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While this fact-based picture is wildly inaccurate in it's depiction Jim Fisk's life and death, THE TOAST OF NEW YORK remains an entertaining portrait of the financial scene in New York during the late 1800s. Three writers are credited with a screenplay that does not skimp on moral and financial complexities (although the film's romantic triangle is handled rather routinely), and director Robert V. Lee manages to keep everything moving at a brisk pace while effectively juggling piercing melodrama with lovely moments of light comedy. Edward Arnold and Frances Farmer contribute terrific performances, and Cary Grant is also memorable playing second banana to Arnold's Fisk - although no one else in the cast makes much of an impression. This lavish, expensively budgeted film was a box office flop when originally released, but it holds up quite nicely all these decades latter and deserves to be rediscovered by a larger audience.

If Jim Fisk were alive and operating today, he'd be on television and would run that well known introvert Donald Trump right off the tube with bad ratings. It's how that colorful fellow operated, never did anything in a small way.

Though the film has taken a great deal of liberty with the facts as has been pointed out by other reviewers, the essence of the man has been quite accurately captured by Edward Arnold. Also the characters of Uncle Dan'l Drew and Cornelius Vanderbilt are finely etched by Donald Meek and Clarence Kolb respectively.

It's quite true that Fisk got the start of his fortune by running contraband cotton out of the South, taking advantage of the fact that the one crop Confederacy couldn't export its crop because of the Union blockade. I'm sure that things were pretty hairy for Fisk as well as for his fictional partners Cary Grant and Jack Oakie.

Josie Mansfield as played by Frances Farmer was certainly not the first or last entertainer to take advantage of the attentions of a wealthy man. That was certainly demonstrated more accurately in Love Me or Leave Me by Doris Day as Ruth Etting. She was not as nice as Farmer and the script made her.

Frances Farmer in her memoirs said that while the film was not the type of material she was looking to do, she did enjoy working with Cary Grant who was to her as he appears on screen.

Though his efforts to control the gold market got him his most notoriety, they were not responsible for Fisk's demise. In fact the film's most glaring factual error was the omission of Fisk's partner in that enterprise, Jay Gould.

By the way Gould was in personal habits the exact opposite of Fisk. He was a rather sober, responsible family man who had no real vices of any kind other than greed.

The second big factual error was in that in the gold cornering scheme Fisk and Gould sought to gain influence in the Grant White House through hooking Ulysses Grant's brother-in-law, Abel R. Corbin in the move. That part did not work.

Nevertheless Edward Arnold in the title role gives a grand portrayal of a most colorful character from The Gilded Age.

Hokey but enjoyable RKO biopic of Jim Fisk, 19th century financier and crook. As with most historical biopics, this is more fiction than fact (especially the end). Actually, I'll say this is even more loose with the truth than the average historical biopic from the time. The story tells how Fisk (Edward Arnold) rises to financial success on a series of crooked deals with his two cronies (Cary Grant, Jack Oakie). Eventually he has a falling out with one of them (Grant) over a girl (Frances Farmer).

Edward Arnold is always worth watching and this is no exception. Cary Grant fans will likely be disappointed at his supporting role, which is more suited to a Patric Knowles type. Still, there are moments where Cary shines above the material. Such as the scene with the bratty actress where he tells her she's ugly. Jack Oakie and Donald Meek are fun comic relief. Of note for having one of the better roles of Frances Farmer's career. She's very good here and, if you don't know about her, you might wonder why she didn't go on to bigger & better things. Well, you should look up her story. It's very interesting and tragic. Overall, it's an entertaining movie. Goes on a little longer than it needs to and the romance stuff is blah. But solid performances and healthy doses of humor help. Worth a look if you're a fan of old Hollywood biopics.

In my opinion the finest character actor of the 1930s - mid 1940s was Edward Arnold, whose tragedy (although he would not have seen it that way) was that his acting career was not in a period when leading men (with the exception of the Englishman, Charles Laughton) could be fat. Arnold gave first rate performances time and time again in straight dramas and comic parts. But he was plump, in an age when you hoped a make-up man could make you look like Tyrone Power (as the original lyrics of Hooray for Hollywood suggested). Still he got quite some milage out of his abundant acting talent, expecially playing historical rich men: Diamond Jim Brady (in two films), General John Sutter, and here - "Col." James Fisk, Jr. And his performance, abetted by Frances Farmer, Cary Grant, Jack Oakie, Donald Meek, and Clarence Kolb, makes this film stay alive. It is an entertaining film - but is it historically correct.

