In Raoul Walsh's potent portrayal of a criminal gang roving backroads America, Cagney permanently redefined psychopathic criminality in the movies. [22 May 2005, p.25]
White Heat is to the gangster genre what The Good, The Bad, and the Ugly was to Westerns: it took all the clichés, tropes and general violence of its genre and made it into art.
What makes the famous 1949 Raoul Walsh gangster film White Heat a classic is its crackling tension that derives from Walsh's breakneck pace and the developing psychological complexity of James Cagney's Cody Jarrett. [21 Oct 1990, p.6]
Cagney's magnetism stems from his note-perfect combination of broad gestures and subtle shifts of posture, but the keen eyes of his directors are what make his gangster pictures classics.
One of James Cagney's last gangster roles is also his most fondly remembered, not to mention his best. Spoiled with an outstanding supporting cast, he cuts loose as the remorseless, cackling villain Cody Jarrett, a flawed mastermind with enough emotional baggage to fill a warehouse.
The film's plot alternates from simple to involved and back again; a pair of rudimentary heist tales drive the action, while a whole slew of gripping tentacles tie every footnote and aside into the big picture in time for the explosive finale. White Heat also shows no reluctance about killing off major cast members. Perhaps because there are so damn many of them. Outside of the very first scene (a train robbery that doesn't exactly go according to plan) the plot is essentially one long, bad idea that slowly grows and unfolds into the inevitable climactic shootout. Easy to follow and to enjoy, it accepts no excuses from any perspective.