When we think of a gangster, we may think of speakeasies and luxury cars or maybe drive-bys, but we always imagine a man who He's not afraid to get his hands dirty to aspire to a higher place on the social ladder. They will think of a man represented in a genre of cinema more American than any other, the gangster film. This genre began in the early thirties and has been readapted each decade to fit a new era. Although gangster films may fit a certain cultural era, they remain deeply tied to the foundations of the genre and its historical relevance to the American dream. This is evident when comparing the differences and similarities between The Public Enemy and American Gangster. To better understand this comparison, one must understand the origin of some of the classic conventions of the gangster film genre. The classic gangster film focuses on a multitude of standards set by some of the earliest gangster films. This genre was born as an escape from the negative depression era. People flocked to see the gangsters rise from rags to riches with their lavish lifestyles and beautiful women. As Shadoian puts it, "the gangster's sparkling wit, elegant lifestyle, and amoral audacity were something like Alka-Seltzer for the headaches of depression" (Shadoin 29). However, it hasn't all been easy for the gangsters, with bloodshed being defined as part of the business, with guns being a constant motive. Despite these negative results, it's easy to see how this genre was such a great escape from everyday life where the American dream seemed to no longer exist. Both The Public Enemy and American Gangster follow the classic gangster movie plot convention of rags-to-riches. riches, the desire to reach the Soul...... middle of paper ......e and each changing story. The United States adapts and changes with the times, but remains true to certain values, just like gangsters do. So it seems that many of the conventions of the gangster film genre are part of a larger metaphor for the conventions of American history. A country that started from very little and became a global superpower by, some would say, questionable means. One would hope that the only convention that is not true is that of the rise and fall of the gangster. Works Cited Barry, Keith and Grant, eds. Film Genre Reader III. Austin, Texas: University of Texas Press, 2003. Print. Shadoian, Jack. Dreams and dead ends The American gangster film. 2nd ed. New York, NY: Oxford University Press, 2003. Print. Silver, Alain and James Ursini, eds. Gangster movie player. Pompton Plains, NJ: Limelight Editions, 2007. Print.