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For some reason, I've never cared much for Edgar Bergen. It wasn't the fact that he wasn't a very good ventriloquist. I think it was a kind of smugness in his personality. Still, as he plays associate comedian to W. C. Fields, his banter with Charlie McCarthy pretty much matches Fields' shtick. This involves a crummy circus with Fields as the proprietor, one step ahead of the creditors and another ahead of the law. Fields sometimes does the clueless thing, but he is usually in control, and he does have a kind of code. This isn't one of my favorites but just try to keep up with the one liners.

YOU CAN'T CHEAT AN HONEST MAN (Universal, 1939) directed by George Marshall, is a circus movie, and with W.C. Fields in the lead, accompanied by the support of ventriloquist Edgar Bergen and his dummy, Charlie McCarthy, along with an assortment of oddball characters, ranging from another dummy named Mortimer Snerd, to human numskull Grady Sutton, plus circus attractions of the world's largest midget and smallest giant, one should expect this madcap comedy to be none other than a circus. In spite of its backdrop, where much of it takes place, there's no man on the flying trapeze nor Sally of the Sawdust or clowns juggling bowling pins, yet, Fields provides several opportunities clowning around by not taking it's title seriously. He is far from being an honest man and actually does most of the cheating, not in the illicit sense, but as a circus impresario who holds back salaries from his employees and cheating his paying customers of their change.

The story actually concerns Larson E. Whipsnade (W.C. Fields), the manager of a circus, who is heavily in debt of $3500, and in a comedic way, is at wits end with his troupe and constantly one step ahead of the sheriff. His problems are further complicated when Vicki (Constance Moore), his attractive daughter, becomes interested in the Great Edgar (Bergen), but in order to help their father out of his financial difficulties and from being arrested, Phineas (John Arledge), her brother, arranges for Vicki to marry Roger Bel-Goodie (James Bush), the son of society snobs (Thurston Hall and Mary Forbes), who may have money but not her love.

The supporting cast consists of circus performers Blacaman and Princess Baba playing themselves; Edward Brophy as Corbett; Arthur Hohl as Burr; Eddie "Rochester" Anderson as Cheerful, the crap-shooting handyman; and several Fields staff players including Grady Sutton, Jan Dugan and Bill Wolfe in smaller roles, plus Evelyn Del Rio, who would go on to play Fields' brat of a daughter in the upcoming comedy, THE BANK DICK (1940), seen here as a crying girl annoys Whipsnade about her "lost" dog. Children and animals continue to make good comedy props for Fields in this one.

The movie itself comes is a sort of mixed blessing for some considering how comedy routines shift from Fields to the antics of Bergen and McCarthy. The ventriloquist and his dummies acting like humans certainly will appeal to younger children than Fields, yet the older kids or adults with minds of children could find the Bergen, McCarthy and Snerd exchanges quite intrusive. While the Fields comedies of the past focused solely on his character, he doesn't have the entire movie nor does he share much screen time with Bergen and McCarthy in spite of their current popularity of verbal insults on radio. The story itself, written by Fields, under the assumed name of Charles Bogle, is slight with some situations unresolved, but the verbal exchanges and comedy routines are first rate. Standouts include Fields taking a shower behind a circus tent as his elephant Queenie acquires water from a bucket and sprays upon his command of "Give Queenie!"; Fields staging a ventriloquist act sporting a false mustache as none laughing spectators look on with blank expressions; and if those scenes don't provoke laughter, then the climatic ping-pong game at the society party certainly will. Watch how character actress Jan Duggan catches the ball.

YOU CAN'T CHEAT AN HONEST MAN has become a favorite on commercial television for many years, and later on cable channels, including American Movie Classics from 1995 to 1998, and Turner Classic Movies where it made its premiere in June 2001. Take notice that the prints available on these mentioned cable channels are not from the original 1939 release but from reissue copies with an entire different background during its introduction elevating Eddie "Rochester" Anderson's name (of Jack Benny radio fame) from bottom billing to co-starring status, thus reducing co-stars Bergen, McCarthy and Constance Moore further down the list. Video prints, from MCA Home Video, however, have become available with its original theatrical opening credits.

For his debut at Universal Studios after many years at Paramount, W.C. Fields comes off to a good start. It's may not be perfect but the laughs are there. Several comedy routines from previous Fields comedies are repeated here, and in many ways, much improved. The feud between Fields and "smart mouth" McCarthy continue to become highlights. McCarthy to Fields: "Is that a tomato or your nose?" McCarthy eventually gets his from Whipsnade (Fields) in one scene where the child-like dummy finds himself inside a live crocodile. After watching this, the circus may never be the same again, thanks to the one and only Larceny Whipsnake, better known as Larson E. Whipsnade, profession, "Honest Man." (**1/2)

W.C. Fields made several films that were essentially the same stories with a few variations. While I love Fields films, I am not a huge fan of these derivative tales. They are derivative but still mildly entertaining---and far from his best work. "Poppy", "The Old Fashioned Way" and "You Can't Cheat and Honest Man" all share many story elements--many. Each have Fields playing the leader of a two-bit circus or acting troop. Each has a grown daughter who Fields dotes upon. Each has Fields on the verge of bankruptcy. And, in each, the daughter faces a crisis. Because of this, even if this film is done well, it's still very familiar.

Fortunately for "You Can't Cheat and Honest Man", there is one major difference that sets it apart. Because of the success of Fields and Charlie McCarthy on the radio, the folks at Universal decided to add Edger Bergen and his dummies to the movie to give it a bit of punch. Bergan's humor was quite welcome and made this film less sentimental than the two previous incarnations...and a bit funnier.

Overall, it's worth seeing. However, if at all possible, try watching one of Fields' best films first to see just how good he can be with a more original story. "It's a Gift" is probably his best, though "The Bank Dick" and "You're Telling Me" are all wonderful Fields films. They are similar in that in each W.C. appears to fall on his face but by the end has become HUGELY successful, but otherwise each is very unique and better suited for his great personality.

This has probably become Feild's most underrated film. It has a few clumsy scenes, probably the most questionable racial "jokes" (through, given the milieu, probably quite true to life), and a lot of screen time goes to Edgar and Charlie.

Still, it is quite a wonderful film; and it retains the fundamental wacko universe that defines top Feilds. Some of the circus stuff is pretty amazing too, and they get a fine performance from the Lion tamer.

I think the ending probably must have looked so bad in the editing room they just said the hell with it and went for the sort of non ending with Mortimer. No matter, it's a jem, and if not "A" grade W.C., it's very close.

When counting out change for a customer buying tickets at his debt-ridden circus, Fields leads the customer to believe that he not only has counted out too much, but accidentally given him change for a 20 rather than a 10. The customer grabs the money and runs without bothering to point out the mistake. I think you can guess what actually happened.

This is really the only relevance of the title to a movie which is basically a series of skits showcasing W.C. Fields and Edgar Bergen, occasionally together, but usually in individual routines. Although W.C. is always a pleasure to watch, this is certainly not one of the better movies in which to do that. First of all, the Bergen routines grow tiresome quickly. There's only so much I can take of watching a ventriloquist who moves his lips while everyone pretends that his wooden dummies are alive. Second, Fields' routines never reach the level of inspired zaniness which his best films are able to achieve.

Finally, Fields never really imbues his character with any humanity until the final scenes. It his ability to do so which makes his best movies so special ("It's a Gift", "The Bank Dick", "You're Telling Me", etc.). Without it, all you have is a run-of-the-mill hit-or-miss comedy.