Watch If I Had a Million For Free

It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.

Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

One of the most extraordinary films you will see this year. Take that as you want.

Copyright 18 November 1932 by Paramount Publix Corp. New York opening at the Rivoli: 2 December 1932. U.K. release: 10 June 1933. 83 minutes.COMMENT: On the whole, the film suffers from the lack of background music, though very occasionally "natural" music does provide a welcome break from the oppressive soundtrack silence. One thing that's not silent, however, are the actors; and, unfortunately, our players here do tend to be over-heavily theatrical — with a few notable exceptions, including Wynne Gibson, Charles Laughton, Joyce Compton and, to a lesser extent, George Raft. Frances Dee has a tiny part, as has Berton Churchill in "The Condemned Man" sequence in which James Cruze (definitely NOT Bruce Humberstone who denies he directed this sequence) makes effective use of Negro singing for background music. Production values are excellent. After a slow start — the Prologue seems to take forever to get to the point which we already know (thanks to all the film's publicity) — we move (in the current television print) to "The China Shop" episode, which is very enjoyable; then on to "The Streetwalker" which, with its wonderful evocation of mood and atmosphere, is one of the film's three high-points. "The Forger" is also an enjoyable episode, as is "The Auto" (though slightly below the usually brilliantly comic standard of W.C. Fields). "The Condemned Man" is a so-so entry. Gene Raymond is miscast, the dialogue is repetitious and we can spot the conclusion right from the start. Fortunately, it's short. With "The Clerk", we have another high-point, thanks both to Lubitsch's masterfully inventive (all the sweeping tracking shots through myriad corridors and up the stairs) yet thoroughly detailed (Laughton making last-minute adjustments to his dress, before the deferential knock on the door of Brown's office) direction and the comic genius of Charles Laughton. "The Three Marines", alas, is the film's really big disappointment. It runs far too long, and neither players nor director are able to do a great deal with a one-line joke that basically misfires. "The Old Ladies' Home" provides a final high point, before a somewhat anticlimactic Epilogue. Another of the film's delights should be mentioned, and that of course is the splendid gallery of support cameos, a list that includes Jack Pennick as the ungainly sailor who even the prostitute rejects in "The Streetwalker", Willard Robertson as a doctor in the Prologue, Samuel S. Hinds as a relative in closing, Tom Kennedy as Tough Joe in "The Three Marines", Fred Kelsey as a prison warder, and Robert Homans as an identification policeman in "The Forger".All told, this is grand entertainment. P.S. A big star in 1932 and 1933, Wynne Gibson overshadows everyone else on Paramount's re-issue posters – even though her name is hilariously misspelled as Wynne Bigson!

for idea and for its use. for performances and for the explore of social significations of an eccentric game. for the meet of great names of Hollywood. and for the inspired mix of humor and sadness and fresh air. because this is its basic virtue, against the passing decades. a film about the significance of money. and their use. and their importance. simplicity is the other good thing in its case. and, sure, the important key for define not only a good film but , in same measure, its period. so, a simple film. with precise message.

A surprisingly fresh 1932 multi-part comedy-drama; many of the issues it deals with (poverty, faceless mass production, the sadness of old age, even reckless driving!) remain contemporary to this day, nearly 80 years later. My two favorite segments are those with Charles Laughton (in one of his first roles) and Wynne Gibson (whom we actually see in all her lingeried, tattooed glory!): they are short and to the point, sheer perfection. The closing episode, set at a resting home for elderly women, is touching and unusual; the one with the bank forger who can't cash his check is nicely ironic; the one with W. C. Fields and Alison Skipworth features some great car stunts. The weakest - and most overextended - story is the one with the three soldiers who let the check slip through their fingers, but hey, 7 out of 8 hits is still a great score. And mine is *** out of 4.

The Charles Laughton section was the first I saw of this film when it was run at The National film Theatre in London in the 60s.It seems there were two versions of this part made. For the US all Laughton does is blow a large raspberry (Bronx Cheer for those in the US). In a version that was, presumably, made for the British audiences he also does a perfect V sign (palm back) which is the equivalent of 'the finger' in the US.Was this because the Americans did not understand the meaning of the V sign or was it to avoid offending their sensibilities. We will probably never know. Either way it a marvellous part of the film.