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  • Flame of Barbary Coast finds John Wayne as a visiting cowboy from Montana who makes and loses a fortune in a night and goes home busted. He also finds the love of his life in Ann Dvorak, an entertainer at Joseph Schildkraut's place on the Barbary Coast.

    Schildkraut figures that Dvorak is his personal property. But the Dvorak romantic angle is a side issue because Wayne is figuring on not getting mad, but getting even. He's learned a bit about gambling from an oldtimer at the trade in William Frawley.

    Of course Wayne and Schildkraut's rivalry is interrupted by the famous earthquake of 1906. As this is Republic Films and not Metro-Goldwyn- Mayer, the special effects are nice, but not near as good as those from MGM. As this was Republic's prestige film of the year, I'm sure it was the best that miserly old Herbert J. Yates could afford.

    The most interesting member of the cast is Schildkraut, a scion of the old Spanish aristocracy who's chosen to make his living on the Barbary Coast in the dens of iniquity there. He's as in love with Dvorak as Wayne is, but likes his power and notoriety more.

    Yates took some liberties with San Francisco history in this one. The MGM San Francisco did not bother mentioning any of the local political figures of the day, but Flame on Barbary Coast did and got it wrong. Wayne and Schildkraut square off in an election in 1906 that never took place between Mayor Eugene Schmitz and James D. Phelan. Phelan was in fact Schmitz's predecessor in office and Schmitz didn't lose an election. He got himself impeached for setting a standard of corruption that has had some urban historian calling him the worst big city mayor in American history. Now THAT would be an interesting film.

    Still the Duke's legion of fans will love him in this one and others will like Joseph Schildkraut.
  • Before watching Flame Of Barbary Coast I never read the description on the back cover of the DVD case. It mentions the San Francisco earthquake of 1906. Fortunately I was aware of some of the history of that earthquake, so I was picking up the clues given throughout the movie. All I cared about before watching the movie was that it was a western with John Wayne in it. The movie is a "late" western in that it takes place as the wild west had been tamed and the 20th Century was becoming an entirely different reality.

    The plot was okay, but a little thin. A Montana rancher goes to the big city, finds himself played out as a sucker, and returns to conquer the same people who made a fool out of him. Duke Fergus (John Wayne) takes lessons from his professional gambler friend, Wolf Wylie (William Frawley), and ends up beating the professional gamblers in their own casinos. Even for John Wayne this is quite amazing. Added to that is his love interest in Flaxen (Ann Dvorak), known as "the Flame of the Barbary Coast", who apparently has teased virtually every powerful man in town. At the time of the story she is tied to Tito Morrell (Joseph Schildkraut), the most successful and notorious of the gambling house bosses.

    I liked the way Joseph Schildkraut played the classy, but devious, casino owner, Tito Morrell. His character hinted at aristocratic old world lineage and his determination to maintain a level of sophistication despite his present reputation. Tito's criminal side is never shown, only implied. John Wayne's character, Duke, never came across as simple. He loved his modest environment at his ranch in Montana, but he had a business sense and some integrity. Ann Dvorak's Flaxen is the character that seems a bit odd. If she has such a reputation for being the unobtainable prize, why do so many still want her? She really does smile her way through everything, too. It would have been really nice if she got one of those famous John Wayne spankings.

    Establishing a specific time was done gradually and then deliberately. The house Tito provides for Flaxen is definitely built in an elaborate turn of the century European-influenced style that would not have existed thirty years earlier. Upon arriving in San Francisco there were many electric lights. A bathroom with running water is shown. Eventually a specific date in January of 1906 is mentioned, and later it is mentioned that April of the same year has arrived. Although everyone is moving on foot or in a horse drawn carriage, an automobile appears in one scene. The time placement was subtle in the beginning and made perfectly clear as it became more important to the plot.

    I expected the climax of the movie to be the famous San Francisco earthquake. There really were explosions and gas fires from ruptured natural gas lines. Firefighters are shown in the movie running out of water because of broken water mains just as the real firefighters did. It is even mentioned that looters would be shot, as they really were. The catalyst that brought about changes in San Francisco set up the final scenes for the main characters. The true nature of everyone is shown in a final showdown between Duke, Tito, and Flaxen.

