KnotMissPriceless Why so much hype?

Infamousta brilliant actors, brilliant editing

FrogGlace In other words,this film is a surreal ride.

Freeman This film is so real. It treats its characters with so much care and sensitivity.

mark.waltz Crooner Dick Powell goes down every man Will Rogers territory in this musical political satire where singer Powell becomes the scapegoat for the axing of blow hard judge Raymond Ealburn in a bid for governor. It all happened because traveling entertainers get stranded in a small town, and desperate for a job, agent Fred Allen takes the opportunity of boosting Walburn's campaign. It turns out that the supposedly sober judge is secretly a lush, and the money men take the opportunity to get a viable candidate after hearing Powell reading Walburn's speech as only he could. Life is just a bowl of politicians", Patsy Kelly cracks, a statement that holds 80 years later in the mist laughable presidential election in history. With Powell "trumping" Walburn, this is political satire at its most ironic. Traveling along with Powell, Allen and Kelly are the Yacht Club Boys (singing songs spoofing then timely issues sort of as the Smothers Brothers of their time) and pretty Ann Dvorak as Powell's girlfriend. Margaret Irving adds a few ironic laughs ad an aging married socialite who attempts to seduce to the obviously much younger Powell with very funny results. Paul Whiteman and his orchestra also pop in for a memorable specialty. As timely today, this uses state politics to parody what goes on in that wacky world we are rolling our eyes at each day with each morning headline. Movies utilized the funniest character actors who could scream pompous and idiotic with just a smirk, and while some real life politicians certainly are a walking visual aides for a stuffed shirt, some are dangerous while relatively few truly mean well. As the world faced the rise of fascism at this time, views of people in public office tended to become more real, as evidenced by Frank Capra's use of character actor Edward Arnold who showed that Hitler like ambition could hit America if we weren't careful. Still, these more innocent days, with the United States under a very popular president who fixed the issues of the previous administration, the movies enjoyed more light hearted looks at the plight of America as it recovered and headed towards hopefully "Happy Days". This has some truly great moments, especially Powell's crooning, Allen and Kelly's hysterically funny bickering and the still potent musical commentary of the Yacht Club Boys. Powell comes off as a younger, more glamorous version of the easy going characters that Will Rogers had played up until his recent death, making me wonder if this was written with him in mind. Powell makes good, though, on loan to Fox studios from Warners, and meets the challenge head on. The conclusion is a view into the future if what Capra would do with "Mr. Smith Goes to Washington" and "Meet John Doe".

bkoganbing After becoming Warner Brothers big musical star in the Thirties, Darryl Zanuck who had formerly been chief of production at Warner Brothers before going to 20th Century, got Jack Warner to loan him Dick Powell for two films. The second was On the Avenue which may have been his best film in the decade and this one, Thanks a Million which is almost as good. Powell desperately wanted to broaden his range, but the only thing Jack Warner gave him that could be classified as broadening was A Midsummer Night's Dream and that was a bit too broad. While both Thanks a Million and On the Avenue were not heavy drama, the writing was considerably above what Powell was given at Warner Brothers.I happened to have some old vinyl albums which contained Dick Powell's recordings of the songs he sang from this film even though I had never seen it until recently. I liked the score that Arthur Johnston and Gus Kahn wrote, very much and it was what prompted me to get a bootleg tape of Thanks a Million. I'm glad I did.It's one of the best political satires, I've ever seen done. Powell is a singer with a troupe traveling by bus to New York when it inevitably breaks down. To sing for their supper they join forces with political candidate Raymond Walburn to provide entertainment at his rallies. Soon they take over and one night when Walburn gets to drunk to go on, Powell gives a synopsis of his speech. Then political bosses Alan Dinehart and Paul Harvey get the bright idea to substitute Powell as their puppet candidate.Elect a singing governor, nonsense you say. I would hasten to remind you that in that same era, Jimmie Davis was elected governor of Louisiana, Wilbert Lee O'Daniel was elected governor of Texas, and Glen H. Taylor became Senator from Idaho on the strength of their radio entertainment. Not as far fetched as you think. And very shortly Powell's home studio would be signing a mid-west sports announcer to an acting contract who would one day be president of the United States.Powell gets able support from Ann Dvorak and Patsy Kelly as a singing sister duo, concert violinist David Rubinoff, radio's Fred Allen in the kind of role William Demarest later did for Preston Sturges. But acting honors go to Raymond Walburn. Walburn had playing these bloviating jovial type politicians down to a science, but he was never better than in this film as the tipsy fatuous judge the political bosses nominate as a puppet. He steals every scene he's in and the film should be preserved for him alone as well as one of Dick Powell's best musicals.The songs Powell sings in this film Thanks a Million, I'm Sitting High On a Hilltop, and I've Got a Pocketful of Sunshine are very good. The last two were the philosophical type numbers that normally one would associate with Bing Crosby. In fact next year Arthur Johnston the composer part of the team would be writing for Crosby, they'd be doing Pennies from Heaven over at Columbia.You made a million dreams come true and so I'm saying thanks a million to you, Dick Powell.

