Doble o nada

Among a slew of films Bing Crosby made for Paramount in the mid-thirties,"Double or Nothing" is a reminder that Bing Crosby was more than just a crooner. He had a flair for acting, a natural easy-going charm that came through on screen. In this cleverly contrived tale, he's one of four candidates for a fortune who's challenged to take a wad of cash and double it in thirty days. That's a headache for heiress Mary Carlisle who -- and this should come as no surprise -- ultimately falls for him. Martha Raye, Andy Devine and William Frawley as Bing's fellow fortune-hunters contribute stereotypical schtick, leading up to a night at an unlikely night club and an even less probable scenery-shifting send-off. Okay, the movie doesn't always make sense. But a good yarn, bright, brash dialogue and the youthful Bing make it fun to watch.

Twenty Five wallets with a hundred dollar bill and the business card of a lawyer's office are dropped around a city. Only four people find those wallets and go to the attorney's office to return them.

They don't know it, but the four honest ones have just entered a sweepstakes of sorts. According to the terms of a will by an eccentric millionaire, these four are given five thousand dollars and are given a month to double it. The first one who does becomes the heir to a fortune. Otherwise the money goes to the deceased's brother, Samuel S. Hinds and his family.

When the four people are Bing Crosby, Andy Devine, Martha Raye, and William Frawley you just look at the billing to see who will be the winner. But you are in for an enjoyable ride along the way to see who wins and to see Bing get the girl who in this case was his most frequent screen partner of the 1930s, Mary Carlisle.

In the 1930s rich people on screen were either kind and beneficent or were like Samuel S. Hinds, worth millions themselves and wanting more. They weren't called robber barons for nothing. Hinds and his family which include wife Fay Holden, and offspring Mary Carlisle and William Henry all throw big roadblocks into the paths of our intrepid would be heirs.

Another reviewer mentioned that casting Samuel S. Hinds as the unscrupulous businessman was offbeat. Hinds, who's best known on screen as George Bailey's father Peter in It's A Wonderful Life, gave a good account of himself here in a change of pace. Equally offbeat though was Fay Holden, best known as Andy Hardy's mother who is equally good in aiding and abetting Hinds's nefarious schemes.

Paramount gave some good songs for Crosby to sing. The biggest hit out of this film was The Moon Got In My Eyes which sold a few 78 platters back in the day. But in the staging of them, they were light years behind MGM and Warner Brothers during the thirties. In fact one of the songs, All You Want to Do Is Dance, the staging is a total ripoff of what MGM had done a year earlier in Born to Dance with James Stewart and Eleanor Powell singing and dancing to Cole Porter's Easy to Love. Crosby's other two numbers, Smarty and It's the Natural Thing to Do, suit his style perfectly.

Bing Crosby's Rhythm on the Range had introduced Martha Raye to the screen a year earlier and she repeated her brand of wackiness here. She pairs off nicely against Andy Devine, their styles contrast each other well.

William Frawley showed up in several Crosby pictures at Paramount, most notably in Going My Way as the music publisher who buys Father O'Malley's "mule". He also guested a couple of times on Bing's radio show, Kraft Music Hall. Offscreen Frawley was a mean, nasty, misanthropic drunk who eventually alienated one and all in Hollywood. He was on his uppers when Desi Arnaz rescued him to play neighbor Fred Mertz in his new series I Love Lucy. Probably extended Frawley's life as well as career.

Double Or Nothing is a great example of a vehicle that Paramount asked Bing Crosby to carry on the strength of his not inconsiderable charm. Backed by a good cast of supporting players, he does so here with one hand tied behind his back. Bing was up to more challenging material and gradually he got it.

The story is contrived and start-stop-start in places, the night-club sequence has a lot of great touches but is perhaps overlong and the donkey-dressed stuntman was odd and unnecessary. Double or Nothing still makes for pleasant viewing. The sets are lavish, especially the lake set in It's On, It's Off, and the photography and direction are straightforward and efficiently organised. The music score has the right amount of lushness, energy and whimsy, complete with some fitting classical music, and the songs are great though not among the greatest tunes of any Bing Crosby film. The standouts are It's On, It's Off, Smarty and especially the heavenly The Moon Got in My Eyes. The choreography is lively and cleverly done, the water ballet forming It's On, It's Off is the most memorable but Ames and Amos' tango and the slow motion fight are worth looking out for as well. The dialogue crackles with wit and fits the term escapist entertainment just fine. There is a fair bit of nonsense in the goings-on but it is pleasant and part of the fun. Bing Crosby looks very comfortable here and his voice is as handsome as ever, The Moon Got in My Eyes is sung so beautifully by him and suits him like a glove. Mary Carlisle is charming, Andy Devine is amusing and William Frawley likewise. Martha Raye won't be for all tastes, her comedy can be quite farcical and not in the most subtle of ways but she looks as though she's having a whale of a time and despite having more to do she's not as emphatic as she was in Waikiki Wedding(though she was still fun in that too). Overall, good pleasant fun. 7/10 Bethany Cox

DOUBLE OR NOTHING (Paramount, 1937), directed by Theodore Reed, is an enjoyable, but not particularly original, musical-comedy with a typical story about how found money can change or ruin a person's life. Similar in ways to Paramount's earlier IF I HAD A MILLION (1932), this production focuses primarily on four people in one simple plot instead of separate episodes dealing with different central characters in ten minute segments. It also capitalizes on the quite common rich girl-poor boy theme and setting it to musical interludes.

