Sein größter Bluff

The Million Pound Note finds its way into the hands of a penniless American sailor who hasn't a pence to his name as he arrives in the United Kingdom at the turn of the last century. Gregory Peck who plays the sailor by chance runs into two elderly English brothers, Ronald Squires and Wilfrid Hyde-White, both filthy rich and are having an academic discussion around money.

They give Peck a million pound note from the Bank of England and the idea is to present himself as an eccentric American millionaire and for one month live off the reputation of that note. Peck's not to pay one shilling or break the note in any way. He's to live strictly on credit for that month, live I might add in a posh London hotel, typically posh for the 1900 or so.

Before I watched The Million Pound Note tonight I saw a variation on the same theme in Pretty Woman. Julia Roberts goes to a chic Rodeo Drive store in Beverly Hills and the first time arriving in her hooker working clothes, she's shown the door, but quick. But as Richard Gere said to her, they don't respect people, but credit cards yes, the higher the spending limit, the better.

The Million Pound Note was Gregory Peck's first venture into comedy and if you're looking for a lot of gags and belly laughs, skip this film. What you will find is a nice piece of whimsical humor where Peck's essential decency is kind of turned on itself for laughs. He's perfectly willing to be an guinea pig as the two old gents will give him enough money to get back to America.

But in this as in so many films, Peck doesn't count on falling in love with young aristocrat Jane Griffiths. She doesn't mind him being penniless or so she tells him, but snooty aunt Joyce Grenfell sure does when word comes out Peck's a fake.

The Million Pound Note is a good film with Peck in a perfectly suited character for himself. And it proves the old adage that millionaires are eccentric and paupers are just crazy.

I almost gave this film a 7--it was very close. This film is based closely on the Mark Twain story of the same name.

The film begins with Gregory Peck--alone and penniless in London. He doesn't even have the money for a meal or a place to stay. It's so bad that when a little kid throws a partially eaten pear on the ground that he's tempted to pick it up and eat it...when out of the blue, two gentlemen call to him from the balcony above. He is escorted up and they treat him kindly. After inquiring about his circumstances, they assure him that they'll make him a loan and not to worry. They hand him an envelope and instruct him to go buy himself dinner.

A cursory look in the envelope shows that there is indeed money inside, but when it comes time to pay the bill, he discovers that it's a million pound note (a fictional amount, by the way) and the people in the restaurant cannot possibly make change. However, they don't seem the least bit interested in his paying and immediately extend him any credit he wants. The note along with the money, by the way, tells him that he's to have the money at no interest and he's expected to return it in one month.

Later, when he goes to buy a decent set of clothes, they treat him like a bum--until they see the million pound note--at which case, once again, he's given unlimited credit and they dote on him. The same thing then happens when he goes to stay at a fancy nearby hotel. Word soon spreads all over London and now suddenly EVERYBODY wants to be his friend and extend him credit.

There's a lot more that occurs in the film--particularly in regard to how the Brits view social class and wealth as well as the whole idea of being a celebrity for celebrity's sake. It's all rather droll and mildly amusing, though not as wonderful as it could have been. I am having a hard time putting my finger on why, as Gregory Peck was terrific. Perhaps it's the way everything comes together perfectly in the end--regardless, it's a very good film but one that left me feeling a tad...well...flat.

As others have noted this is a one-joke comedy with the joke scarcely strong enough to carry the 90 mins. The movie is at its worst w hen it strains too hard to be funny with much pulling of flabbergasted faces and one ludicrous scene when the `note', obviously on a string, blows away and Peck dementedly chases it through the busy streets of Victorian London.

Gregory as the American Everyman excused from the English Class System looks and sounds fine if a little smug in a few scenes where possession of the eponymous note gives him the upper hand.

The big cast of British character actors including always enjoyable Joyce Grenfell as a dotty duchess in a slight variation on her usual jolly-hockey sticks character makes this fable on capitalism just about worth a look. Special mention also to A.E. Mathews striking just the right note as an antediluvian peer.

