Twenties starring James Cagney and Humphrey Bogart, basing it on his own experiences during that decade. In his onscreen foreword to the film, he wrote: Producer Hellinger began worked as a producer on B pictures such as The Adventures of Jane Arden (1939), Women in the Wind (1939), Hell's Kitchen (1939) and The Cowboy Quarterback (1939). Hellinger also helped produce The Roaring Twenties (1939) starring James Cagney and Humphrey Bogart, his first "A" film. He produced Bs for a little bit longer: Kid Nightingale (1939), and British Intelligence (1940). Then Hellinger established himself as a top level producer with It All Came True (1940) starring Ann Sheridan and featuring Bogart. He followed it with Torrid Zone (1940) starring Cagney and Sheridan, and Brother Orchid (1940) with Edward G. Robinson, Bogart and Sheridan. Hellinger made four classics directed by Raoul Walsh: The Roaring Twenties (1939) with Cagney and Bogart; They Drive by Night (1940) with George Raft, Sheridan, Bogart, and Ida Lupino; High Sierra (1941) with Lupino and Bogart; and Manpower (1941) with Robinson, Marlene Dietrich and Raft. He made a comedy titled Affectionately Yours (1941) with Merle Oberon and Rita Hayworth. Hellinger went over to 20th Century Fox to make two films: Rise and Shine (1942), a musical, and Moontide (1942) with Jean Gabin, Lupino, Thomas Mitchell and Claude Rains. Due to a congenital heart condition, Hellinger repeatedly was rejected for active service during World War II. Instead, he briefly worked as a war correspondent, writing human interest stories about the troops. Back at Warners, he produced the all-star musical revue Thank Your Lucky Stars (1943) and made Between Two Worlds (1944), The Doughgirls (1944), and The Horn Blows at Midnight (1945). Universal Hellinger set up at Universal, where he had his own producing unit. He had a big hit with The Killers (1946) which made stars of both Burt Lancaster and Ava Gardner. He followed it with Swell Guy (1946) with Sonny Tufts, The Two Mrs. Carrolls (1947) with Bogart back at Warners, Brute Force, and The Naked City, which he also narrated. The last film was released several weeks after Hellinger's death, and in his review for the New York Times, Bosley Crowther called it "a virtual Hellinger column on film" and "his appropriate valedictory" and observed, "The late Mark Hellinger's personal romance with the City of New York was one of the most ecstatic love affairs of