Greenster A fine-tuned crooner, two dancing sisters, a fast-talking agent, a gin-soaked gubernatorial candidate and an unemployed orchestra troupe collide with a pack of corrupt officials in this well-honed production, often classified as "the greatest political comedy of the Great Depression." But, in a broader sense, it may well rank as the most entertaining political satire in film history. Thanks a Million (20th C Fox 1935) would become an early Musical for the newly-formed 20th Century Fox Studio, for which crews constructed Sound Stage #16, a theatre set, to film "a show within a show," casting scores of extras as audience members. This films's four leading characters arrive from varying entertainment backgrounds.... Dick Powell, a major star of Warner Bros. musicals, as 42nd Street (1933), Gold Diggers of 1933 (1933), Footlight Parade (1933) and Twenty Million Sweethearts (1934), had performed as a tenor in his early career. Ann Dvorak, a child star in the Silents, had achieved recognition as a leading lady at Warner Bros. In Three on a Match (1932), she, Joan Blondell and Anne Shirley are billed above Bette Davis Warren William, Lyle Talbot, Humphrey Bogart, Allen Jenkins and Edward Arnold. Fred Allen, host of several radio programs between 1932 and 1949, including "Town Hall Tonight" and "The Fred Allen Show," would arrive from NYC for his first major feature film roll here. Patsy Kelly, a vaudeville dancer/comedian from childhood, had arrived in Hollywood four years earlier, to co-star with Thelma Todd in a series of comedy short films. "Thanks a Million" introduces Eric Land (Dick Powell), Sally Mason (Ann Dvorak), Phoebe Mason (Patsy Kelly), Ned Allen (Fred Allen) (Actually should/be Ned "Lymon"), along with Tammany (Benny Baker) and David Rubinoff and the Yacht Club Boys (Charles Adler, Billy Mann, George Kelly, James V. Kern) in its opening scene, aboard a bus being chauffeured (by Herbert Ashley) through a downpour. As the vehicle's radio receives an instrumental version of the song "Thanks a Million," performed by Paul Whiteman and his Orchestra, Ned challenges the Bus Driver that his troupe could outperform (after a little edging by Phoebe). As the band prepares, Sally learns from Eric that he hails from this state, which they're crossing en route to New York City, and once swore that he wouldn't have returned without achieving success as a singer. But soon, they're stranded. During a stop over, Ned schemes employment with Mr. Grass (Andrew Tombes) and other Commonwealth Party's gubernatorial candidate's election committee members to embellish the ticket with entertainment coinciding with speech-making. This plan partially backfires on the heels of Sally and Phoebe's song and dance performance of "Sugar Plum" and Eric's spectacular delivery of "Sittin' on a Hilltop," no one would stay to hear Judge Culliman (Raymond Walburn).At a celebration party, with Eric, Phoebe and the Yacht Club Boy's singing a politically flavored rendition to the tune of "Three Cheers for the Red, White and Blue," Ned enters to douse their enthusiasm, delivering an ultimatum from campaign headquarters, thereby redirecting any plans from New City on.But the plot thickens as Judge Culliman arrives at the next venue not feeling much pain. Enter politicians from the Commonwealth Pary: Mr. Kruger (Alan Dinehart) Maxwell (Paul Harvey), Mr. Casey (Edwin Maxwell), plus Mrs. Kruger (Margaret Irving), who form agendas of their own. Before the election is decided, more tunes fill the air: Eric and the Yacht Club Boys team for the magnificent "Sittin' on a Hilltop." Gov. Wildman's (Charles Richman) reelection committee hires Paul Whiteman and his Orchestra, featuring Ramona and the King's Men, to perform "New O'leans." And with David Rubinoff at his side on violin, Eric delivers the title song, "Thanks a Million," which would go on to become one of Dick Powell's hit records, as well as signature song. Patsy Kelly and Fred Allen keep the wisecracks coming through to the ending, a scene which ranks among the most highly implausible endings in film history.But the very premise of "Thanks a Million" is political farce, so this makes it all the more memorable.