    I liked Flame Of Barbary Coast. My only complaint is that the movie makes the Barbary Coast seem to be the most important part of San Francisco, and it is the only part of the city that is shown. The sets were elaborate and the actors were good. It cannot be called a gangster movie even though it has crime bosses. Over all it was more of a drama than a western, but it was worth watching.
  • "Flame of the Barbary Coast" is a movie that I grew up watching in a movie theatre. It's easy to poke fun at a movie like this, or any movie made in that era, if you've only seen it on television. The power and quality of the performance of the film can only be seen on the big screen and not on the television screen. Actually, the cast is quite good and anyone interested in directing or photographing a movie should learn from the film. This movie makes every second and minutes count on the screen, and that's the reason the action never stops. Moving the camera in a certain way to make use of the drama and action with out two many cuts is genius, but then, these people knew what they were doing. Many repeats for good measure with eyes on an actor or actress moving side to side as if they are actually participating in the scene. The catty remarks between Virginia Gray and Ann Dvorak after Virginia Gray sings for an audition with Tito, oh boy - meow indeed! Who cares if Ann Dvoraks singing was a little off, and who cares if John Wayne tried his hand at singing on a horse? Who cares if Fred Mertz played a gambler before he was Ricky Ricardo's best friend? Who care's if Butterfly McQueen didn't get a chance to repeat "Ah knows how to birth babies Miss Scahlett!"? This movie is just good old fashioned campy entertainment with no foul words, no nudity, and in many ways the bad guy won when he said, "With Compliments of the House!" Anybody who doesn't like this movie is an old grumpy!
  • Warning: Spoilers
    If you want to see John Wayne paddling in the Pacific Ocean with his boots off this may be your only chance.Pleasingly named "Duke" in "Flame of the Barbary Coast",Mr Wayne cuts a fine figure amongst the stone gamblers in the casinos as he goes to the big city to collect a debt from saloon owner Mr J.Schildkraut(looking unnervingly like TV's Sherlock Holmes Jeremy Brett).The two men turn out to be rivals for the hand of Miss A.Dvorak as chanteuse Flaxen Tarry. This is a movie full of energy and movement.As Duke and Flaxen tour the gambling houses,winning - courtesy of her preventing the croupiers from cheating - a large wedge, they are followed by an increasingly noisy entourage like a conga line,bustling with excitement.Arriving back at Schildkraut's casino,Duke flashes his cash and buys everybody drinks. The next morning he ill - advisedly accepts Schildkraut's challenge to a game of Stud and is cleared out,left only with a return ticket to Montana.Undeterred and in lurve with Flaxen,he takes poker lessons,sells up his herd and - with his card - coach on hand - returns to San Francisco to win his money back and his gal at the same time. Republic make a surprisingly good fist of the 1906 earthquake,Flaxen is photogenically injured and Duke takes her off to Montana to get the good country air into her lungs.Mr Schildkraut is surprisingly sporting about the whole thing.Put this way,the movie might seem a little bit frothy and trivial,but it is given body by the performances of the leads,Mr Schildkraut in particular in a role that might have been written for Clark Gable,a charismatic mixture of charm and menace. Perhaps not writ large on Mr Wayne's C.V.,"Flame of the Barbary Coast" is nevertheless an enjoyable,well - made and worthwhile movie.In it one can see the nascent wry,stubborn and sometimes wrong - headed persona Mr Wayne was develop so successfully and use for the rest of his career.
  • Happy-go-lucky Montana rancher John Wayne comes to San Francisco, wins and loses a fortune in a night, and begins a competition with a sleazy gambling-hall owner for the heart of singer Ann Dvorak. After some lessons from aging card-shark William Frawley, he comes back to town to win back the money and the girl.

    Another of the Duke's lightweight, nineteen-forties Republic pictures, this okay romantic melodrama features a likable Wayne performance, some fairly lavish sets and costumes, and a neat low-budget recreation of the great San Francisco earthquake of 1906.

    This isn't the greatest or most memorable of John Wayne vehicles, but it's not the worst either.
  • John Wayne stars as Montana cattle rancher Duke Fergus. He heads to San Francisco to conduct some business and ends up losing his shirt at the Barbary Coast gambling dens, particularly that of Tito Morell (Joseph Schildkraut). Duke vows to master the gambling arts and return to Frisco, not just for revenge, but to win the hand of Morell's showgirl moll Flaxen Tarry (Ann Dvorak). This being turn-of-the-century San Francisco, you just know that the Great Earthquake is going interrupt everyone's plans.