Well, it has some of the facts (although it's basis in Matthew Josephson's left wing histories of finance are barely correct). Fisk was a greedy man - no denying it. He did get involved in fighting Vanderbilt (allied with "Uncle Dan'l" Drew)in getting control of the Erie Railroad. He did flee to New Jersey with the printing press to continue printing shares of Erie stock away from Vanderbilt's legal writs. He did try to corner the gold market. And he did romance Josie Mansfield (Farmer). But Vanderbilt was no saint - he was as ruthless as Fisk. Drew was a pretty slippery customer too (here seen to be too easily cowed or frightened). Missing here is Fisk's real partner in cunning (apparently also a really close friend too) Jay Gould. Why he isn't in the film is curious. So is the muted character played by Cary Grant. Grant is Ned Boyd, and aside from being an early ally of Fisk, and later his chief critic (in the Gold Panic), he has little to do but pine for Mansfield. In reality, the character is based on Edward Stokes, Fisk's former friend and business associate who turned on him, out of jealousy, and with Mansfield blackmailed the man - or tried to. Stokes would eventually shoot Fisk (who in real life did fall down a staircase, but in a hotel). Fisk died in 1872. One day his tragic betrayal and death would make an ideal movie. But Arnold can't play it - alas!!

This makes for interesting viewing in the wake of Martin Scorsese's THE WOLF OF WALL STREET (2013), even if I only intend checking that one out in time for the Oscar ceremony next month! It is the biopic of 19th century American financier Jim Fisk – a larger-than-life Edward Arnold – who rose to prominence from nothing but ultimately grew too big for his boots.

The film has a nice period flavour, punctuated by the initial comedy sense of Fisk's petty swindles (done in cahoots with partners Cary Grant and Jack Oakie). Their fortunes turn during the Civil War, but Fisk's ambitions are set too high (taking on mild-mannered tycoon Donald Meek and Clarence Kolb as the famed Cornelius Vanderbilt) and his ruthless tactics certainly do not endear him to rivals and 'victims'. Eventually, Grant himself steps out to oppose him: though this has just as much to do with his personal feelings towards Fisk's girlfriend (played by the tragic Frances Farmer) – whom he at first frowns upon but then falls for (when pushed by Fisk himself to take care of her for him, while he is busy making more money for the two of them!).

The whole is typical Hollywood entertainment of the era, the heyday of the biopics (though Warners had cornered the market in this field, the film under review is an RKO production) – even if the subject matter proves necessarily heavy-going to the casual viewer. The sheer professionalism with which this is made also extends to the bit parts – which, surprisingly yet very amusingly, include two of the most likable foils in the classic comedies of Laurel & Hardy, namely Billy Gilbert as a flustered (what else?) photographer and James Finlayson (curiously unbilled) as one of the myriad inventors who turn up at Fisk's firm hoping to be financed.

Edward Arnold plays Jim Fisk, one of the leaders of the "Erie Gang" who made the Gilded Age such an entertaining era for anyone who didn't have to live in it. Along with his loyal aides, played by Cary Grant and Jack Oakie, and the woman he loved, played by Frances Farmer, they cut a swath in New York financial affairs, co-opting Donald Meek's "Daniel Drew" and suckering Clarence Kolb's "Cornelius Vanderbilt" out of five million dollars. But could he corner gold and bankrupt the rest of Wall Street?

There are a number of historical oddities in this version of history. One is the absence of Jay Gould, ultimately the most successful of the Erie Gang, and who turned out to know how to run the Union Pacific Railroad when he got his hands on it. That's easily explained. Several of Gould's sons and daughters were still alive, still enormously wealthy, and thus legal barriers to mentioning them without permission. The other is Fisk's death: here it's at the hands of a mob. In reality, he was shot by the Cary Grant character, who was also a lover of the Frances Farmer character. At one point during the tangled affairs, Grant's character suggested that Miss Farmer's character decide; she thought they could all be good friends, and Fisk replied "You can't run two engines on one track in contrary directions at the same time."

