norms of American society. In Little Caesar, it is strongly implied that Caesar Enrico Bandello (Edward G. Robinson) is gay as he is clearly jealous when his handsome friend Joe Massaria (Douglas Fairbanks Jr) dances seductively with his lover Olga (Glenda Farrell), which causes him to make his first major mistake that leads to his downfall. In The Public Enemy, the protagonist Tom Powers (James Cagney) is a casually brutal misogynist, most notably expressed in the famous scene when he rammed a grapefruit into the face of his girlfriend after she annoys him. About this scene and many others similar to it, the American critic Thomas Doherty noted "what went largely unremarked was the vicious nature of the relationships between men and women in the gangster genre". In Scarface, Tony Carmonte (Paul Muni) has a barely veiled incestuous passion for his sister Cesca (Ann Dvorak), which leads to his death. Despite the genre spanning the decade before dying out, some argue that the gangster film in its purest form only existed until 1933, when restrictions from the Production Code led to films that did not have the same power as the earlier ones. Production code As the appeal and attraction of gangster movie stars such as Cagney, Robinson, Muni, and Raft grew, so too did the efforts to combat their fascination. During the early years of crime film, Scarface, arguably the most violent of gangster films created during the entire decade, particularly was the subject of criticism. Released in 1932, it ushered in the worst year of the Depression, and as profits slid, Hollywood did what it could to restore its earnings, which resulted in the upping of sex and violence in the movies. Scarface can be interpreted as a representation of the American dream gone awry, presented when US capitalism had reached its lowest, and Prohibition was being seen as a failed social experiment and would soon be abolished. It faced opposition from regulators of the Production Code, and its release was delayed for over a year while Hawks attempted to tone down the incestuous overtones of the relationship between Paul Muni's character Tony Camonte and his sister (Ann Dvorak). The Capone-like Carmote is in many ways the most monstrous gangster portrayed in 1930s films, a man utterly devoid of any positive qualities as he ruthlessly schemes and shoots his way to the top. Through Carmote was closely based