    This was another of Republic's "A" pictures, with time spent on costumes, sets, and expensive set-pieces (such as the earthquake sequence, or a large cattle drive). The movie isn't terrible, but the script is bit weak, like in most of these Republic showcases. There's never a good rhythm established to the narrative, and the three main characters never rise above sketches. Dvorak looks good, but if that's her real singing voice heard on the soundtrack, it's pretty awful. Still, if one likes SF earthquake melodrama and adventure, this may be worth checking out. It earned two Oscar nominations, for Best Sound, and Best Score.
  • Warning: Spoilers
    This turn-of-the-century John Wayne adventure epic, "The Flame of the Barbary Coast," amounts to little more than a thoroughly average but nevertheless entertaining saga about gambling in San Franciso and the rivalry between the hero and the villain for the affections of the eponymous heroine who towers about all else as the star singing attraction. No, this isn't a standard western. Most of the action transpires inside buildings. Wayne wears a Stetson and plays a cattle rancher from Montana. The heroine, Ann Dvorak of "G-Men," is the girl that everybody yearns for and wants to see. She inserts herself between John Wayne and Joseph Schildraut and the Borden Chase screenplay depicts Wayne as a fish-out-of-water, or perhaps a steer-off-the-range, who butts heads with an urbane, satorially elegant casino owner. "The Flame of the Barbary Coast" could qualify as a romance because both the hero and the villain vye for her affection. Director Joe Kane never lets things get out of hand with a 92-minute running time, and the limited use of special effects to depict the San Francisco earthquake of 1906 was pretty cool. This is as much a tale of initiation as it is an empire building yarn. Long-time John Wayne stock company character actor Paul Fix plays a villain, while William Frawley is cast as a close friend of our hero who learns the basics of poker.
  • utgard1430 September 2017
    Lesser John Wayne vehicle with Duke playing a character named...Duke. Set in early Twentieth Century San Francisco (a popular setting for many movies made during the classic Hollywood era), Duke plays a gambler who falls for a saloon singer (a miscast Ann Dvorak) and crosses swords with accented villain Joseph Schildkraut, who believes the lady belongs to him. Dvorak, about ten years past her prime (career-wise not looks; she was still lovely) was a poor fit for a sultry singer that turns men's heads. By contrast, Virginia Grey appears in a supporting role and seems a much better fit for the lead role. Dvorak also has remarkably little chemistry with John Wayne. Not to bag on her. She was a great actress, particularly in her pre-Code films where she had grittier roles than this. Schildkraut was a decent actor who certainly could make you hate him. But every film I've seen where Duke's opponent is a wimpy tycoon or bureaucrat or something always seems to suffer for it. The villain in a John Wayne movie needs to be intimidating. This guy just isn't. Creepy at best. For his part, Duke does fine. Not really his type of role as written on the page but he sort of makes it his. Worth a look for Wayne fans but it's not one of his best.
  • Who ever came up with the title is to be commended. It suggests a storyline way, way, more interesting than this film turns out to actually be! "Tito" (Joseph Schildkraut) pretty much runs San Francisco and together with his gal "Flaxen" (Ann Dvorak) has quite a easy life - until, that is, cowboy "Duke" (John Wayne) arrives in town and takes a bit of a shine to the lady. He's just a touch too naive though for city life, and soon has to head home - broke - after being fleeced in the casino. Determined to win it all back - and more - he takes lessons in card-playing and soon returns, this time much better prepared to combat the dodgy goings-on at the card table, and to win the heart of the lady. Sadly, aside from a rare few scenes of fisticuff action, this is all rather dreary. The scenario is well trodden, and although Dvorak makes for quite a decent leading lady, the rivalry between the sophisticate crook and his handsome interloper just doesn't ever catch fire. The pace is just too forced, and there is far too much emphasis on the rather uninteresting love triangle element. This film is only really notable for the last fifteen minutes which offers us quite a well created and impressive look at just how the earthquake and subsequent fire devastated the city leaving carnage - and opportunity - in it's wake. Again there is plenty of charm from the star, but it is nowhere near enough to sustain this and though it might have been more impressive on a big screen, on a small one it proves merely to be quite a procedural and, frankly, dull, vehicle for Wayne that promises much but delivers little.
  • You gotta hand it to the Duke...his loyalty to the small Republic studios was admirable. They were the one that gave him his start in the movies and he never forgotten that as his movie star status grew and grew. It finally paid off when they both made "The Quiet Man" with a few Oscars no less in 1949-50. This movie was a prelude to that, and no Maureen O'Hara at that. Seriously, I loved Maureen, but towards the latter years of his career, she seemed to be in everyone of his pictures, including the aforementioned "Quiet Man". Joseph Schildkraut was a notable enemy, which he has performed in past movies. A, Dvorak pretty, and never acquired big star status, but most likely, one that the Republic studio could afford and Virginia Grey, Clark Gable's girl friend for many years." I Love Lucy"'s landlord has a comic turn here. One thing I noticed, where was Ward Bond? Another familiar face in the Duke's movies..
  • Warning: Spoilers
    In Republic's musical remake of "San Francisco", the songs are mostly handled by Ann Dvorak, although Virginia Grey also has two or three. As might be expected, production values are extremely lavish by Republic's usual standards. The earthquake is spectacularly staged, even though it occupies less screen footage than the Metro-Goldwyn-Mayer version. The film also benefits greatly from Robert De Grasse's expert photography. He even manages to make Ann Dvorak look enticingly attractive. Her Adele Palmer costumes also help. Joseph Kane's direction rises well above his usual humble standard, making full use of the spectacular sets with effective crane and tracking shots. Dick Van Enger's snappy film editing also helps. The support cast headed by Joseph Schildkraut and Paul Fix is A-1. Snappy musical numbers with their nice chorus lines and zippy score also come as a nice surprise. And even the dialogue is remarkably bright and with-it by Republic standards. Altogether a most enjoyable effort which actually seems to improve on subsequent viewings.
