Caballero nocturno

Believe it or not, Any Number Can Play was one of the few non-musicals produced by Arthur Freed over at MGM. To show you it was a Freed film, please note that the background music includes such Freed tunes as This Heart of Mine and Should I.

Richard Brooks who would soon get a big directing break in another Freed produced non-musical, Crisis, wrote a very fine story that Mervyn LeRoy directed with class and finesse. LeRoy got a stellar cast together and really mixed the ingredients well.

Clark Gable is perfect as an aging gambler with a lot on his plate. He's just been told by Dr. Leon Ames that he's got angina pectoris and for the sake of his health he'd better give up a very high stress profession. He's got a loving wife in Alexis Smith and a rebellious teenage son in Darryl Hickman who he barely knows. Living with them is her sister Audrey Totter and her husband Wendell Corey. Gable employs Corey at his gambling establishment where Corey does a little chiseling on the side and he's also into racketeers Richard Rober and William Conrad for some big bucks. They've got ideas how to cancel the debt. And Totter measures her own husband against Gable and finds Corey quite wanting.

That's just in his own household. Gable's got a lot of friends and enemies playing at his high class establishment which the police all know about, but do nothing because half the town's establishment is in the place on a given night. Such habitués might include Frank Morgan, Marjorie Rambeau, and Mary Astor a divorcée also carrying a huge torch for MGM's king.

The story involves all these issues and how they're resolved over one 36 hour period. What makes Any Number Can Play such a good film is that even the smallest characters do have their moments. Art Baker plays the owner of a country club where Hickman gets in a fight over his father. Note how in his brief moments, Baker tries oh so hard to keep Gable out of it when he discovers who Hickman is. Astor has only one real scene, but it's a beauty involving Gable having an angina attack and then with minimal dialog the two of them talking about a lost love of many years ago. Staged brilliantly, I might add.

One thing about Any Number Can Play that is frighteningly real are those angina attacks, remembering just how Gable died as the result of doing some very high stress stunt work on The Misfits. Absolutely eerie.

Any Number Can Play is one of Gable's best post World War II films and not to be missed by any of his fans. And if you're not a Clark Gable fan, you might become one after seeing this.

This postwar movie was one of Clark Gable's last for the studio that made him a star--MGM. Gable is older, perhaps wiser, but here fully capable of playing this role with all of the insight into life that his 49 years have earned him. One has the feeling that after the great '30s roles such as Rhett Butler, after the death of Carole Lombard, and after the war, Gable was perfect for the world-weary professional gambler that he plays here--the part fits him like a glove. And he's surrounded by great character actors such as Frank Morgan, Lewis Stone, and Mary Astor, to name a few.

I don't agree with the other review that said this was a totally unrealistic, if watchable film: I grew up in a small city that had a gambling house similar to the one depicted here. It was well run, had many regulars, and was quite well known to the authorities. In any case, this movie is well worth a view, if you're not a Gable fan, you might be after viewing this one.

One of the great opening scenes of any Hollywood movie projects a kind of cinematic/theatrical authority in a league with O'Neill or Odets, first we see the black man, filled with jolly self denial, buffing the crap tables, his tragedy is implicit from the first moment, believing in his heart that he is on a social par with the other white employees... and with quick, methodical grace the other supporting characters are sharply introduced - they're waiting for lefty, or godot,or the Iceman, or their savior,who happens to be Gable in one of his greatest roles...this is the refined essence of that great personality on screen...the man could simply manufacture chemistry not only with his leading ladies but with other men as well...too bad the crisp, exciting climax at the crap table does not quite live up to this glorious existential opening but it's still an eminently enjoyable Hollywood wrap up..one of the most underrated MGM movies.

Clark Gable stars as owner of a legal, small-town gambling house but his heart condition is about to make him quit. It's then he realizes that he's alienated his wife (Alexis Smith), who has retreated to a "memory room," and his son (Darryl Hickman) who is ashamed of how he has become rich.

He's also got a sneaky brother-in-law (Wendell Corey) who is married to his wife's sister (Audrey Totter). But he also has loyal employees (Barry Sullivan, Edgar Buchanan, Caleb Peterson), and some women who are quite fond of him (Mary Astor, Marjorie Rambeau).

Stealing the film are two longtime MGM players. Franks Morgan plays the gambler who may break the bank, and Lewis Stone plays the has-been who's about to play his last hand. Each is excellent.

Others include his doctor (Leon Ames), a couple of thugs (William Conrad, Richard Rober), and dejected woman gambler (Dorothy Comingore), and Art Baker as the nightclub owner.

Scotty Beckett was originally signed to play the son and his picture is on Gable's desk, but he was replaced by Hickman.

Frank Morgan and Lewis Stone turn in terrific performances, and this ranks as one of Clark Gable's best post-war performances.

Clark Gable is a casino owner who has tried to give all he can to his wife and son, but maybe all they needed was his time. Alexis Smith and Dwayne Hickman is his wife and son, and the movie is peppered with great supporting actors like Frank Morgan, Wendell Corey, Mary Astor and Marjorie Rambeau. The film begins rather slow, but is rewarding to those who like character studies and get into family dynamics. This seems to be the type of film that doesn't rely so much on active plot but on the way the characters relate to each other, which in some ways, puts it ahead of its time. While others may find fault with the film and I do admit it has its faults, I thoroughly enjoyed it and appreciated what it was trying to convey, that in life we have to give a second chance not only to others but also to ourselves. A new beginning is always the best perspective. Watch Any Number Can Play and see what you get out of it.