Mafia films—a version of gangster films—are a subgenre of crime films dealing with organized crime, often specifically with Mafia organizations. Especially in early mob films, there is considerable overlap with film noir. Popular regional variations of the genre include Italian Poliziotteschi, Chinese Triad films, Japanese Yakuza films, and Indian Mumbai underworld films. History The American movie The Black Hand (1906) is thought to be the earliest surviving gangster film. In 1912, D. W. Griffith directed The Musketeers of Pig Alley, a short drama film about crime on the streets of New York City (filmed, however, at Fort Lee, New Jersey) rumored to have included real gangsters as extras. Critics have also cited Regeneration (1915) as an early crime film. Though mob films had their roots in such silent films, the genre in its most durable form was defined in the early 1930s. It owed its innovations to the social and economic instability occasioned by the Great Depression, which galvanized the organized crime subculture in the United States. The failure of honest hard work and careful investment to ensure financial security led to the circumstances reflected in the explosion of mob films in Hollywood and to their immense popularity in a society disillusioned with the American way of life. 1930s The years 1931 and 1932 saw the genre produce three enduring classics: Warner Bros.' Little Caesar and The Public Enemy, which made screen icons out of Edward G. Robinson and James Cagney, and Howard Hawks' Scarface starring Paul Muni, which offered a dark psychological analysis of a fictionalized Al Capone and launched the film career of George Raft. These films chronicle the quick rise, and equally quick downfall, of three young, violent criminals, and represent the genre in its purest form before moral pressure would force it to change. Though the gangster in each film would face a violent downfall which was designed to remind the viewers of the consequences of crime, audiences were often able to identify with the charismatic anti-hero. Those suffering from the Depression were able to relate to the gangster character who worked hard to earn his place and success in the world, only to have it all taken away from him. Because of the Production Code, such films had to always end with the gangster protagonist dying in a hail of bullets at the film's climax. Furthermore, the film's protagonist was always somehow "deviant" from the