  • Warning: Spoilers
    I love old Hollywood films, like this, but this movie was flat and uneven. I was really hoping for a good mix, between 1935's Barbary Coast & 1936's San Francisco; but I didn't get that. Directed by Joseph Kane, Flame of the Barbary Coast tells the story of a Montana cowboy named Duke Fergus(John Wayne), whom came to turn-of-the-century, San Francisco in hope, of finding fame and fortune. He attempt this, by trying to outsmart, a crooked casino owner, Tito Morell (Joseph Schildkraut) out of his money. Can 'the King of Luck' find a way to beat the house in cards or will Tito, gain the upper-hand and leave Duke to broke? Watch the movie to find out! Without spoiling the movie, too much, I have to say, the first half was very entertaining, however, after the scenes, dealing with the 1906 San Francisco Earthquake; the film really lost focus. It becomes, less and less of Duke, trying to make a name for himself, and more and more on, Duke just being an ass to Tito. Honestly, I don't know, why Duke has a huge problem with Tito. After all, Tito did help, Duke in the beginning, getting place to place. Plus, he did warn him, about the dangers of getting into the casino business. Whatever, happens to Duke, is his fault. So, why is Duke, being a jerk to Tito and trying to drive him, out of business!? It get really more confused, by the third act, when Duke, out of the blue, started to act, all righteous and started to help a political campaign to clean up, the streets of the Barbary Coast. The movie plays it, off, that he trying to help, the people of San Francisco, to reclaim, their streets, after years of corruption, but it comes off, as another way to seek vengeance on Tito. He doesn't even, bother, staying in the city, after that affair. It's seem like, Duke is just doing this, to gain, the heart of singer/dancer 'Flaxen' Tarry (Ann Dvorak). He care little about the city. It's very self-center for a hero. Not only that, Duke made his money, by cheating in gambling as well. Very hypocritical. Still, John Wayne did alright in the role, he was given. However, I think, the villain in the film, Tito seem more like the good guy, than Wayne's character. I love Joseph Schildkraut's acting in this. It's superior than, anybody else in this cast. He clearly made the most of a script that allowed him to be anything but one dimensional bad guy. If anything, the true bad guy in this film is Ann Dvorak's character, who comes across as materialism, greedy, and seductive. What a Femme fatale! I do have, to say, the movie does have some funny clever dialogue. I love all, the sexual innuendos that went below the censorship radar. However, I didn't like, the repetitive of the film, trying to make certain, words, famous one-liners. I get it, you want, 'With Compliments of the House!" & 'We should had given him, the works' to be, as famous as the catchphrases from 1939's Gone of the Wind. Most of the best laughs, came from William Frawley as 'Smooth' Wolf Wylie. He would later, gain fame as Ricky Ricardo's best friend, in the 1950's TV Show Classic, 'I Love Lucy". Another thing, that I like, about the movie is the music and tunes. 'Baby Blue-Eyes, Have a Heart' is pretty catchy. Though, the other songs feature in the club, aren't so much memorable. Still, there were pretty entertaining. I just wish, the singing from the main cast was a little better. Ann Dvorak's voice was really off. She sounds like a man with a cigarette problem, most of the time. John Wayne sound like a drunk yokel, when singing. The best, has to be, Virginia Gray as Rita Dane. She really looks stunning, and her singing voice is amazing! I would replace Ann Dvorak with her, any-day! One of the most disappointing, parts of the film is the action. It's really, out of character for a John Wayne's western to have little to no fist-fights or gunplay. The recreation of the devastating 1906 earthquake was very dull, featuring little of state of the art special effects of the day. You never get to see the scope of the damage with one full scale set falling down. The movie does have some good cinematography. Great use of shadows and fog, gives it, a film noir look. However, I wish the movie would focus more money, on making the disaster look epic in technicolored. You really don't get to see, much of the city, before and after the fact. I also, didn't like, how the movie didn't focus, too much on the disaster. People go on, their merry way, minutes later, as if, the quake was a minor problem, when in truth; the whole city was on fire, for days after the quake. The movie is far from being historic accuracy. There wasn't an election between Mayor Eugene Schmitz and Schmitz's predecessor, James D. Phelan in the aftermath of the quake. Instead, Schmitz got himself impeached for corruption in 1907 and the city board elected a new leader. If the movie did any research, they would had known; that the city didn't have politics in their mind, but instead, rebuilding from the flames. I hate that the great fire is mention in a throwaway text in the film, rather than showing the true effects from it. Overall: While, there are some scratches, white flecks and specks, in the DVD, but for the most part, the images are rather decently crisp, with good contrast and actually pretty commendable sharpness. Film is certainly worth a watch for any John Wayne's fan, but has limited lasting appeal to anybody else.
  • Republic Pictures attempt at a prestige picture, for their tenth anniversary, is a dismal failure. In 1936 MGM made a marvellous film called "San Francisco" about a saloon owner and his romance with a singer set around the 1906 earthquake. In 1945 "Flame of Barbary Coast" takes the same characters and even the same setting. But this time instead of Clark Gable and Jeanette MacDonald, we have John Wayne and Ann Dvorak. And instead of spectacular special effects for the earthquake we have one chandelier fall down and lots of stock footage of fires!

