federal agents and pleaded, 'Don't shoot, G-Men! Don't shoot, G-Men!'" James Cagney was recruited for the lead role as the well educated and incorruptible Brick Davis. G Men was essentially intended as a corrective to the film that catapulted Cagney to fame, The Public Enemy (1931). Just as he adopted G-Man as a badge of honor for his men, J. Edgar Hoover also attempted to re-invent the "Public Enemy" label by referring to the most notorious criminals as "public rat number one". The G-Men concept was extended in the 1940s to include the Junior G-Men film serials. The Dead End Kids, a group of wisecracking New York City street toughs who appeared in numerous films, were transformed into amateur detectives, helping the FBI solve cases. Walk East on Beacon! (1952), produced by Columbia Pictures and starring George Murphy, portrays the activities of the Bureau in their hunt for Communist spies in Boston. Released during the height of 1950s anti-Communist hysteria in the United States, the film's pedantic narrative, its presentation in the style of a documentary, and its basis in a story written by J. Edgar Hoover himself and published in Reader's Digest, indicates it is blatant propaganda. Samuel Fuller's Pickup on South Street (1953) aroused the ire of J. Edgar Hoover, who met with Fuller and Darryl F. Zanuck of 20th Century Fox to express his disapproval of many aspects of the film. Zanuck refused to make the changes Hoover demanded, and consequently, the advertising for the film had to remove all references to the F.B.I. The FBI Story (1959), produced by Warner Bros. and director Mervyn LeRoy, relates the history of the FBI from the point of view of a fictitious character, Chip Hardesty (played by James Stewart). FBI chief J. Edgar Hoover served as consultant on this film, which forced director LeRoy to reshoot several scenes that did not meet with the FBI's approval. Producer Robert Evans claimed that during production of The President's Analyst (1967), he was visited by FBI Special Agents who told him that due to its unflattering depiction of the FBI, the Bureau wanted the film altered or canceled. However, Evans refused either to stop or to make changes to The President's Analyst. Only when pressure came from his studio did he change the FBI to the FBR and CIA to CEA by redubbing the voice track. Evans believed his telephone was monitored