I wanted to but couldn't!

Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

This movie feels like it was made purely to piss off people who want good shows

I have read the raving reviews of the other commenters. Perhaps I wasn't in the mood, or perhaps gangsters movies are just my thing but this one just didn't do it for me.I must admit I initially wanted to see it out of sheer curiosity for Ms Payton -who really held her own in this movie next to James Cagney. Aside from that, I can't put my finger on what exactly made it a tedious watch for me. Let's say that it seemed it overall lacked coherence or direction.

Free of the nagging headaches of White Heat James Cagney once again goes to his bread and butter gangster role for the second time in row after putting it on sabbatical for a decade. He's no Cody Jarret but homicidal nonetheless.Ralph Cotter (Cagney) busts out of prison with the help of an inmate's sister (Barbara Payton). Returning to his life of crime other opportunities become available when he switches his identity. Soon he has a pair of corrupt cops in his pocket while being ably assisted by a crooked lawyer and the cash begins to roll in. When he falls for a society dame matters get tenuous.Unlike Jarrett Cagney's Cotter has the intemperate rage under better control in Goodbye allowing him to convey his cocksure threatening arrogance with a degree of sanity and control. More grounded without the mother fixation it extends his reach in things both criminal and romantic.Barbara Payton in her first big role shines and shows great promise in a career that would nosedive as fast as rise while Falcon detective duo Barton McClain and Ward Bond, stretching his role more than usual, reprise their occupations but this time they are on the take. Luther Adler's corrupt lawyer 'Cherokee' Mandon gives an excellent understated performance buttressing Cagney by being a worthy adversary and advocate in attempting to keep Cotter on his game. Prolific director Gordon Douglas ( 5 features in 1950, 4 more in 51) keeps things moving along at a decent pace with straightforward storytelling and handling of subplots that clearly in comparison lacks the desperation and intensity of Heat but remains a decent follow-up worth the watch.

"History repeats itself, first as tragedy, then as farce" -- the famous Marx quote also counts for Jimmy Cagney's last gangster movie, a lackluster rehash of his 30s screen persona and classic Cagney stuff, the legendary grapefruit scene from The Public Enemy now transformed into a leaden homage with Barbara Payton tossing a cup of coffee at Cagney, who has -- I hate to say it -- lost his magic, the dancer elegance, the energetic body language, the aggressive upstart aura. While White Heat from the previous year captures Cagney as a completely berserk character, a distorted middle-age mirror image still breathing the intensity of youth, Kiss Tomorrow Goodbye merely reflects the portrait of the artist as his depleted doppelganger. Director Gordon Douglas can't hold a candle to Raoul Walsh, the production value looks more like Poverty Row than Warner Bros., the script is clumsy, and Cagney walks through this 35 mm swan song like he's anticipating those legendary words uttered by Elvis five years later in the opening of Milkcow Blues: "Hold it, fellas. That don't move me. Let's get real, real gone."

Some people here are claiming that this is very similar to WHITE HEAT down to Cagney playing a violent villain in the same vein as Cody Jarrett . I disagree . Ralph Cotter is a violent anti-hero and that's what he is - an anti-hero where as Cody Jarrett is one of the most terrifying psychotic screen villains committed to celluloid which on that score alone makes WHITE HEAT an all time classic of cinema . KISS TOMORROW GOODBYE is a much lesser known film and there might be a very good reason to this The good points are that it stars Cagney . Let's be blunt and say Cagney was never an actor but he was a movie star and his idiosyncratic style can carry the most mediocre of material . The story for the most part is very engaging and what makes Ralph Cotter an anti-hero the audience can empathise with is the fact he's usually only killing and blackmailing villains , stool pigeons and corrupt officials . Do your job , don't grass on your friends , behave yourself and you'll have nothing to worry about from Ralph Where the story falls down quite badly is that there's a couple of character subplots involving dames . One involving a female called Holliday Carleton makes some sense but the other involving Margaret Dobson does not and it's impossible to believe this young woman would have any romantic attraction to Ralph . You also have to overlook the fact that Ralph is a hunted man and yet nearly everyone from traffic cops to Margaret's father fail to recognise Ralph . These two romantic subplots seem merely to exist to set up the ending . In other words the story structure is painfully contrived in order to bring the story to an end and it's this that stops KISS TOMORROW GOODBYE from being a classic crime drama instead of being a watchable thriller