Definitely one of the best gangster movies ever made. As the alcoholic attorney, Charley Grapewin, so memorable as Uncle Henry in "Wizard of Oz," Dorothy Lamour's complete change of pace from the 'Road' pictures to a moll, Edward Arnold, as the father who did wrong and Lloyd Nolan, as a slick gangster, make for an outstanding picture.When Arnold, a stockbroker, goes off to prison for embezzlement, his son, an able Tyrone Power, gets involved with gangsters in order to get his father out on parole. It is a terrific plot with those phenomenal performances. Lamour so aptly sings Beginning of the End. How appropriate that was.A grand story dealing with high collar crime and thugs in general. Interesting to note the deals that can be worked out. The best deal is to capture this worthy 1940 film.

Another reviewer used the label 'pre-noir' and I think it is a fitting description. 'Noir' is an elusive term and means different things to different viewers, but "Johnny Apollo" doesn't fill the bill in any case. No aura of menace, no expressionist lighting effects, no ambiguity of purpose in the hero's intent, to name a few qualifications. But those are some of my own prerequisites.Having said that, "Johnny Apollo" is a good pre-war crime drama with an attractive cast and an excellent script. The film works on its own terms and the players are so competent you can almost overlook the hastily-contrived ending which strains the viewers credulity. Edward Arnold, Dorothy Lamour and Tyrone Power are first-rate, although Arnold is the workhorse here and Power was a questionable choice for the title role, try as he might, and he did try. But as with Gary Cooper in "City Streets", Power is not a gangster. There are lots of familiar character actors and Dorothy Lamour gets to sing a few songs in her husky voice, and "Beginning Of The End" is a gorgeous song hardly heard at all these days.But what was the big rush to end the picture? As it was, there was an awful lot to swallow with multiple plot holes and loose ends. And the light-hearted last scene didn't fit. I still give it a rating of 7, as I just went with it as an enjoyable example of pre-WWII escapist entertainment.

Tyrone Power plays privileged young man Bob Cain, Jr., who adopts the nom de guerre Johnny Apollo when he takes to a life of crime. (Incidentally, this movie thus kicks off a string of at least a dozen crime stories of the ‘40s and ‘50s named Johnny Something-Or-Other: Eager, O'Clock, Stool Pigeon....) Power chooses crime to spite his father (Edward Arnold) by emulating his dog-eat-dog ethics, for financial tycoon Arnold has been sent to prison for embezzlement, causing a rift between the generations. After Power's initial snit over Dad's letting him down, his attempts to secure him an early parole lead, though `connected' shantoozie Dorothy Lamour, to the underworld. The muscles he developed rowing crew in the Ivy League stand him in good stead as muscle in the mob, for soon he becomes a trusted lieutenant in Lloyd Nolan's crime family (plausibility is not the movie's long suit). But Pop (who has reclaimed his spiritual center in the Big House by welding boilers) disowns his namesake when he learns of his new line of work. In due time, of course, Power ends up behind those bars as well. But that's far from the end of the tale....The plot of Johnny Apollo, a major production, takes a few turns too many but manages to keep a just-passable amount of credibility. Though Power, in the lead, stays less than persuasive as a menacing mobster – he's too much of a pretty-boy, and lacks the acting resources to turn himself into a pretty-boy psychopath – the rest of the cast compensates. Predictably, Arnold is good, as is, in the role of a mob mouthpiece with a weakness for Scotch-and-milk, Charlie Grapewin (whose first film credit falls in the last year of the 19th Century!); the two seem to be vying for title of America's sweetheart, old-codger division. Best of all is Lamour, with her sad eyes and fetching pout, who leaves an impression here of a skilled actress, more than she managed in all the Hope-Crosby `Road' pictures put together.Direction is by Henry Hathaway, an uneven craftsman who nonetheless rose to the occasion for a handful of movies; this can be counted among his stronger efforts, along with The Dark Corner, Kiss of Death, Fourteen Hours and Niagara. But Johnny Apollo cleaves more closely to the crime melodramas of the previous decade than to the unsentimental and ambiguous style soon to come. But, in it, one can nonetheless sense – particularly in its heavily shaded photography – the birth pangs of film noir, struggling to come into the world.

Tyrone is awful in this movie, absolutely without sparkle or charisma. However, Edward Arnold is a delight. His acting and character outshine both Dorothy Lamour who is great and the script which is fairly flat and predictable. Lloyd Nolan is also excellent. What makes it odd is the complete lack of any chemistry between the two leads. Tyrone is totally asexual towards Dorothy and she gives it her sensual best both through song and come-on. I would have liked to have seen Edward and Dorothy make it ! Tyrone redefines wooden in this. It is hard to determine what attracts Dorothy to him. An inflatable doll would have been more animated. Gave it a 7 for Edward.