A good thing for a railroad man to say. This movie is pretty entertaining. It's always good to see Arnold in a leading role, and he spends a lot of time chuckling and outwitting everyone. Even so, the best parts are played by Meek and Kolb. Miss Farmer, alas, is rather wan.

It's rare to see the iconic Cary Grant get second billing, but in 1937, he did, under Edward Arnold in "The Toast of New York." This is the purported story of financial schemer Jim Fisk (Arnold), who, in the 1800s, tried to corner the gold market, oversold stock to his railroad company, and fled to New Jersey, continuing to print convertible bonds where no one could get him. The film takes a lot of liberties with the truth but it leaves no doubt that Fisk was a real character, beautifully portrayed by the talented, energetic Arnold. Grant plays his co-conspirator who also loves Fisk's discovery, Josie Mansfield (Frances Farmer). Fisk is madly in love with her and wants to make her a big star.

I have to say the movie dragged for me, and I didn't find it particularly interesting. The point of interest in it today, I guess, would be the presence of Frances Farmer, whose fascinating story was made into "Frances" starring Jessica Lange (and wow, the resemblance is incredible). Farmer was very beautiful with a deep voice that didn't really match her looks. The fact that her life story made her better known than her film career ever could have shouldn't be confused with acting ability, which wasn't that great on film. She was probably much more effective on stage. She doesn't register much here -in fact, the only ones who do are Arnold and Donald Meek. Handsome Grant doesn't have much to do - seen today, that's disconcerting. Viewers are used to him being the whole show.

Overall, a disappointment, though Arnold was a strong actor who usually did supporting roles. This is a rare lead for him, and he's more than up to the task.

There were two big-time money men in New York of the mid to late 19th century who had the moniker, "Diamond Jim." The more familiar one in recent times was James Buchanan Brady (1856-1917) whose reputation was more above board than was that of James Fisk (1835-1872). Both men lived flamboyant lives and were much in the spotlight. Brady was known for his gargantuan appetite and eating contests. He was a close friend of singer and actress Lillian Russell, and he was a philanthropist. Fisk, on the other hand, was known for his cunning and underhanded methods of acquiring wealth.

I mention all of this about the two Diamond Jims because Edward Arnold played both of them, including Jim Brady twice The first was in the 1935 biopic, "Jim Brady," and the second in the biopic of "Lillian Russell." Arnold's role in the latter propelled that film some. Lilliam Russell had a great voice and was a beloved performer; but that biopic was so fictionalized that it was a terrible picture of Russell. On top of that, the usually good and talented Alice Faye played Russell, with very little singing. That's because her voice was so low compared to Russell's. That was a real example of miscasting and fictional garbage. But, it was Arnold who saved that picture from being a total loss.

While Diamond Jim Brady was a sort of darling of Wall Street and the New York social scene, Diamond Jim Fisk was considered a renegade of the New York Stock Market. He also had the moniker of "Jubilee Jim" by the press, for his celebrations when he had a great success or conquest. And, in this film, Edward Arnold plays Fisk to the hilt. It's a fictionalized account of Fisk and his partner, Edward Stiles Stokes. Nick Boyd is his name in the movie, and the film captures the major shenanigans that Fisk pulled off, including capture of Daniel Drew's company, his railroad deals, effort to corner the gold market, and his flamboyant New York National Guard maneuvering. Arnold plays Fisk superbly; and Cary Grant plays Nick Boyd. But, his part seems reticent - probably due to the script, because Grant's amiable and energetic persona had already come out a couple years before. Jack Oakie plays Luke, another member of Fisk's group. They get their start during the Civil War, with flim-flam operations like the old-fashioned medicine shows with wagons that moved from town to town.

Frances Farmer plays Josie Mansfield, in the necessary female role for a film like this. She was a real person in Fisk's life. But some other golden era stalwarts for comedy also add to this film Donald Meek plays Daniel Drew, Clarence Kolb is Cornelius Vanderbilt, and Billy Gilbert plays a photographer.

