Quitte ou double

"Double or Nothing" is a pleasant Depression-era story of black-hearted millionaires and honest poor folk. A rich man's Last Will and Testament offers our heroes the chance to claim his entire fortune. Naturally this not sit well with the greedy relations. Samuel S. Hinds gets to explore his seamier side (as he will later, to all our joy, in "Destry Rides Again") and he's dandy as a schemer. Mary Carlisle is a lovely leading lady as the daughter of this paragon who falls for our jovial baritone, Bing Crosby. Martha Raye, Andy Devine, Bill Frawley and Fay Holden are also along for the ride.

A lot of entertainment is crammed into this little picture in the form of songs from Bing, Martha, the amazing Sing Band, some swell scatting, amazing slapstick and the unsurpassed drunkenness of Arthur Housman.

A satisfying Crosby movie for fans.

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.

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. (***)

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

Bing Crosby croons his way effortlessly through this little romp, while Martha Raye and Andy Devine provide the comedy, cloyingly at times. The plot, intriguing if not original, involves a dying millionaire who instructs his lawyers to drop twenty-five wallets containing a $100 bill on the streets of New York City in order to find honest people who will attempt to return them to their owner. Each winner is then given $5,000, and the first one to double that money within 30 days will receive the entire estate: $1 million. The plot is frequently interrupted by musical interludes, since Crosby plans to double his money by opening a nightclub.