Frisco Kid

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.

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

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.

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