temptations that power gives.
John Ford directed him twice and not in two good movies. One of them did not even manage to finish it: Scale in Hawaii (1955). With Ford ill, it had to be terminated by Mervyn LeRoy. The other was The Price of Glory (1952). Cagney was magnificent even in westerns, something that seemed not to go too much to his physical characteristics; An example was Robert Wise’s The Hangman Act (1956), a strange film in which Cagney, who had Irene Papas as a casting partner, played a powerful landlord willing to do everything to preserve her land.
His temporary farewell to the screens came after an astonishing performance in a masterpiece by Billy Wilder, One, Two, Three (1961), where he gives life to MacNamara, a senior Coca-Cola executive in East Germany who must face The unexpected wedding of the daughter of its chief (Pamela Tiffin) with an obstinate communist (Horst Buchholz). All this in the absolute madness, with a devilish rhythm, supported almost entirely by the impressive capacity of James Cagney, in one of the best roles of his life.
Only the friendship of his neighbor, the director Milos Forman, managed to remove him from his retirement, 20 years later, to intervene in Ragtime (1981), according to the novel by E.L. Doctorow, a beautiful comedy, rich in situations and characters, that evokes American society at the beginning of the century. Cagney was already sick and only the television took a new interpretation to him (Terrible Joe Morgan, 1984).
Net Worth of James Cagney
The Net Worth of James Cagney in 2017 is $300 Million.
|Full Name||George Clooney|
|Net Worth||$200 Million|
|Annual Income||$25 Million|
It would be impossible to imagine the gangster movies of the thirties and the productivity of Warner Bros, in that same splendorous decade, without the invaluable work of James Cagney. He and his characters, all different but all with something of their own personality, turned the films of Warner into classics of the cinema. The rhythm, the agility and vitality that impressed each one of his interpretations always emphasized to him like great actor.