Perhaps some parts could have been eliminated in this film...namely, those stories where the money did not help. For example, the guy on death row was unable to save himself, and so his million dollars went back to the old man (and the man was trying to give away his money so that his relatives would not inherit it). Then, there was the segment with Gary Cooper who cashes it for ten bucks. Such an action is obviously ironic, but what was the point? The best sequences were the ones in which the characters lives were truly altered and made better by the experience of receiving the unexpected windfall. Consider the one where Fields and his lady (Alison Skipworth) get to enact revenge on road hogs; the one where Laughton gets to tell his boss off; and (my favorite), the one where May Robson takes over the retirement home. Finally, I think the film could have been enhanced by showing the old man convening with all the recipients at a party they give in his honor. That would show he has something to live for now.

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.

What a terrific 1932 film! Paramount's expensive depression comedy drama is one of the very best films made in the '30s and both a poignant and hilarious look at life in 1932 America. If you saw 42ND STREET and American MADNESS and perhaps THE KID FROM SPAIN all made the same year, you would have possibly the definitive early 30s films that allow as full a view of emotions and community as could be found. The cast is astonishing.. all the Paramount A- level stars, 8 of the best directors and 8 truly inspired vignettes present a balanced view of ordinary people 'winning a million dollars'... and their next move. My personal favorite was the prostitute who just wanted a good night's sleep, unmolested, and in a clean bed. The production values are huge, massive sets and elaborate scenes, especially the short one with Charles Laughton... the attention to detail and the fully realized settings are indicative of a very expensive film. All 8 scenes are terrific, not a slouch among them, and the final sequence in the old ladies home is particularly touching. George Raft's con man sequence and Gene Raymond's electric chair scenes are real eyeopeners given the irony involved. IF I HAD A MILLION is a film to find and celebrate. How amazing to have seen this in a 3000 seat cinema in 1932! imagine the cheering from the audience in the comedy scenes! What a crowd pleaser. In Australia this film ran prime time Saturday night 8.30pm on Nationwide free to air TV, such is its treasured reputation. It scored a ratings hit. True! check The TV guides here for ABC2 Saturday night Nov 1st 2009 if you do not believe me.

Thank heavens for fans of W.C. Fields, because it is they who have kept this diamond in the public forum after all these years. The film certainly does not belong to Fields, as his Road Hog routine is just one of eight stories of varying lengths. But fortunately, his fans discovered this film so the rest of us can truly enjoy everything else it has to offer, as well. A collection of writers presented eight stories of people who get an unexpected windfall from a steel tycoon. Some are funny, some are touching, some are brilliant in their brevity, some just make you think. Just desserts is the main theme. The Eddie Jackson (George Raft) segment is twistedly ironic enough to be a "Twilight Zone" episode. And EVERYBODY wants to be Phineas Lambert (Charles Laughton). Great writing, great cast - a good time.