Artivels Undescribable Perfection

Dorathen Better Late Then Never

Glucedee It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

ThrillMessage There are better movies of two hours length. I loved the actress'performance.

TheLittleSongbird There is not much actually that's wrong with Pennies from Heaven, other than that the story is very slight and you have no trouble figuring out how it's all going to end and that Madge Evans would have seemed more comfortable if she had more to do. Pennies from Heaven is not a lavish-looking film, nor was that needed. Besides the production values do look lovely, the Haunted House setting is inspired and it is most competently shot and directed. The score has the right amount of whimsy and energy, and the songs will definitely warm your heart. Pennies from Heaven's Oscar-nomination was more than justified as it is a truly appealing song in all respects and is heavenly sung by Bing Crosby. But my personal favourite goes to Skeleton in the Closet, which managed to be hilarious and spooky. The script is appropriately snappy with a lot of heart that doesn't resort to mawkishness. No matter how slight and predictable the story is, it still moves swiftly, it's coherent and the warmth and heart the film has is most endearing. Admittedly, yes it is sentimental, but it knows that and the sentiment is not overly-so. Bing Crosby is reason enough to see any film, and he certainly doesn't disappoint, giving a charismatic and (incredibly) appealingly heart-warming performance and singing beautifully as always. Especially in Pennies from Heaven, which he also gives a very moving quality to. He shares convincing chemistry with Edith Fellows, who does a great job being cute and sassy, she didn't seem that much of a brat to me. Donald Meek is typically wonderful, and seeing early-career Louis Armstrong in Skeleton in the Closet was surprising in a pleasant way. All in all, very charming and entertaining, great for Bing fans. 8/10 Bethany Cox

mark.waltz While Shirley Temple may have dominated the mid 1930's at the box office, she isn't representative of real children during the late depression. More realistic and even better actors included her own rival, Jane Withers, Warner Brothers' Sybil Jason, and in this Bing Crosby musical from Columbia, the divine Edith Fellowes. Not as bratty as Withers or as sweet as Jason, she certainly acted rings around Ms. Temple, certainly coming off as much more natural. No tears, no cloying cuteness and no overly sweet smile to take your mind of the depression, she was like someone you'd have seen a few years before in Hal Roach's "Our Gang" series.Bing is getting out of prison for a crime he didn't commit and goes to visit the orphaned young girl (Fellowes) and her grandfather (Donald Meek) to help them out after agreeing to assist them from the man who killed her father. Fellowes is hiding out from the most notorious of all 1930's kiddie nightmares: the truant officer. Here, that official isn't the beak-nosed Clarence Wilson of the "Our Gang" series, but a beautiful young lady (Madge Evans) who only has the child's best interest at heart. Meek and Fellowes fall instantly under Crosby's spell, especially after he introduces them to the haunting title song. They open a restaurant and nightclub specializing in chicken dinners with a haunted house theme, hoping this will prevent Evans from taking poor Edith away. But in true depression fashion, the government wins, and Crosby does all he can to win her back-this time legally and for good.A pleasing musical comedy, this is aided by the appearance of Louis Armstrong and his band who perform in the very funny haunted house dining sequence where all sorts of funny gags are leashed on the unsuspecting customers. It is all in good taste, that is with the exception of the revelation that black Armstrong is a chicken thief, quite a stereotype of this era. While this does sound a bit like one of Shirley Temple's 20th Century Fox films, it is actually a bit more adult and certainly not as sentimental. Meek will touch your heart as the milquetoast grandpa, and a very funny parade sequence (involving Fellowes hiding out inside a drum!) is another highlight.

drednm Pleasant if meandering Bing Crosby vehicle casts him as a man unjustly jailed who is given a note to deliver by a condemned man. Out of prison, he tracks down the Smith family in New Jersey and discovers a lonely girl (Edith Fellows) who lives with her destitute grandfather (Donald Meek). On opening the note they realize the condemned man has left them a house. Crosby ambles along with them and becomes part of the family, much to the dismay of a nosy social worker (Madge Evans). Somehow it is decided that they will open a restaurant in the house and thus provide a steady income to satisfy the social worker. No one seems unduly concerned about school or the fact that a total stranger has moved into the household.Not a lot of logic here but Crosby and Fellows are quite good. Evans seems a little ill at ease with her character. Meek is always good. Louis Armstrong shows up as a chicken thief and bandleader/singer at the restaurant. Nana Bryant is another social worker. George Chandler is a harried waiter. Nydia Westman has a nice scene as a maid with Crosby. Harry Tyler is the cheating ring-toss man, and Tom Dugan plays daredevil manager. Not a great film but it has a few pleasant songs, including the title number, and Crosby continues his screen persona of easy-going and decent. Fellows is quite good as the sometimes bratty girl. Evans is very pretty--too bad she did get better films and parts.

Nazi_Fighter_David In one film of the period, made away from Paramount at Columbia, Crosby changed for the better his devil-may-care attitude long enough to help a down-and-out family… "Pennies from Heaven" cast him as a friendly vagabond, released from prison after being convicted on a false charge…He befriends the daughter (Edith Fellows) and father (Donald Meek) of an executed murderer, setting them up in a ramshackle mansion that he turns into a profitable café… Sentimental and curiously melancholic, the film was one of the very few Crosby movies to acknowledge the Depression