    Why did they do this? Wayne is awful playing a character called "Duke", but he is "Olivier" in comparison to the woeful Dvorak. Someone seems to have told Miss Dvorak to smile - and she does throughout the movie, whether she's facing an earthquake, a duel between her lovers, or permanent paralysis. And she couldn't sing, but she is given several dreary and hideously choreographed numbers. Poor Joseph Schildkraut is there as the baddie and provides a couple of moments of wry humour.

    Mind you how could anyone act with this appalling dialogue. For example:

    After the earthquake Wayne meets Schildkraut in the tent city that has been set up. Both love Dvorak but she has been hurt and has been asking for Schildkraut. Wayne fills him in on her condition.

    Wayne: She's paralyzed.

    Pause. Music swells.

    Schildkraut: It's gonna be tough.

    Some cliched camera angles (the stage seen through the holes in the wheel of fortune) are used ad nauseum and the plot makes no sense at all. Wayne, for example, runs for mayor and gets into a massive fight with Schildkraut's boys who are destroying ballot papers. Having finally regained the correct tally sheets that elect him mayor he announces he is going back to Montana! Dvorak takes Wayne on a tour of all the gambling houses and, despite the protests of all the owners, only has to wink at the dealers for them to allow Wayne to win $16,000. And the dealers aren't even reprimanded.

    What was everyone thinking? Or weren't they?
  • John Wayne, Duke Fergus, is tagged "King of Luck", after breaking the bank in several casino saloons with the help of Ann Dvorak, as Ann 'Flaxen' Tarry, who says, "You've just been promoted". From Duke to King. How ironic that the man known as The Duke in his lifetime had to be the object of this tongue-in-cheek line. Some would think that The Duke was above being a king. This movie does fit the small screen (of t.v), but maybe it was appropriate for the large screen in 1945 when folks weren't so jaded in their viewings. The real gem of this movie is Joseph Schildkraut, as Boss Tito Morell. How could a shady bad guy be so lovable? We love the under dog. Is there any question that The Duke will walk away with the lady? But Tito is the one who really loves Flaxen, and always holds back from resorting to "fixing" The Duke as his cronies want to do. He may be the evil foil, but you can't help but love this gentleman scoundrel. Loyalty does not pay in the end for our hapless romantic. And talk about obsession: the suitors of Flaxen still hang around even when it seems she will be paralyzed for life after the Great Earthquake (did San Francisco really have electric poles in 1906?!)--they hope the old trooper will return to the stage and awe their hearts, not to mention their libidos! As Flaxen is whisked off in Duke's carriage to Montana, Tito has the best line: "Compliments of the House"....
  • Warning: Spoilers
    With all the songs and can-can dance scenes this film would almost qualify as a musical. The story takes place in San Francisco at the turn of the century, and I should have picked up on the date when it was mentioned but I never gave it a second thought. It was the year of the great earthquake, 1906, and it figures somewhat prominently during the latter part of the picture, though it couldn't shake Duke Fergus's resolve to win the trophy he came back for.

    His nickname was the Duke, and even though he didn't use that name in very many of his pictures, John Wayne was Duke Fergus in this one, a Montana cowboy who wins and loses a small fortune of sixteen thousand dollars on his first trip to San Francisco to collect on a horse trade. A newspaper reporter from the San Francisco Star called him the 'King of Luck' when he cleaned up at the Eldorado, and then partied his way up and down Pacific Street with winning hands at the competition. Smitten with saloon gal Flaxen Tarry (Ann Dvorak), Duke winds up leaving town with a vow to return and make his mark after Tarry's main man Tito Morrell (Joseph Schildkraut) busts him at the poker table.