This film is more fun than fact, but it does have some history in it, and a very good portrayal of an historical figure of the 19th century. But, to keep the facts straight - Fisk was married, and Josie Mansfield was a has-been on the stage, but a performer in a popular bordello of the time. The change in character, from Stokes to Boyd for Grant's part seemed obvious, since Fisk's one-time partner Stokes was his killer. He is the one who shot Fisk on January 6, 1872 in the Grand Central Hotel.

Critics overall didn't rate this movie very highly and it lost money. Where comedy and romance films of the rich and famous were popular throughout the Great Depression, this film's focus on the greed and graft of Fish's methods may have undermined it. But, n real life, in the mid-19th century, Fisk was much loved by the general public, in contrast to his standing in the financial and blue-blood circles of New York.

The Toast of New York is directed by Rowland V. Lee and features a screenplay collectively written by Dudley Nichols, John Twist and Joel Sayre. It's adapted from two stories, "The Book of Daniel Drew" written by Bouck White and "Robber Barons" written by Matthew Josephson. It stars Edward Arnold, Cary Grant, Frances Farmer, Jack Oakie and Donald Meek.

Jim Fisk-half genius, half clown-began life with empty pockets, a pack on his back, and a Yankee gift of gab.

Loving a uniform-always in the front of every parade-he became the Barnum of Peddlers, and then skyrocketed into "high finance" in Wall Street, where in a few brief years he startled a nation with his colourful career.

But in 1861-before the first guns of the Civil War were fired-he was still an obscure peddler-somewhere south of the Mason and Dixie Line.

Jim Fisk was a very interesting man in the world of finance, his life and death certainly had enough about it to warrant a film being made about him. Sadly this particular biopic is dull, where even the fact that the makers fictionalised some of the plot fails to make it worthy of further viewings. Annoying as well is that RKO really put big money into the production, and you can see that up on the screen in the sets, costuming and the number of people who are in it. It was a troubled production, and numerous stars were linked to play the key roles, and with the Hays Office casting their censorship shadow over things, it's perhaps unsurprising that the film ended up a flop at the box office. The tone is uneven, with the comedy an uneasy fit, and there's not a great deal to laud in the acting. Arnold gives it bluster and Farmer is sweet, while Grant is forced into yet another suit and asked to be a romantic interest. Oakie has his moments, but they are few, while best of the bunch is Meek as Daniel Drew.

Disappointing and it perhaps would have been better served being a straight drama and sniping 20 minutes off of its run time. 4/10

Toast of New York was the Heaven's Gate and/or Cleopatra of its day, a film which almost sank its studio, RKO. RKO invested well over $1 million (a huge sum in 1937) into this film and it shows in every frame--incredible sets and costumes and the kind of polish you don't see anymore. The film was beset with pre-production problems, going through several announced stars (Spencer Tracy, Ginger Rogers, etc.) before settling on Farmer, Grant and Arnold. Writer Dudley Nichols was fired and re-hired as the production began shooting. The film, despite its pedigree, was greeted with decidedly mixed reviews and had lukewarm boxoffice response. Uneven in tone and historically inaccurate, it still is grand entertainment in the late 30s manner, with high drama and low comedy interspersed with about equal measure, and excellent performances by Farmer, Arnold and Oakie. Only Cary Grant seems somewhat ill at ease in a role quite different from his usual screen persona. The press materials on Toast are almost as lavish as the film itself, capitalizing on Farmer's recent success in "Come and Get It." The song Farmer sings, "The First Time I Saw You," was a chart hit for Bunny Berigan (who also charted with the theme from another Farmer film, "Ebb Tide") in 1937.

