Beg, Borrow or Steal

Just a few years later, the basic plot elements from BEG, BORROW OR STEAL were re-worked into THE WILD MAN OF BORNEO--and both starred Frank Morgan. However, of the two, BEG, BORROW OR STEAL is a far superior film due mostly to the great ensemble cast as well as its charm. BORNEO, by contrast, was a stale recycled idea and the film limped along solely on the power of Frank Morgan's acting--and it was not nearly enough to make the picture worth seeing.

So why is this a film good enough to earn a score of 7? Well, I already mentioned the cast. Morgan's character in both films is a bit of a scoundrel but this time he's accompanied by a group of five friends who are also crooks but exude charm. Later in the film, E. E. Clive makes a wonderful appearance and practically steals the show due to his funny delivery and great lines. This means that the entire production does NOT rest on Morgan's shoulders but is more of a group effort. Plus, the supporting actors are funny, whereas in BORNEO, they are at times pretty annoying. In addition to the acting, the music, direction and setting all work together to give the film a much needed infusion of charm and romance.

In many ways, this film also reminds me of some of W. C. Fields' films--ones where he is a bit of a rogue but by the end, everything works together to bring him a happy ending. A cute and enjoyable film from start to finish.

Frank Morgan plays a con man who plies his trade along the French Riviera. When his estranged daughter plans to marry, he suggests the ceremony take place at his chateau. The mothers of the bride and groom accept his offer, but he doesn't own a chateau. This is a comedy of mistaken identities and the strong cast does a fine job . Florence Rice, in particular, is believable as the bride-to-be who becomes the apex of a love triangle.

Wilhelm Thiele directs this comedy adapted from a short story with warmth.

The main reason to see this film is the familiar supporting cast.We have Reginald Denny,Vladimir Sokoloff,E.E.Clive,Erik Rhodes and Herman Bing to name but a few.When they are on screen this film lights up.When they are off you just have to sit through a film which is rather to familiar in the clichés that it employs.These actors typify the Golden Age of Hollywood.It is just a great shame that their like no longer seem to exist,or if they do they do not appear in films.Frank Morgan gives his usual stylish performance.The juve leads are typical of the era and eminently forgettable.Worth a look if the supporting cast interest you.

Con-artist Ingraham Steward (Frank Morgan) invites his estranged daughter to Europe to be married in his non-existent chateau on the French Rivera. Much to his chagrin, she accepts. As 'false identity' comedies go, this one is pretty good. Morgan is excellent as the father trying to make good on his offer and an early 'reveal' makes the whole farce a little less implausible. The funniest characters in the film are Ingraham's clique of 'international' conmen (posing as various Counts, Lords, etc) and the scene where they solemnly enter the chateau accompanied by 'culturally appropriate' music is hilarious. Other highlights are the scenes in which a real Lord (E.E. Clive) arrives at the chateau, only to be mistaken for another grifter and given instructions on how to behave in a Lordly fashion. As betrothed daughter Joyce, Florence Rice is fine and as soon as we meet her stiff, bland fiancée Horace (Tom Rutherford) we know that true love must await in France. The last-minute resolution to her romantic dilemma is deftly handled and the film ends exactly as expected - happily. Good fun from another era.

Frank Morgan (Ingraham) is a con artist who invites his estranged daughter Florence Rice (Joyce) to have her wedding ceremony at his chateau. One problem - he doesn't have a chateau. He needs to find one quickly!

It's a funny film as Morgan gathers a cast of crooks to pose as his upper class friends in order to pull the wool over the eyes of his daughter, groom and the parents. His associates can't resist the temptation to fleece and scam - and Morgan has his work cut out trying to prevent their shady antics. It's a comedy so we get a satisfying resolution that is pretty obvious from the beginning but it's the feel-good comedic situations that provide the driving force of the film, led expertly by Morgan.

To the film's credit, there is no come-uppance for the cast. Hooray - the bad guys get a happy result! Not sure why the Hays Code nonsense didn't see them all punished but perhaps comedies weren't scrutinized so rigorously.