Il padrone di New York

Before watching "King of the Roaring 20's: The Story of Arnold Rothstein", I decided to read up on the man. After all, I'd heard very little about him and had just seen a small amount about him in the Ray Danton film "The Rise and Fall of Legs Diamond"...so I wanted to know more about his exploits. Well, I am glad I did because as I watched the movie I realized that the script often had little to do with the real Rothstein and even portrayed his murder incorrectly....so I knew to take the film with a grain of salt.

So, if you realize it's mostly fiction, is the film worth seeing? Not especially, as for a gangster film it really didn't have much action nor violence....so you are bound to be disappointed. Also, while I like David Janssen, here he just seemed as if he was tranquilized. My feeling is that if you are going to fictionalize a guy's life, couldn't you ficitonalize a bit of excitement into the script and acting as well??

I am hardly a fan of national film critics, but they are right on the money with this one - it stinks.

One major objection is having David Janssen playing the gangster Arnold Rothstein. What kind of casting is that? He couldn't be less credible in that role. Other cast members don't fit in here, either. The whole thing is a mess.

The first half hour of this movie doesn't exactly grab your attention, but when the romance sets in, it really puts you to sleep....and really never recovers. "King of the Roaring Twenties" sounds like an interesting, exciting gangster film but is just the opposite. Don't waste your time.

the verdict on this picture seems to be that it's a fizzle because of Janssen's performance as Rothstein, the most interior portrayal of an organized crime figure this side of John Garfield in Abe Polonsky's magnificent FORCE OF EVIL. Well, Janssen's no Garfield and KING OF THE ROARING TWENTIES is no FORCE OF EVIL, but this Allied Artist's spin-off of the popular "Untouchables" series with Robert Stack deserves a few more props from the peeps at the IMDb website than it has already gotten. It's not quite as droll as Boetticher's very similar looking RISE AND FALL OF LEGS DIAMOND (which came out at about the same time) but the director, Joseph M Newman, is an underrated dude who, (like Joseph H. Lewis), is long overdue for cultish discovery. The scene in this picture where Mickey Rooney pleads to his childhood buddy, Rothstein, for his life is proof alone of how good he was with actors. Newman worked extensively in television, especially on the ALFRED HITCHCOCK PRESENTS series. One episode in particular, titled SEE THE MONKEY DANCE starring Efrem Zimbalist and Roddy McDowell is a marvelous example of what can be done within the imperatives of a weekly commercial format. His work deserves a little more recognition than it's been given thus far.

You would think that it might be difficult to make a dull movie about the "roaring" twenties. This movie succeeds in spades. The lead actor (TV"s The Fugitive) is as stiff and flat as any ever seen on the big screen. Most of the performance involves staring down and looking up once in awhile with a half smile.

In fact only big little Mickey Rooney shows any life and thus through contrast steals the shallow show where the most exciting scene involves the transportation of a racehorse.

Of all the The Untouchables rip-offs of that era this is the worst. There is very little violence, except a punch thrown now and then, and very little else worth watching in this slow as sludge, talky, unconvincing Biography.

What we are left with is a TV looking widescreen film that has nothing in its scope. This movie is so bad that maybe we should turn our binoculars around just to get a laugh.

With a screenplay by Jo Swerling, this should have been a dynamite movie. However, with direction by Joseph M. Newman, it winds up being a pointless B movie. No action, no movement, not even really any clear character....

Given a desire to portray an enigmatic character, David Janssen was a potentially perfect choice for the role of Arnold Rothstein, boss gambler and the man who may have fixed the 1919 World Series. Janssen had a striking ability to show an intelligent character clearly engaged in the moment even as he evaluates the situation disinterestedly, an acting ability that he used to perfection on the small screen in both THE FUGITIVE and HARRY O. Yet, except for his scenes with Mickey Rooney (who finally got the chance in this movie to stretch himself in a real acting assignment and comes off as the best in the cast), we get little of that. Instead we get a movie in which each plot point is mechanically foreshadowed and then shown in a rather dull fashion.

There are a few standout performances: Dan O'Herlihy as the corrupt cop is great, but all he does is make you wish the movie is about him. What's going on in his mind and why? Joseph Schildkraut handles his couple of scenes with dignity and care. Jack Carson slides through his role as the head gangster in his typical bluff, understated manner. But the center of this movie starts nowhere, leads nowhere and takes no advantage of any of the strengths of the talents involved.