Duas Almas se Encontram

I wasn't expecting much when I watched this, but It's pretty good. It's set in San Francsico in 1849 during the gold rush. It's got a great cast like Miriam Hopkins, Edward G. Robinson, Joel McCrea, Harry Carey, Brian Donlevy and Walter Brennan. It was also directed by Howard Hawks. Watch it if your a fan of the cast.

In 1848 the Treaty of Guadaloupe Hidalgo ended the Mexican - American War, with the secession of territory from Mexico to the U.S. of most of the current southwestern U.S. (California, Arizona, New Mexico, any claims to Texas - as well as parts of Colorado, Utah, and Nevada). This was a war of conquest by the U.S., but to assuage American consciences fifteen million dollars was paid to Mexico for this territory. Only a subsequent bit of southern Arizona and New Mexico (known as the "Gadsden Purchase") was made as an addition in 1853 by the Pierce Administration, giving us the current southwestern border.

While the territory of Northern California (as opposed to the territory of Baja or Southern California - still part of Mexico) had always been a bit too far from Mexico City for proper control over local government, the change to Washington, D.C. - more than twice the distance and across a continent - further seemed to weaken national control of the territory. Moreover the population, being mostly Latino, was hostile to the non-Latino U.S. Government. It is in the next few years that California's so-called answer to Robin Hood, Joachin Murrieta, is continuing the Mexican War by his guerrilla/bandit attacks.

Under normal circumstances, it would have taken a generation for the U.S. to be really bothered by this. But in 1849 gold was discovered in California, and the world rushed in. Suddenly the territory had nearly one million population within a year, and demanded statehood. This would lead to the controversy about admitting California to the Union as an free state, and unbalancing the balance of the U.S. Senate. This in turn led to the Compromise of 1850 which enabled California to enter the Union as a free state, but guaranteed a fugitive slave act as a sop to the South. It put off the Civil War (or ignited the path to the Civil War) ten years later.

But for a big state, with wealth and population and size, California had a bad reputation. The towns of San Francisco and Los Angeles boomed in population - in particular San Francisco with it's immense harbor. But their governments were pitifully unable to maintain public order. Fires (arson caused) were frequent. So were killings, usually tied to robberies of the prospectors with more gold than sense. Judges and police were frequently paid off by gamblers and crime gang leaders. Finally, in 1851, the better elements of San Francisco put their foot down and formed a vigilante committee. They arrested several dubious characters, held stream-lined trials (where many legal niceties were ditched) and if the parties were found guilty (which usually happened) they were hanged in public. It sort of calmed things down, but then the continued prosperity of the state caused the same problems to reappear. In 1856 two incidents reignited the Vigilante Committee. First a local outspoken newspaper editor, James King of William, was shot and killed by a corrupt local political alderman named James Carey. Then a gambler named Charles Cora shot and killed a police official. Both men were arrested, given the drum-head trial, convicted, and hanged. The Vigilantes retained control of San Francisco for the rest of the next year before disbanding. They never had to make a third appearance.

Were they real heroes or a lynch mob? It still is debated. James King of William was right about the corruption and crime, but he was a "Nativist", and his attacks were also against Catholics, such as Carey (an Irish American) and Cora (an Italian American). Many of his fellows were also Protestants, and some may have had pecuniary interests in attacking the businesses controlled by the Catholics. So the real situation is not black and white, like this film suggests.

Edward G. Robinson's Luis Chamalis was based on Charles Cora, although the triangle with Miriam Hopkins and Joel McCrae is from whole cloth. Col. Marcus Cobb (Frank Craven) is based on James King of William (although King of William was never reduced to such stunning superficiality as Cobb is for nearly a year). Robinson's grip on the whole of San Francisco is fictitious (Cora never had that much power). The leadership of the Vigilantes (Harry Carey) reflect the moral center of the Vigilantes movement that was unquestioned in American History books of the 1935.

