Frisco Kid

It's 1854 San Francisco, the wickedest city in the world. Bat Morgan (James Cagney) walks into a saloon and gets shanghaied. He barely escapes. He turns the table on Shanghai Duck and starts his rise from the city's Barbary Coast.

I do love James Cagney but I don't necessarily love Bat Morgan. He's a cocky son-of-a-gun. At the start, he's the underdog and that's very compelling. It's rough and tumble. That would have been great if it stayed that way. His rise is too smooth until he faces some resistance from the father. The slower middle stalls the movie. This is fine but it's not the best.

I doubt that any other film of the time had as many boisterous crowd or mob scenes as this one. So Cagney better be a human dynamo or he'll be overwhelmed by sheer numbers, whether it's crowds in big watering holes or lynch mobs hurtling down streets. It's Gold Rush Frisco of the 1850's. On the low end of town is the Barbary Coast, about as sinful and noisy as waterfronts get. On the high end of town are the swells and well-dressed folks, and by golly, never the twains shall meet. That is, until Cagney's ambitious low-born Bat Morgan schemes his way into both worlds and criminally networks them. Seems he's good at everything, except winning the hand of the classy Miss Barrat (Lindsey) who won't buck the social distance lying between them. So what will happen once his contrived empire starts to sprout holes.

The flick's typical WB from the period—fast, tough, and not too sentimental. Cagney's Cagney, a pint-sized dynamo if ever there was one. He's about as dominating a character as Hollywood has had and perfect for the part. The plot-line itself is not too plausible, but the spectacle does compensate. I wish more time was spent on the details of Bat's scheming and social climbing. After all, that was Cagney's movie appeal-- his lower class drive against all odds.

On the other hand, catch Ricardo Cortez as the one truly slick crook of the bunch. But what about Solly's (Stone) relationship with the domineering Bat. They're buddies, sure, but catch Solly's expressions when the two get close to one another. Too bad about the facile ending which is typical Hollywood of the Code period. Had the movie been made a pre-Code two years earlier, I wonder if the ending would have been the same.

All in all, the storyline is pretty disjointed, really needing a longer runtime for its networking and class themes to develop. There's also the anti-lynching element that doesn't really grieve— after all, the victims are hardly innocent. However, it's really crowd atmospherics and Cagney, that's worth catching up with. Anyway, I expect every extra in Hollywood got a welcome WB payday, along with a chance to shout their lungs out.

I don't understand why this film has low ratings. It is simply great. I've always been a huge Cagney fan. And I'm not partial nor do I play favorites when it comes to a good film. Thus- my simple, honest, basic review....

You will not get bored. You will be hooked into the movie from the start and you will truly appreciate the work that went into this movie. The idea of it is pretty unique and it was not exactly easy to make a film set in such a time. 1850's. Imagine that. But don't be put off. There is a 1930s appeal. And you can see this being made in our modern times. There is also a gritty edge to the plot. Cagney is a sailor who was robbed and left for dead. He brilliantly comes back with a smart vengeance. And the other characters keep you interested as well.

I don't want to give too much away, but you will be on Cagney's side right from the start and not just because you love the guy. The story is not lame and overly simple. The actors all pulled together and made this wonderful.

And Cagney is dynamite. As expected.

It seems odd this drama from Cagney's main star period would be obscure until you watch it.

Cagney is dynamic as ever but those two cinematic black holes Margaret Lindsay and Donald Woods stop the film dead in its tracks whenever they appear in a scene.

Lindsay, who Warners tried their damnedest to make into a star, is stiff and affected in the female lead. Her scenes with Cagney become more an interesting example of star quality and naturalism versus posturing for the camera than believable love scenes. In their close-ups he is animated and alive and she seems to be waiting for him to finish talking so she can flatly deliver her lines.

Woods is even worse but his role is smaller so he is less irksome but when he's not on screen you don't miss him.

As far as the film's storyline it's standard stuff about the clash between the Barbary Coast and Nob Hill society. If you're a Cagney fan it's worth checking out but one viewing will probably be enough.

Mediocre Warner Bros. period piece which goes off to a good start, but is hampered by a predictable narrative, an unfocused storyline and a lack of exciting moments, not to mention Jimmy's terrible hairdo in the later stages.

The picturesque Barbary Coast setting is a plus, though, and this one's the first movie I've seen, that features a lynch mob whose anger you actually understand (though the people are portrayed just as sheepishly dumb as always.)

Not Cagney's best hour, to be sure.

5 out of 10 hooked hands