The film begins with a couple of men walking about town purposely dropping wallets obtaining $100 bills on the sidewalks and over the fences. Numerous people find it and go about their way, followed by a lone dog picking up the wallet by his mouth, trailing around until he locates "Lefty" Boylan (Bing Crosby), found singing on the stool in a diner while waiting for his meal. Instead of keeping the money, Lefty encounters the address in the wallet, and although he could use the money, he decides to do the correct thing and return it to the rightful owner. Entering a lawyer's office, Lefty finds himself being seated along with three other people, Liza Lou Lane (Martha Raye), a former burlesque entertainer, "Half Pint" (Andy Devine), a tramp, and John Pederson (William Frawley), a gambler. These four turn out to be the only ones honest enough to not take the money and run. They then learn from an attorney the purpose of the wallets and of a last will and testament from a deceased millionaire who wants to prove that there are still intelligent and honest people left in the world, and as for their honesty, they are each rewarded $5,000 with the agreement that the first one to double that gift legitimately within thirty days will get to inherit a million dollars, or else, acquire nothing. The foursome have their own individual ideas on how to double their money and agree they should divide half of the estate among others. Lefty, an unemployed singer, decides to use his good fortune and open up a night club featuring entertainment acts. However, situations arise when the deceased millionaire's brother, Jonathan Clark (Samuel S. Hinds), feeling cheated of his inheritance, schemes to foil these people's plans, especially in using his pretty daughter, Victoria Clark (Mary Carlisle), to romance Lefty while his younger son, Egbert (William Henry) to do the same with Liza Lou.

In between the plot comes a handful of good listenable tunes, scored by Arthur Freed, Burton Lane, Johnny Burke, Arthur Johnston, Al Siegel and Sam Coslow, including: "Double or Nothing" (sung by chorus during opening credits); "Smarty" (sung by Bing Crosby, accompanied by a singing chef, played by Alfonse Berg); "All You Have to Do Is Dance" (sung by Crosby to Mary Carlisle, with brief dance solo by a policeman, played by Jimmy Notaro); "It's the Natural Thing to Do" (sung by Crosby to Carlisle); "It's On, It's Off" (sung by Martha Raye); "The Moon Got In My Eye" (sung by Crosby); "Listen, My Children" (sung by Martha Raye); "Swan Waltz" (instrumental); "It's On, It's Off" (reprise by Raye); "Double or Nothing," "Double or Nothing" (reprise/ sung by chorus); "Clarinet Virtuoso" (performed by Ames and Arno); "The Moon Got In My Eye" (reprise, sung by Crosby); The Calgary Brothers Comedy Act (performed by Steve and Andre Calgary) followed by them singing "The Moon Got In My Eye," "After You" (sung by Frances Faye, Martha Raye, Bing Crosby and Harry Barris) and "It's the Natural Thing to Do" (reprise by Crosby). Of the Crosby tunes, the ones that come off best are "It's the Natural Thing to Do" and "The Moon Got In My Eye," with the latter beautifully performed instrumentally by a sing and humming band of twenty voices in the place of an orchestra. A novel idea. On the funny side, Martha Raye, a burlesque dancer, finds herself unable to control herself by doing a striptease act every time she hears the music to "It's On, It's Off," and at one point, continues to sing under the bubbles while submerging under water during a police raid. For the finale in the night club variety act comes the jive singing of Frances Faye and Martha Raye to the tune "After You." With their last names sounding alike (Faye and Raye), so does their loud vocalizing.

The supporting players include: Benny Baker as The Sailor; Fay Holden as Martha Sewell Clark; Walter Kingsford as Dobson; Gilbert Emery as Mitchell; John Gallaudet as Johnny Rutherford; and Harry Barris, (a familiar face in numerous Crosby musicals, mainly because he was part of his "Rhythm Boys" singing trio in his early days), playing an orchestra leader. Resident Hollywood drunks Charles Irwin and Arthur Housman can be seen briefly in the golf course scene, which is highlighted by Martha Raye opening her big mouth, belting out a giant cry that stops her short when a flying golf ball enters her mouth, causing her to swallow it.

Bing Crosby and his doll-faced blonde co-star, Mary Carlisle, make a fine on-screen couple. First paired in COLLEGE HUMOR (1933), they reunited for the third and final time in DOCTOR RHYTHM (1938), in which Andy Devine, who appears in DOUBLE OR NOTHING, appears with them once more.

The story used in DOUBLE OR NOTHING appears to be more interesting than the somewhat overlong musical and comedy acts performed in the night club sequence shortly before the close of this 94 minute production, but the good tunes, lavish sets and fine performances keep this from being just another mediocre musical. Rarely seen in recent years, it's worth rediscovering again. (***)

in 1937, paramount films, along with other studios, was in deep trouble in the recession. bing crosby was paramount's main source of easy money. the public then was willing to see anything with bing in it, or for that matter, hear him on records and on the radio. in "double or nothing", bing gave them some of all three media. four crosby-type numbers, "smarty", "the natural thing to do", "moon got in my eyes","all you wanna do is dance" which crosby does with that effortless, casual insouciance for which he was so famous. at that time, crosby's kraft music hall was one of the top radio shows, and the night club scene had bing emceeing just as he did on radio. pretty mary carlisle is the love interest, and a capable cast of martha raye (great in "it's on, it's off"), bill frawley, andy devine round out the foursome, with bing, trying to win the million dollar jackpot, courtesy of a multi-millionaire's whimsy. samuel s. hinds (jimmy stewart's father in "it's a wonderful life") plays one of his hundreds of supporting roles, as bing & co's adversary. not a "great" movie, but a thoroughly enjoyable one.