Our final film tonight is an acclaimed classic from 70 years ago, which catapulted James Cagney to stardom.

It is perhaps helpful to remind everyone that this was the time of the Depression, and the economic decline was affecting the movie studios. In 1930, 80 million people went to the movies each week, compared with 110 million in 1929. (The numbers dropped to 50 million in 1932 and 1933). In 1931, 622 films were released in America, and of the 21 993 "theatres" in that country 13 128 were wired for sound. This figure came as rather a surprise, as I had thought that studios would be desperately installing sound into cinemas to capitalise on audiences clamouring to "hear the stars speak".

Warner Bros was always an innovative studio, indeed they were responsible for the first feature length talkie The Jazz Singer in 1927. Having decided to concentrate on realism, eschewing the gloss and sophistication of MGM and Paramount, Darryl F. Zanuck (studio head Jack Warner's right hand man) spotted that the headline grabbing antics of organised crime syndicates were ideal film fodder.

When first approached with the idea for this film, Zanuck allegedly told director Wellman:

"Look Bill, the gangster picture's dead. We've had Little Caesar and Doorway to Hell. What do you think you can bring to this one that will possibly make it different?"

Wellman replied:

"What I'll bring you is the toughest, the most violent; most realistic picture you ever did see."

Warner Bros stated intent with the film when it opened on 23 April 1931, was to remove the glamour from mobsters, however it could be argued that the film made it look as though being a gangster meant having a whale of a time. Nevertheless the film was a hit and Warner Bros produced many more crime-orientated films. The studio became renowned for its social realism and political relevance, which they combined with a downbeat image. These films were particularly attractive to working class audiences who attended their films in great numbers, which helped save the studio, turning an $8 million loss in 1931 into a profit by 1935.

Public Enemy was often cited as one of the films that led to the "The Hays Code" becoming mandatory in 1934. This was the code of The Motion Picture Producers and Distributors of America (MPPDA) which was established in 1922 and quickly became more popularly known as the Hays Office, after the first president of the organisation, Will H Hays (1922 - 45) (Not the British comedy actor!).

Interestingly bearing in mind the constraints placed on future films by that code, tonight's film is one of the least edited films in history, having only 360 ft cut from its original 8760 ft.

All these years on, The Public Enemy is perhaps less shocking and effective, however Cagney remains a very powerful and energetic screen presence. The fruit scene, by which the film is so readily identified, is allegedly based on a real incident in which a gangster named Hymie Weiss hit his girlfriend in the face with an omelet. In the film, the shock of the incident is clearly recorded on Mae Clarke's face - perhaps this is unsurprising given that Cagney had assured her that he would not touch her! Needless to say the scene was shot only once.

As an audience we can be thankful that Wellman swapped Cagney and Woods after a couple of days filming, thereby showcasing a multi talented performer.

I hope you find tonight's double bill from over 60 years ago an interesting contrast. Both films are rarely screened on television never mind in the cinema, so I am pleased that we can show them on one night.

IAIN McGLASHAN (CHAIRMAN)