    It was cool to see William Frawley here as Duke's sidekick and gambling mentor Wolf Wiley. Frawley seems to be one of those actors that no matter what year he appeared in a picture, he always looks the same as Ricky and Lucy's next door neighbor. It's like he was never young and never ages. At least that's the way it strikes me, but I'm still looking to a capture an early flick in which he might have appeared youthful. In the story, Wolf seems to know all the transplanted gamblers like Calico Jim (Paul Fix) and Horseshoe Brown (Al Murphy). Speaking of which, actor Marc Lawrence probably has one of the shortest ever credited film appearances here, actually counting down his thirty seconds of screen time before the Duke shoots him for dirty dealing.

    Well the love triangle, if you want to call it that, between Flaxen, Tito and the Duke will keep you guessing how it will turn out right till the very end. Wayne's character came in with a winner take all attitude right from the start, but I have to say, I thought the singer would have stuck it out at the Eldorado after all the fireworks settled down. You know, we never did get to see the Duke's cabin back in Montana, so who knows. Maybe after one look, Miss Tarry might have high tailed it back to the city by the bay.
  • Warning: Spoilers
    . . . harboring a certain Breed of Men, and they recognized John Wayne as their closeted cautionary tale. It's certainly fitting that Wayne is top-billed in FLAME OF BARBARY COAST. Ann Dvorak co-stars here as Flaxen (a.k.a., Ann), the serial "beard" for nearly every rich "eligiable bachelor" in Old San Francisco, posing as the fuel for Wayne's title character "Flame" (at least for public consumption). To drive home the point that FLAME is a thinly-veiled take on the Real Lives of the West Coast "Elite" of the Mid-1900s, screenwriter Borden Chase insists upon naming Wayne's character after his Real Life LITERAL "pet" name, Duke Morrison. (Many "Wayne" fans know that after Ma Wayne--Mrs. Morrison, that is--dumped his sickly dad, a depressed middle schooler Marion Mitchell Morrison--the future "John Wayne"--renamed himself after the Morrison Family Mutt, "Duke.") Ironically, as "Duke Fergus," Wayne pulls off a feat he never accomplished in Real Life, by talking a native English Speaker--Flaxen (the equivalent of "Anybody's" in WEST SIDE STORY: the gal those boys more DC than AC "passed around" when necessary to present a "beard" to their folks or others)--into a position of Permanent Beardship by agreeing to marry him. That the American Rich People Party's Patron Saint--Wayne--had three Foreign Brides is a point not entirely lost on this year's heir apparent ARPP standard bearer, Donald Trump.
  • Warning: Spoilers
    FLAME OF THE BARBARY COAST is a light romantic comedy featuring John Wayne in a starring role butting heads against chorus girl Ann Dvorak and eventually falling in love with her. As with the other Republic westerns I've seen that Wayne made in the 1940s, this one has a likable lightness of touch that makes it a lot of fun to watch, and entertaining throughout.

    The theme of the movie is gambling and the various gambling interludes are handled in a well-paced way. Joseph Schildkraut makes for a thoroughly imposing villain and his acting is of a much better class than is usual in a picture like this. The film even manages to cram in the 1906 San Francisco earthquake as a sub-plot and the special effects in this scene are great fun. Fans of the Duke will be in their element.
  • gregberne1115 November 2019
    7/10
    Good
    This is a good old movie. It is weird to see John Wayne in such a romantic movie or one with so much music in it but the acting is decent by him and the other lead and the supporting cast too. Not a great movie but good for its time.
  • An American drama; A story set at the turn of the 20th century about a Montana cattleman who collects a debt from an owner of a casino when he visits the fabled lawless city of San Francisco. Between these rivals is a beautiful woman. John Wayne and Ann Dvorak give glint-in-the eye performances even if they are slightly less than fully committed. It surpasses its B-movie status thanks to Joseph Schildkraut. As Morell, the casino owner, he stands out with his nuanced performance - scheming, yet respectful. Musically, it is charming with a handful of pleasant show numbers and there are some good special effects depicting the 1908 San Francisco earthquake raising the melodrama by half a notch.
  • Warning: Spoilers
    There are obvious parallels between the plot of this Republic film and the previous MGM "San Francisco. Both involve a self-made Barbary coast kingpin, a prime female entertainer, and an ending precipitated by the 1906 earthquake and fire. There are additional films with a very similar plot, but without the catastrophic ending. These include: "Frisco Kid(1935), "Barbary Coast"(1935), "Hello, Frisco, Hello"(1943) , and "Frisco Sal", released the same year as the present film.

