La riva dei bruti

This film starts out rather implausibly. Sailor Bat Morgan (James Cagney) wanders into a Barbary Coast saloon and almost gets shanghaied by a trio dedicated to that business. He does manage to escape and is helped by a kindly Jewish tailor (George E. Stone as Sully Green). What's rather implausible is that Sully basically has to teach a sailor that has docked in the port of San Francisco what shanghaiing is and that the Barbary Coast is dangerous. Really? A seasoned sailor docking in San Francisco has never heard of the Barbary Coast or shanghaiing or why it is profitable for criminals? You'd think Bat Morgan was a common tourist from the Midwest with a defective GPS. What happens next was a little off-putting for a Cagney fan like myself. Naturally, Cagney's character decides to go back to the bar and teach those three thugs a lesson. How he did it left a bad taste in my mouth. Bat shanghais the shanghai-er as he is getting ready to take yet another unconscious victim to a ship. But he also shanghais the poor unconscious slob that was just a victim like he had been a couple of hours ago! Now I'm prepared to see Cagney's character rough up and victimize fellow bad guys in a film, but he usually shied away from making victims of innocent bystanders.

At this point the film makes a distinctive turn from where it's been going the first 15 or 20 minutes and becomes less surprising and more of a conventional action picture. Bat Morgan - who never goes back to his ship - begins to make his fortune on the Barbary Coast by more conventional methods. At first he works for Barbary Coast saloon proprietor Paul Morra (Ricardo Cortez), then he works his way up by enlarging the take of corrupt San Francisco officials, and uses his part of the pot to build an upscale establishment on the Barbary Coast himself.

Meanwhile, the beautiful owner of a newspaper dedicated to wiping out corruption (Margaret Lindsay as Jean) enlists an editor to help her in her goal of cleaning up The Coast and outing the corrupt officials that protect it. Donald Woods plays the honest editor she hired who never has a chance with Jean once Cagney's Bat Morgan gets a look at her and starts batting his baby blues. So here you have a corrupt guy and a beautiful classy girl dedicated to wiping out corruption falling in love. Rather predictable complications ensue.

High points of this production are, most obviously James Cagney, George E. Stone in an endearing role as Cagney's mild mannered and loyal friend the tailor, and Fred Kohler in a minor role as the aptly named Shanghai Duck who looks like he hasn't bathed in a month of Sundays. Ricardo Cortez gives an overly restrained performance as Barbary Coast big shot Paul Morra, and Lili Damata is wasted here as his wife. Unexpected is the viewpoint that a mob on horseback is lawlessness, but a mob sitting down in a large room is an acceptable form of government, and that common criminals going to the opera is an unspeakable breach of etiquette. Watch the film to see what I'm talking about.

This one is a take-it-or-leave-it proposition, largely made so because studios had to turn to period pieces like this one immediately after the production code took effect in order to blunt the interference from the censors without really knowing what to do with the material.

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.

For James Cagney's second costume picture and first in a 19th century setting, Warner Brothers took him to San Francisco's Barbary Coast for the Frisco Kid. Cagney's first costume role was in the all star production of A Midsummer Night's Dream. Unfortunately in production values it was lost in the acclaim for the more expensive Sam Goldwyn production The Barbary Coast. Personally though I think this film is better.

Cagney is fresh off a sealing ship in for his first visit to San Francisco and nearly gets shanghaied for another long voyage. Kindly Jewish tailor George E. Stone rescues him and when Cagney kills Fred Kohler, the man who is in charge of the San Francisco shanghai racket, in a bar room brawl he gains a certain celebrity status.

But no matter how far he rises in power on the Barbary Coast, Cagney can't get the woman of his dreams, society gal Margaret Lindsay. And the battle lines are getting drawn in San Francisco, isolated as it is from the rest of America pre-occupied with slavery and the Civil War.

Director Lloyd Bacon had a sure feel for the mood and look of Gold Rush San Francisco. Besides those mentioned, you'll see some good performances from Donald Woods, Lili Damita, Barton MacLane, and most of all Ricardo Cortez. His death scene and attitude towards the vigilante mob is may be the highlight of the film.

Warner Brothers more than most of the other major studios liked to recycle plots and situations. I think if one watches Frisco Kid, one will see elements of The Oklahoma Kid and The Roaring Twenties.

And those are two pretty good Cagney films also.

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.

In 1854 San Francisco, rowdy sailor James Cagney (as Bat Morgan) is almost shanghaied to China. Rescued by affectionate tailor George E. Stone (as Solomon "Solly" Green), Mr. Cagney is inspired to open a successful saloon on the Barbary Coast. Frisco lives up to its reputation as "the wickedest city in the world," with gangster types like Ricardo Cortez (as Paul Morra) operating in vice. Cagney caters to a more "swell" crowd and becomes chummy with both underworld and high society types. The mixture initially makes money, but politics and murder threaten Cagney's newfound fortune...

Director Lloyd Bacon and the crew do a good job in capturing and contrasting the various character types, especially in the opera setting. At the story's center, Cagney in introduced as a ruffian who becomes a well-dressed dandy. Resembling a young Liberace, the star manages to look both dapper and uncomfortable, in a series of flashy suits and extra tall top hats. It works for Cagney's tailor-made character...

There is an interesting hint at a romantic interest between Cagney and Mr. Stone. Just when you think you're reading too much into it, Mr. Bacon or one of the actors leads you astray. The two are very "hands on" throughout, even when Stone is ironing pants. Their last scene together has Cagney giving attractive newspaperwoman Margaret Lindsay (as Jean Barrat) a knowing look as he gives Stone an extra, more personal squeeze. In this scene, it seems like the baton is being passed to Ms. Lindsay. Apart from the subtleties and double takes, "Frisco kid" is ordinary but satisfying.

****** Frisco Kid (11/30/35) Lloyd Bacon ~ James Cagney, Margaret Lindsay, George E. Stone, Ricardo Cortez