The Toast of New York, despite the lavish look, top-notch cast and occasional bursts of energy, is a ten-ton bore - chiefly, I think, because of the long-winded script and pedestrian direction. Others have commented on the production difficulties and personnel changes which may be responsible for the bland result. Early in the story we are treated to a colorful but talky exposition which sets the plot in motion: On the day the Civil War starts, Jim Fisk (Edward Arnold), itinerant peddler, and his partners in crime (Cary Grant and Jack Oakie) devise a scheme to buy cotton cheaply in the South, smuggle it North and sell it at a high price to New England mills, thus launching the career of one of the fabled financial speculators of the 19th century. But, instead of the whiz-bang, rise-and-fall saga laced with comedy which this introduction leads us to expect, we get 100 minutes of routine montages followed by more expository talk (mostly about financial deals), interspersed with boisterous crowd scenes and tepid romantic interludes with the exquisite Frances Farmer, who plays Josie Mansfield, an aspiring stage actress who is taken under Fisk's wing. None of this ever rises above the mundane. Edward Arnold gives his familiar robust, take-charge performance (see the 1937 screwball comedy EASY LIVING and the previous year's COME AND GET IT which this film resembles in theme and plot); Grant and Oakie are pretty much themselves as well, though the full impact of Grant's screen charisma is blunted in this non-comic role. Farmer is presented more as a comely production value than a full-blooded character. She spends most of her screen time in a series of splendid period gowns uttering banalities that barely suggest the emotional states of her character. She too played a similar role in COME AND GET IT, to far stronger effect. One would expect this kind of storytelling from a Warners assembly-line quickie, but it's terribly disappointing to encounter it in a 100-minute-plus grade-A production by RKO. I'll give it a "4" for Farmer and Arnold.

Great film - starts out as a whimsical joyride and ends with a thought-provoking meditation on the evils of greed. Arnold is grand as the larger than life huckster turned Wall Street whiz. Farmer is his temptation (she actually stars in a musical by that name in the movie) and boy does Arnold take the bait. Unusual mix of biblical imagery and slapstick, but it all holds together. One point of interest - Arnold and Farmer play almost exactly the same characters in another movie of that period - "Come and Get it"

How could anyone think of placing Cary Grant in a film and giving him practically nothing to do?! Well, even though it was relatively early in his career, he had plenty of charisma and star status that it just didn't make sense having him play second to Edward Arnold--who played an annoying and ridiculous version of the life of Jim Fisk. These two characters were also teamed with Jack Oakey--who was there solely for comic relief. All together, they had very little chemistry together and the film itself was dreadfully uninteresting. In many ways it had SOME of the appearance of films such as MANHATTAN MELODRAMA or SAN FRANCISCO (all had a pretty impressive budget and sets), except these films set in roughly the same period in American history were interesting! A poorly written script, too much comic relief and a complete ignorance of the actual historical facts make this movie a real chore to sit through and one of the few in recent months that I truly couldn't stand. Even "bad" movies (such as some of the 50s sci-fi flicks) can often be enjoyed for their campiness or your ability to laugh at them--this one is just dull.

My advice? See any of Cary Grant's other marvelous films--he didn't make that many as poor as this one and made so many classics that deserve your attention.

I am always on the lookout for the products of the Golden Age of Hollywood, especially ones that I haven't seen before. In a lifetime of watching classic films, I had never seen this one. The opening credits indicate that this film was based on a story called *Robber Barons,* which gives you some idea of the subject matter. The three anchoring parts are played by Edward Arnold as Jim Fisk, Cary Grant as his partner Nick Boyd, and Jack Oakie as Luke, seeming a bit "country bumpkinish" I thought in the company of the other two bons vivants. The love interest, in the form of showgirl Josephine Mansfield, is filled by lovely Frances Farmer. I must give a special mention to old reliable supporting actor Donald Meek - usually seen as a fixture in MGM features. Here he is given one of the ripest supporting roles I have ever seen him in as Bible-spouting, aphorism-quoting, shipping magnate "Uncle Daniel" Drew. I will say no more for now, so as to avoid spoilers, but I found his performance truly wonderful. The film is lensed beautifully in stunning black and white, features smooth direction by *Son of Frankenstein* and *Tower of London* director Rowland V. Lee, and most especially the cast are supported by a literate, witty script featuring some of the juiciest dialog that has been my pleasure to indulge in in years. This film is right up there with such classics of the era as *His Girl Friday* (*The Front Page*), with the difference that the effervescence takes place in the historical setting of the latter half of the 19th. Century. I am not surprised to find out that the film takes liberties with the facts - but with such polished actors and literate script, it presents an idealized version with consummate technique. Since it really is a star vehicle and tour de force for Edward Arnold rather than Grant, I am left wondering why he wasn't given more such opportunities to steal the show - which he does rather handily.

Dreadful 1937 film where three con men played by Cary Grant, Jack Oakie and Edward Arnold con their way to success. For them, the worst thing could have been was that the civil war ended.