lugonian THANKS A MILLION (20th Century-Fox, 1935), directed by Roy Del Ruth, ranks one of the finer musical-comedies released during the initial years of the newly formed 20th Century-Fox studio. Although reportedly successful, it's so overlooked these days as musicals are concerned that after viewing it, one wonders why it isn't better known. It comes near to something of a political satire from the Preston Sturges (THE GREAT McGINTY, 1940) school for comedy, or Frank Capra's (MR. SMITH GOES TO WASHINGTON, 1939) common man making good philosophy. Starring Dick Powell and Ann Dvorak, both on loan-out assignments from Warner Brothers, the feature film debut of radio comedian Fred Allen, musical antics by the Yacht Club Boys, along with delightful wisecracking Patsy Kelly, notable faces of Alan Dinehart, Paul Harvey, Edwin Maxwell, Russell Hicks and Andrew Toombes, character actor Raymond Walburn in a memorable performance, and special guest appearance of Paul Whiteman and his Band, THANKS A MILLION should get enough votes to be declared a winner.The story opens on a rainy night where Ned Lyman (Fred Allen) and his musical troupe riding on a bus bound for New York City. Departing a bus in New City, Pa., only to have to wait two hours for the next bus to their destination, the troupe decide to escape the rain by entering a building where a political rally is taking place. Campaigning for governor is Judge A. Darius Culliman (Raymond Walburn), making his long-winded speech that puts his attendees to sleep, although many are there only to wait until the rain stops. Noticing a disaster, Lyman suggests to the candidates that the only way for Culliman to get a full house is to try a new approach in hiring his troupe entertain with songs and dancing in between speeches, with Eric Land (Dick Powell) acting as crooner, and Sally and Phoebe Mason (Ann Dvorak and Patsy Kelly) performing as dancers. The idea practically works until one night Culliman arrives drunk, leaving Eric to fill in and campaign for Culliman.Eric's trusting and pleasing personality has the public wanting Culliman to withdrawn his ticket and have Eric run for governor instead. At first he refuses, but Eric does it anyhow, but for the wrong reasons, thus, causing him to lose the love and trust of his girlfriend, Sally, especially after spending more time with Betsy Kruger (Margaret Irving), his campaign manager's (Alan Dinehart) wife, who wants Eric for herself.On the musical program, with music and lyrics by Arthur Johnston and Gus Kahn, songs include: "Thanks a Million" (instrumental, violin played by David Rubinoff); "Sugar Plum" (danced by Ann Dvorak and Patsy Kelly); "I've Got a Pocketful of Sunshine" (sung by Dick Powell); "Square Deal party" (written and performed by The Yacht Club Boys); "Thanks a Million" (sung by Powell and Dvorak); *"A Fella Has to Learn His A.B.C's Today" (written and performed by The Yacht Club Boys); "Sugar Plum" (sung by Dvorak and Kelly); "Sittin' High on a Hill Top" (sung by Powell); "The Belle of New O'Leans" (sung by Ramona playing piano); "Happy Days Are Here Again" (instrumental); "Thanks a Million" (sung by Powell); and "Square Deal Party" (reprise/sung by cast). Good tunes with optimistic titles quite popular during the Depression era, most largely forgotten today.*A Fella Has to Learn His A.B.C.'s Today" is a comic number deleted from the final print that exists on a motion picture soundtrack album (double featured with HAPPY GO LUCKY, a 1942 Dick Powell musical) as distributed by Caliban Records in 1981.Singing dominates dancing in this production, with Dick Powell keeping himself busy in his sixth 1935 theatrical film release, putting his vocal chords to good use. A likable box office attraction, it's no wonder why anyone wouldn't want to vote for him. In 1937, Powell was invited back to 20th Century-Fox for another successful musical, ON THE AVENUE, featuring Madeleine Carroll and Alice Faye, with score by Irving Berlin.Summed up best as an Election Day movie, THANKS A MILLION was remade by 20th-Fox as IF I'M LUCKY (1946) starring Carmen Miranda, Perry Como, Vivian Blaine and Phil Silvers. Both musicals, currently presented on the Fox Movie Channel, were formerly shown on the American Movie Classics cable channel from 1991-92. (***1/2)