It is a good film, with fine performances by Robinson, Hopkins, Craven, Brian Donleavy (who's physical appearance makes him look like the corrupt contemporary Mayor of New York City, Fernando Wood), and Brennan. McCrae is sturdy and acts well, but his role seems terribly naive. It is fun trying to locate David Niven as a drunken cockney sailor tossed out of Robinson's saloon (he recalled it fondly in THE MOON'S A BALLOON). Robinson's recollections of the film were downers in ALL MY YESTERDAYS: he had political disputes about the on-coming World War II with isolationists Hopkins, Carey, Craven, Brennan, McCrae, and director Hawks. Hopkins kept trying to upstage him and the others, until he let her have it before the cast and crew (who applauded him for it). He also felt the end was a let down. Quietly told by Carey and his associates it is time to accompany them to his neck stretching party, he quietly joins them, as though they have come to take him to deliver a political speech! Still the film merits an "8" out of "10".

Apparently Sam Goldwyn picked the words Barbary Coast as a title then called in his writers and told them to write a story. That was the way they did things at Hollywood studios in the thirties.

This is actually a pretty entertaining movie that catches some of the anything goes atmosphere of San Francisco in gold rush days.Edward G. Robinson is miscast (and has to wear some peculiar costumes) in his role as a bad guy but he gives it everything he's got and some of his scenes are quite effective. Miriam Hopkins is very good as a gold digger of the non mining kind and Joel Mcrea as her hearts desire spouts some poetic dialogue quite eloquently.

Good drama of the typically Hollywood kind.

I love the story about Sam Goldwyn who said that he bought the rights to the title, Barbary Coast, and then said to the writers hired to write a story with that title.

They gave him a story that made a pretty good picture. Edward G. Robinson is at his snarling best as a nineteenth century version of Little Caesar on San Francisco's Barbary Coast during the gold rush days.

Basically Miriam Hopkins has come to San Francisco to marry a newly minted millionaire whom she barely knows, but finds he's dead and fortune gone on her arrival. Since there was no real love involved, she doesn't have a problem teaming up with the man who probably had her fiancé robbed and killed, that being Edward G. Robinson.

It's a pretty lawless place San Francisco. It's been newly acquired by the USA in the Mexican War and it being one of the great natural harbors of the world, a perfect arrival point for people traveling by sea to the gold fields. And such law that's operating is pretty much operating for the town bosses. There is a scene where after Brian Donlevy, who's Robinson's chief henchman, kills a man a trial is held right in Robinson's gambling palace. It's an impromptu affair with a crooked judge who naturally finds Donlevy not guilty.

It's no wonder that certain citizens form a vigilante committee to restore some kind of justice to San Francisco. All part of the colorful history of that place. And that part of the film is well done.

Where Barbary Coast fails is in the romance department. Miriam Hopkins though a woman of conscience has a practical side to her. The weakness of the film is in Joel McCrea's performance. He's a prospector who having made his fortune wants to return home. He has a chance encounter with Hopkins and she takes a shine to him and McCrea doesn't know she's Robinson's main squeeze.

Now I'm a big fan of Joel McCrea, the most virtuous of heroes Hollywood ever produced. But in this one, he's not really virtuous as much as he's an idiot. Let's just say that I cannot understand why Hopkins wants anything to do with him. A much stronger character might have believably taken her from Robinson, but not McCrea in this film.

Barbary Coast was responsible for the first real notices of two prominent character actors. Walter Brennan had been knocking around for years, but he received his first real attention as a player as waterfront character Old Atrocity. And with minimal dialog, Brian Donlevy made his first real impression on film audiences as Robinson's strong arm killer.

It's entertaining, but I'd mute the sound when Barbary Coast turns away from the action.

When a woman arrives in San Francisco during the height of the Klondike gold rush to find her mail-order fiancé dead she takes up with a shady - and jealous - casino owner before falling for an honest prospector. Although he sports an ear-ring and walks around like he's waiting for the rest of his pirate fancy-dress costume to turn up, Edward G. Robinson pretty much just does his usual gangster routine in Barbary Coast. Not that there's anything wrong with that: his controlling mob boss Louis Chamalis, is actually given a pleasingly sly sense of humour and depth of character, and is also given the opportunity to go out with some class when he meets his inevitable fate. Director Howard Hawks creates a wonderfully evocative portrait of a muddy, fog-bound San Francisco filled with morally compromised larger-than-life characters. Recommended.