    Tito Morell, in the present film, is equivalent to Clark Gable's 'Blackie' in "S.F", both being self made men, with greater ambitions than their present casino on the Barbary Coast. Ann Dvorak, as Flaxen, is equivalent to the role of Jeanette MacDonald in "S.F." There is no exact equivalent for John Wayne's character in "S.F." although the nob hill crowd, who want to take Jeanette away from Blackie for their opera house is reminiscent of Wayne's role here in trying to lure Flaxen away from Tito's casino, to his brand new casino. There is no equivalent in the present film, for Spencer Tracy's character in "S.F.".

    As in the case of S.F., we can look at the screenplay as being a morality play. Wayne achieved his dream of building a lavish casino by a combination of skill and luck in gambling. But on opening night, God destroyed his dream with a violent earthquake, leaving him penniless. In contrast, rival Tito's casino survived mostly intact. I think there is symbolic significance in this difference in fortune. It's saying that Tito and his casino belong here, whereas Wayne belongs back on his Montana cattle ranch, he misses so much. Fortunately for Wayne, Flaxen was agreeable to give up her entertainment lifestyle to become a cattlewoman. She had seemingly vacillated between supporting Tito or Wayne, it being difficult to tell which side she was on until near the end. Tito was rather like Gable in "S.F.": not really a bad villain.

    See it in B&W at YouTube
  • If you want to see the electric lines in SF in 1906 check out the links listed below from the SF Museum. These two slides in the power point show the lines that were present then.

    I think that the level of electric service shown in the film was a little advance for 1906, most would not pick upon that. Remember this was a 1945 film, compare it to the 50's not present day films to be fair. Acting talent still beats special effects in my book. Just think what kind of movies John Wayne could do in 2005 with just a few of today's effects. Maybe some one could apply CGI to an older movie? Good movie, to bad we get so few good movies in the current productions.

    http://www.sfmuseum.org/views/1906.ppt#262,8,Slide 8

    http://www.sfmuseum.org/views/1906.ppt#264,13,Slide 12

    Check out the rest of the site worth the time, just as this movie is.
  • Uriah4318 September 2018
    "Duke Fergus" (John Wayne) is a cowboy traveling from Montana to the Barbary Coast of San Francisco when he happens to meet a young woman named "Flaxen Tarry" (Ann Dvorak) along the way. He also meets a man by the name of "Tito Morrel" (Joseph Schildkraut) who happens to be in love with Flaxen and owns the nightclub where she works as a singer. Although Flaxen helps Duke win a small fortune that night gambling, he soon loses all of his money to Tito in a card game and has to go back to Montana completely broke. But Duke is not only determined to win back all of his money but to also win the affection of Flaxen as well. Needless to say, this doesn't please Tito at all and he is willing to do anything to keep things as they are. Now rather than reveal any more I will just say that this was an entertaining movie which was helped by the rather unpredictable plot and the interesting setting. On the other hand, there wasn't much chemistry between the two lead characters and this lessened the overall effect to a certain degree. Despite this lack of chemistry, I enjoyed this movie for the most part and have rated it accordingly. Slightly above average.
  • Warning: Spoilers
    Was Republic Pictures' "biggest entertainment thrill of the year," meant to celebrate the studio's tenth anniversary. A decade earlier, Herbert Yates had purchased several small independent producing units and consolidated them into a larger entity, which he hoped would rival the larger movie outfits in Hollywood.

    Under Mr. Yates' leadership, Republic did become quite successful. In the early years, most of its product was of the "B" film bread-and-butter variety. But by the mid-1940s, Republic had graduated to more deluxe fare, and FLAME OF BARBARY COAST was one of ten hugely budgeted pictures that Yates had green-lit to commemorate the special milestone anniversary.

    Of course, if this film had come along a few years later to celebrate Republic's fifteenth or twentieth anniversary, the lead role would undoubtedly have been given to Yates' wife, Vera Ralston. But in 1945, Miss Ralston was just starting to make a name for herself and was not yet ready for a role of this caliber.

    So Yates looked elsewhere and signed Ann Dvorak. Miss Dvorak had a proven track record in motion pictures.

    When Ann Dvorak rode on to the set to begin working on this film, it marked her Hollywood comeback. No, she had not disappeared from the screen. But she had stopped appearing in American films. Dvorak was married to a British actor, and in 1940, she went with her husband to London where they remained for most of the war years. During that period, she was cast in a series of British propaganda pictures, some of them financed by the British arm of her old home studio, Warner Brothers.