They wind up with a fortune; that is, a fortune in confederate bonds. While they are worth nothing, the trio manages to parlay this nothing into a fortune. Here is a major flaw in the film. It is never adequately explained how they could get away with this. Sounds more like the junk-bond trade of the 1980s and so.

Frances Farmer, as a maid to a chanteuse, is elegantly dressed but does very little else here. Too bad that Miss Farmer spent much of her life combating mental disorders. Starring in this film was a disorder in itself.

Arnold has some moments especially when he allows greed to lead to his downfall. However, you didn't have to be a rocket-scientist to see this coming.

A very poor script certainly did not help this. Jack Oakie was traditionally a comedian of A-1 quality. How many times was he going to refer to Arnold as Yes Boss, Yes Boss.

Slavery ended with the civil war.

This is a movie that was probably great in its time, but would be viewed as a real oddball today. I bought the video because I am a great Frances Farmer fan; she is absulutely beautiful in it. The other stars- Arnold, Grant and Oakie are also excellent in their roles. This is probably one of the very few movies where Cary Grant was not the top star and did not get top billing. The story is a little farsical and somewhat overacted, but is still very entertaining. Three of the supporting actors- Donald Meek, Clarence Kolb and Billy Gilbert- are also interesting to see.

THE TOAST OF NEW YORK (RKO Radio, 1937), an Edward Small Production, directed by Rowland V. Lee, stars Edward Arnold in a fictional account of the rise and fall of Wall Street financier, James "Jim" Fisk Jr. (1834-1872). Having already starred as multi-millionaire, "Diamond Jim" Brady in DIAMOND JIM (Universal, 1935), it seemed natural for Arnold to pursue another biographical story centering upon the life of another famous man called "Jim." While Jim Fisk isn't as better known as Diamond Jim Brady, it does leave one to ask, "Who is Jim Fisk?" Based on "The Book of Daniel Drew" by Bouck White, and the story "Robber Barons" by Matthew Josephson, the opening passage offers an brief explanation to whom Jim Fisk is: "Jim Fisk - half genius, half clown - began life with empty pockets, a pack on his back, and a Yankee gift of gab. Loving a uniform - always in front of every parade - he became the Barnum of peddlers and then skyrocketed into high finance in Wall Street where in a few brief years he started a Nation with his colorful career, but in 1861 - before the first guns of the Civil War were fired - he was still an obscure peddler - somewhere South of the Mason & Dixon line." Set during a span of ten years, the plot opens in 1861 where Jim Fisk (Edward Arnold), a medicine show impresario assisted by Nick Boyd (Cary Grant) and Luke (Jack Oakie), get chased out of town by an angry mob after being exposed as fakes. Once passing the boarder onto the next state, Jim next get-rich-quick scheme has him sending Luke to Boston where he's to open an office while he and Nick remain behind to smuggle Southern cotton to the Northern states. At the close of the Civil War where the trio reunite, Fisk discovers Luke converted their profits into worthless Confederate bonds. Coming up with another plan to make millions, Fisk sells his business to Daniel Drew (Donald Meek), and contrives a controlling interest in the Erie Railroad. Before becoming a wealthy financial wizard of New York's stock market, he encounters Josie Mansfield (Frances Farmer), a maid working for temperamental French actress Mademoiselle Fleurigue (Thelma Leeds), and through his philosophy to "think big, talk big and be big," he arranges for the ambitious actress who becomes Jim's mistress to succeed on stage, much to the displeasure of Nick, who believes in himself Josie could become the cause of his financial ruin.

With the champagne glasses and glittering lettering in the opening titles, THE TOAST OF NEW YORK appears to be an expensive lavish-scale production, and certainly is. With its large, impressive cast, THE TOAST OF NEW YORK is very much Edward Arnold's show from start to finish. Reuniting him for the second and final time with Frances Farmer (on loan from Paramount) from COME AND GET IT (Samuel Goldwyn, 1936), where her dual role characterization nearly overshadows Arnold's performance, this time it's Arnold who has the spotlight through his solid performance. Aside from appearing 22 minutes from the start of the story, Farmer's natural acting style which usually garners praise and attention spends much of her time in a Hollywood-ridden cliché pattern in a love/hate relationship with Cary Grant amounting to little challenge here. A fine performance on her part, Farmer's vocalization to the film's theme song is okay, but not as magical as her haunting rendition of "Aural Lee" from COME AND GET IT.

