In the previous issue,New Yorkerfilm criticJohn Mosherexamined the morals of pre-code, “underworld films” such asEdward G. Robinson’sLittle Caesar.Mosher didn’t seem all that impressed with these new gangster films, that is, untilJames Cagneylent his talents toThe Public Enemy. May 2, 1...
Miguel Covarrubias was one of the first artists to contribute to the fledgling New Yorker, and his linear style was well known to readers when he opened his latest show at New York’s Valentine Gallery. It featured works he had created during a 1931 sojourn in the East Indies. Critic Murdo...
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