    At this point, the war was nearly over, and so was Dvorak's marriage. She came back to California and started freelancing. Her first assignment after her return to Hollywood was the role of Flaxen Tarry in FLAME OF BARBARY COAST, a San Francisco dance hall queen. Though John Wayne is top-billed, Miss Dvorak is of course, playing the title character. She's the flame that sets Wayne's heart afire, and these two share considerable chemistry on screen.

    While this is a somewhat mild period romance drama, plenty of angst occurs. Wayne is typecast as a western cowboy who comes to the bay area for adventure and fun. He is soon smitten with Dvorak. However, she is unavailable to reciprocate his affections, because she is employed by casino owner Joseph Schildkraut who has taken her as his lover and regards her as his property.

    Initially, Wayne loses a lot of money in Schildkraut's casino, but then he devises a plan to get even with Schildkraut and win Dvorak. An old pal (William Frawley) teaches him how to gamble successfully, and a while later, Wayne has amassed a fortune...enough to build his own rival casino.

    He is still focused on a life with Dvorak and wants her to leave Schildkraut and come work for him. Eventually, she does.

    Just as things seem to get on track, they experience a major jolt. The big San Francisco earthquake of 1906 takes place.

    Yes, we've seen this depicted in other films, like MGM's SAN FRANCISCO (1936) and Warner Brothers' THE SISTERS (1938). But every studio was eager to dramatize this important historical event, so we can cut Republic a bit of slack regarding the unoriginality of this plot.

    The quake sequence is expertly presented and totally gripping. And while he's no Clark Gable or Errol Flynn, John Wayne delivers some of his more memorable acting here. We truly feel for him, as he struggles with almost losing Dvorak in the ensuing chaos. Her character remains critically injured for awhile, and Duke helps nurse her back to health.

    Sure, we know these two will end up married once she's fully recovered. And she will undoubtedly give up her career, and they will probably leave the coast and return to his family's ranch in Montana for their happily ever after. That's not what matters. Instead, what matters is how these two gamble on love and are able to cash in their chips for something good.
  • Warning: Spoilers
    Considering it's a John Wayne film, it already earns a respectable score from me. Aside from his early B-movies and a few horrible mistakes ("The Green Beret" and "The Conqueror" come to mind), any John Wayne film is worth seeing. However, "Flame of the Barbary Coast" is certainly among his lesser starring efforts. I think part of this is because Wayne's bigger than life persona really isn't fully evident in this film--in fact, he seems like a bit of a chump in this one!

    The film begins with Wayne coming to the Barbary Coast (a rough section of San Francisco) from Montana to collect a debt. However, he takes one look at 'Flaxen' (Ann Dvorak) and is instantly smitten--and spends much of the rest of the film following her about like a love-sick puppy. As I said, it's not the totally self-confident and macho John Wayne that later would be solidified in his films--the later Wayne would have just grabbed the woman and planted a kiss on her or dumped her when she played hard to get! This one, however, spends most of the movie trying to one-up her unscrupulous boss (Joseph Schildkraut) and build an even bigger gambling casino where he wants the chanteuse, Flaxen, to perform. All this striving for one woman--a woman that often didn't seem worth it as she's whiny and demanding. Yet, she is a walking cliché--the woman EVERY man wants to possess--yet not sexy enough to really pull it off well.

    Overall, the film is worth seeing but easy to skip. The script is only fair and Wayne's support is sometimes weak (Dvorak and Schildkraut--who came off as too wimpy to be a good foil)--though William Frawley is very good in his role as Wayne's friend and mentor. If you are a HUGE Wayne fan, then you must see it. If you aren't, then it probably won;t do much to impress you.

    By the way, this is one of several films that portray the Great San Francisco Earthquake of 1906. Considering the film was made by a low-budget studio (Republic), its special effects were pretty good but not nearly as nice as films such as "San Francisco" by MGM or "Frisco Jenny" by Warner Brothers.
  • I have already said this many times, Republic Pictures had a speciality concerning westerns, I don't mean all its westerns; only many of them; it was false westerns, not westerns taking place in desert, Rocky Mountains, with Blue Coats or Indians, but westerns set in big saloons and music halls, in San Francisco, with dances, costumes, gamblers with any gun belt. But it took place by the end of nineteenth century, in the West - mostly civilized West, with from time to time some fist fight and at worst a gun shot or two. Some Universal westerns, for instance those starring Marlene Dietrich and John Wayne, could be more or less the same. This kind of Republic westerns will disappear in the mid fifties; the best way to understand or check what I say here is to watch out the filmography of Joseph Kane; he made all his career at Republic pictures. You can't get wrong. You will notice that after the early fifties, he will abandon this "saloon or dance room " westerns, for only outdoors ones. This very one remains entertaining and mainly to see the Duke and Ann Dvorak.
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