In 1955 Cagney replaced Spencer Tracy on the Western film Tribute to a Bad Man for Metro-Goldwyn-Mayer.
He received praise for his performance, and the studio liked his work enough to offer him These Wilder Years with Barbara Stanwyck.
The two stars got on well; they had both previously worked in vaudeville, and they entertained the cast and crew off-screen by singing and dancing.

In 1956 Cagney undertook one of his very rare television roles, starring in Robert Montgomery's Soldiers From the War Returning.
This was a favor to Montgomery, who needed a strong fall season opener to stop the network from dropping his series.
Cagney's appearance ensured that it was a success.
The actor made it clear to reporters afterwards that television was not his medium: "I do enough work in movies.
This is a high-tension business.
I have tremendous admiration for the people who go through this sort of thing every week, but it's not for me."

The following year, Cagney appeared in  Man of a Thousand Faces, in which he played Lon Chaney.
He received excellent reviews, with the New York Journal American rating it one of his best performances, and the film, made for Universal, was a box office hit.
Cagney's skill at mimicry, combined with a physical similarity to Chaney, helped him generate empathy for his character.

Later in 1957, Cagney ventured behind the camera for the first and only time to direct Short Cut to Hell, a remake of the 1941 Alan Ladd film This Gun for Hire, which in turn was based on the Graham Greene novel A Gun for Sale.
Cagney had long been told by friends that he would make an excellent director, so when he was approached by his friend, producer A. C. Lyles, he instinctively said yes.
He refused all offers of payment, saying he was an actor, not a director.
The film was low budget, and shot quickly.
As Cagney recalled, "We shot it in twenty days, and that was long enough for me.
I find directing a bore, I have no desire to tell other people their business".

In 1959 Cagney played a labor leader in what proved to be his final musical, Never Steal Anything Small, which featured a comical song and dance duet with Cara Williams, who played his girlfriend.

For Cagney's next film, he traveled to Ireland for Shake Hands with the Devil, directed by Michael Anderson.
Cagney had hoped to spend some time tracing his Irish ancestry, but time constraints and poor weather meant that he was unable to do so.
The overriding message of violence inevitably leading to more violence attracted Cagney to the role of an Irish Republican Army commander, and resulted in what some critics would regard as the finest performance of his final years.

Cagney's career began winding down, and he made only one film in 1960, the critically acclaimed The Gallant Hours, in which he played Admiral William F. "Bull" Halsey.
The film, although set during the Guadalcanal Campaign in the Pacific Theater during World War II, was not a war film, but instead focused on the impact of command.
Cagney Productions, which shared the production credit with Robert Montgomery's company, made a brief return, though in name only.
The film was a success, and The New York Times' Bosley Crowther singled its star out for praise: "It is Mr. Cagney's performance, controlled to the last detail, that gives life and strong, heroic stature to the principal figure in the film.
There is no braggadocio in it, no straining for bold or sharp effects.
It is one of the quietest, most reflective, subtlest jobs that Mr. Cagney has ever done."

Cagney's penultimate film was a comedy.
He was hand-picked by Billy Wilder to play a hard-driving Coca-Cola executive in the film One, Two, Three.
Cagney had concerns with the script, remembering back 23 years to Boy Meets Girl, in which scenes were reshot to try to make them funnier by speeding up the pacing, with the opposite effect.
Cagney received assurances from Wilder that the script was balanced.
Filming did not go well, though, with one scene requiring 50 takes, something to which Cagney was unaccustomed.
In fact, it was one of the worst experience
In 1955 Cagney replaced Spencer Tracy on the Western film Tribute to a Bad Man for Metro-Goldwyn-Mayer. He received praise for his performance, and the studio liked his work enough to offer him These Wilder Years with Barbara Stanwyck. The two stars got on well; they had both previously worked in vaudeville, and they entertained the cast and crew off-screen by singing and dancing.
In 1956 Cagney undertook one of his very rare television roles, starring in Robert Montgomery's Soldiers From the War Returning. This was a favor to Montgomery, who needed a strong fall season opener to stop the network from dropping his series. Cagney's appearance ensured that it was a success. The actor made it clear to reporters afterwards that television was not his medium: "I do enough work in movies. This is a high-tension business. I have tremendous admiration for the people who go through this sort of thing every week, but it's not for me."
The following year, Cagney appeared in  Man of a Thousand Faces, in which he played Lon Chaney. He received excellent reviews, with the New York Journal American rating it one of his best performances, and the film, made for Universal, was a box office hit. Cagney's skill at mimicry, combined with a physical similarity to Chaney, helped him generate empathy for his character.
Later in 1957, Cagney ventured behind the camera for the first and only time to direct Short Cut to Hell, a remake of the 1941 Alan Ladd film This Gun for Hire, which in turn was based on the Graham Greene novel A Gun for Sale. Cagney had long been told by friends that he would make an excellent director, so when he was approached by his friend, producer A. C. Lyles, he instinctively said yes. He refused all offers of payment, saying he was an actor, not a director. The film was low budget, and shot quickly. As Cagney recalled, "We shot it in twenty days, and that was long enough for me. I find directing a bore, I have no desire to tell other people their business".
In 1959 Cagney played a labor leader in what proved to be his final musical, Never Steal Anything Small, which featured a comical song and dance duet with Cara Williams, who played his girlfriend.
For Cagney's next film, he traveled to Ireland for Shake Hands with the Devil, directed by Michael Anderson. Cagney had hoped to spend some time tracing his Irish ancestry, but time constraints and poor weather meant that he was unable to do so. The overriding message of violence inevitably leading to more violence attracted Cagney to the role of an Irish Republican Army commander, and resulted in what some critics would regard as the finest performance of his final years.
Cagney's career began winding down, and he made only one film in 1960, the critically acclaimed The Gallant Hours, in which he played Admiral William F. "Bull" Halsey. The film, although set during the Guadalcanal Campaign in the Pacific Theater during World War II, was not a war film, but instead focused on the impact of command. Cagney Productions, which shared the production credit with Robert Montgomery's company, made a brief return, though in name only. The film was a success, and The New York Times' Bosley Crowther singled its star out for praise: "It is Mr. Cagney's performance, controlled to the last detail, that gives life and strong, heroic stature to the principal figure in the film. There is no braggadocio in it, no straining for bold or sharp effects. It is one of the quietest, most reflective, subtlest jobs that Mr. Cagney has ever done."
Cagney's penultimate film was a comedy. He was hand-picked by Billy Wilder to play a hard-driving Coca-Cola executive in the film One, Two, Three. Cagney had concerns with the script, remembering back 23 years to Boy Meets Girl, in which scenes were reshot to try to make them funnier by speeding up the pacing, with the opposite effect. Cagney received assurances from Wilder that the script was balanced. Filming did not go well, though, with one scene requiring 50 takes, something to which Cagney was unaccustomed. In fact, it was one of the worst experience
James Cagney