on Al Capone, the most notable aspect of his character, namely his "incestuous obsession" with his sister and the way he kills any man who expresses any sort of interest in her as he wants her for himself, was not based on Capone. Besides for Capone, there are many references to The Great Gatsby in Scarface such as the scene where Carmonte lovingly caresses his silk shirts, which like the same scene in The Great Gatsby are a sign of material success for the protagonist. The Great Gatsby was the best-selling novel of 1925, and the references to the novel in the film were meant to symbolize the decay of America from the hopeful days of 1925 to the sense of collapse of 1932. The violence and the barely veiled theme of incestuous passion greatly outraged critics, churches, politicians and civic groups in 1932. The journalist Jack Alicoate in the Film Daily wrote that watching Scarface induced "nausea" in him and that "There are certain things that simply do not belong on the screen. The subject matter of Scarface is one of them". Eventually the Production Code and general moral concerns became sufficiently influential to cause the crime film in its original form to be abandoned, with a shift to the perspective of the law officers fighting criminals, or criminals seeking redemption. This is illustrated by James Cagney's role as a law officer in the 1935 movie G Men, and his part as Rocky Sullivan in Angels with Dirty Faces (1938), for which he received an Academy Award nomination. These pictures demonstrate the growing acceptance of crime films during the 1930s as long as criminals were not portrayed in a flattering light. For example, in G-Men, Cagney plays a character similar to that of Tom Powers from The Public Enemy, and although the film was as violent and brutal as its predecessors, it had no trouble getting a seal of approval from the Production Code office. It was now the law officers that the films attempted to glamorize, as opposed to the criminals. 1930s culture Politics combined with the social and economic climate of the time to influence how crime films were made and how the characters were portrayed. Many of the films imply that criminals are the creation of society, rather than its rebel, and considering the troublesome and bleak time of the 1930s this argument carries significant weight.