Ídolo de Nova York

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.

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.

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.

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"

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