Other worthy offering involving Farmer is the montage in segments involving her stage performance of "Twelve Temptations." Jack Oakie, always good to have around for comic relief, resumes his duties here in a some notable scenes, especially one that has Luke drilling a regiment of soldiers where everything goes comically wrong, as observed in disbelief by the Top Sergeant (Stanley Fields). Thelma Leeds as the French actress gives a performance reminiscent to Luise Rainer's Anna Held from THE GREAT ZIEGFELD (MGM, 1936), but unlike Rainer, no Academy Award nomination.

During the course of 109 minutes, songs incorporated into the story include: "Opoh La La" (sung by Thelma Leeds); "The First Time I Saw You" (theme song sung by Frances Farmer); and "The Temptation Waltz." Others in the cast include Clarence Kolb (Cornelius Vanderbilt); Lionel Bellmore (President of the Board); and Mary Gordon (Mrs. Callahan). Look quickly for Hal Roach stock players of Laurel and Hardy comedies as James Finlayson and Billy Gilbert in smaller roles.

As a biography, THE TOAST OF NEW YORK disappoints in accuracy. As a motion picture overall, it's quite good even with expected results. Largely overlooked and forgotten until distributed to home video in the 1980s, DVD (Turner Entertainment) and broadcasts on cable television including USA (1986-87), American Movie Classics (prior to 2000), the story and the rise to power of Jim Fisk and his relationship with Josie Mansfield can be seen occasionally on Turner Classic Movies. (***1/2)

I really enjoyed this movie. Although Daniel Drew was made fun of because of his pious lifestyle, the real tragedy is Jim Fisk. Although corporation boards were funny, I suspect it is closer to the truth I real world. Nice romantic storyline weaved into the story.

I enjoyed this movie because it made Wall Street and big finances look fun. It was the roll of the dice and you're rich...or poor. Edward Arnold played Jim Fisk as a bigger than life character just as he did with Diamond Jim Brady, Daniel Webster and Nero Wolfe. My favorite character was Uncle Daniel Drew played by Donald Meeks.

THE TOAST OF NEW YORK is very much a period-piece, with Dudley Nichols's and John Twist's screenplay providing delightful one- liners for a top-notch trio of comic talents - Edward Arnold, Cary Grant, and Jack Oakie, supported ably by Frances Farmer and bolstered by memorable cameos from stalwarts of the Hal Roach era such as Billy Gilbert.

The story is a straightforward one about three conpeople who manage to make fools out of high financiers like Daniel Drew (Donald Meek), and Cornelius Vanderbilt (Clarence Kolb) in the era immediately following the American Civil War. We have to admire the tricksters' sheer chutzpah, especially that of Jim Fisk (Arnold), whose brazen courage and indomitable spirit carry him through a series of scrapes towards financial and material success. Grant's Nick Boyd is a little more cautious, but shows a unique facility in speaking different accents, notably an RP form of British English with distinct echoes of Noel Coward.

Halfway through the film the tone changes abruptly, as Fisk achieves so much success that he begins to reveal megalomaniac tendencies strongly reminiscent of Donald Trump. He wants to corner the entire gold reserve of the United States, and is is prepared to go to any lengths to achieve his aim. By doing so he loses the support of Nick, as well as that of his erstwhile fiancée Josie Mansfield (Farmer).

The historical moral of the film becomes painfully evident, as director Rowland V. Lee evokes the mood of the Wall Street Crash (that took place only eight years previously to the film's release), which was caused by similar reckless speculations. If Fisk were to achieve his aim, it would ruin the majority of respectable Americans. Needless to say prudence reigns with the intervention of the government, which releases unlimited gold to put Fisk out of business, with a levelheadedness clearly designed to evoke F. D. Roosevelt's New Deal policies. Speculators are out; the common good must prevail. Fisk passes away having acknowledged his follies.

THE TOAST OF NEW YORK is clearly intended as an ironic title, referring to the ways in which big business can so easily get out of hand if not effectively policed. That point of view is still as important today as it was nearly eighty years ago on the film's first release.