I found curious the billing of Ronald Squire and Wilfred Hyde-White, playing the brothers behind the scheme. They have exactly equal time at the beginning and end of the story but Squire is listed second with Hyde-White fifteenth! I'm sure Wilfred of My Fair Lady fame is the one remembered today.

Please note alternative title `Man with a Million'

Arriving home, with a long day of work behind me, and another ahead, I was in the mood for something friendly and undemanding. Ronald Neame's 'The Million Pound Note (1953)' was exactly what the doctor ordered. This lightweight British comedy is, for one, wholly and absolutely pleasant: notice how there is not a single villain in the entire film, every character likable in their own, distinctively-British way. The old family friend, whom we are certain is a grumbling and untrustworthy shyster, turns out to be an honest entrepreneur. The man who arranges to deprive Henry Adams (Gregory Peck) of his wealth is merely a doddering old eccentric who just wants to show some patriotism for a personal lark. This is the sort of film whose conclusion is never in any doubt: Peck will get the girl, achieve happiness, and learn to live without the extravagance to which he thought he would become accustomed. Frankly, I can't imagine the film ending any other way.

When penniless American stowaway Henry Adams (Peck, probably on his way to Italy to film 'Roman Holiday (1953)') requests a small loan from the US embassy in London, he is flatly denied by an indifferent official. However, a pair of childish millionaires (Ronald Squire and Wilfrid Hyde-White) have an even greater plan for him. They loan Henry a rare million pound note, which he is forbidden to cash in, for just a one month engagement. Pretty soon, every store and hotel owner in the city is tripping over themselves to offer him free services, irrationally smitten with the honour of serving a wealthy American, however unorthodox his dress manner may be. Of course, the arrival of "millionaire" Henry Adams doesn't go unnoticed in the high societies of London, and Portia Landsdowne (Jane Griffiths) is soon love-struck with the humble American, though his apparent wealth hinders rather than aids their love affair. Will the couple be together by the film's end? You don't need me to tell you.

Though I had expected 'The Million Pound Note' to be a slightly wooden comedy, it was great to find the film regularly inciting a hearty chuckle. Two moments stand out above all the others. Firstly, Gregory Peck opening the brothers' envelope for the first time to pay for a hearty meal, and dazedly apologising for not having anything smaller (the store-owners accept Henry as an "eccentric millionaire" and offer the meal for free). Secondly, the charity auction event in which the famous American millionaire carefully counts the coins in his hand to bid £82 12s, before inadvertently bidding £5000 for a rather commonplace vase. As lightweight as it may be, the film also aims a few modest jabs at the superficiality and hypocrisy of British society, most of the characters welcoming Henry Adams only when under the impression that he is absurdly wealthy; there's a harsh but all-too-true irony in the fact that Henry can only secure a cash loan once the American embassy believes that he doesn't need it.

Based on Mark Twain's novel, 'The Millionaire Pound Note' takes an interesting satirical look at the hypocrisy stemming from class distinction in the 50s England. England is a country where class and wealth are given extreme significance, especially among the rich. The film shows the hypocrisy that existed among these people, how the rich are quick to change face when in an instant they find out that you're a man of wealth and how within the next moment they revert back to their condescending selves when all wealth is lost. Interestingly, 'The Millionaire' also briefly looks at how the English perceived Americans in that era. Rich Americans were welcomed as outsiders and the poor were quickly shunned away. The fact that he's an outsider either makes him more appealing or the complete opposite. The story sticks to the main theme by emphasizing on the hypocrisy of the upper class society but at the same time it also creates a balance that prevents the movie from being a mockery of the British society. The movie drags at some point but the love story appears at the right time and there is plenty of comedy to keep one entertained. A charming Gregory Peck totally nails the part and the luminous Jane Griffiths is a treat. Reginald Beckwith, as Peck's sidekick Rock is amusing. The ending is a little predictable but the director does an overall good job by rounding it up and presenting his points.