You Can't Cheat an Honest Man

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)

In yet another variation of his "Poppy" role from his Broadway hit of the 1920s, Fields here plays Larson E. Whipsnade, owner of a circus. He has 2 children who have been off at school. The daughter, Constance Moore, feels compelled to marry for money. The son has no role.

At the circus, among Fields' attraction are Edgar Bergen and his dummies. Fields and Bergen had a solid chemistry and the radio "fued" between Fields and the dummy Charlie McCarthy were hugely popular. Their banter here is quite funny.

The plot is thin and revolves around the daughter's marriage and the financial troubles of the circus. But it's enough for Fields to build some hilarious routines around. The climactic ping pong game at the home of the groom's parents is very funny. Also funny is Fields dressed up as circus star, Buffalo Bella, the sharp-shooter.

Moore and Bergen have zero chemistry as the "lovers." But good support is provided by Eddie Anderson, Mary Forbes, Thurston Hall, James Bush, Grady Sutton, and especially Jan Duggan as Miss Sludge, the woman who starts the ping pong match. Duggan memorably co-starred with Fields in THE OLD FASHIONED WAY.

The Fields universe rarely goes well but there is a happy ending.

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.

Making a Comeback to the Screen After a Three Year Break to Rest and Retain His Control Over Drink, W.C. Fields Finds Himself Able, Although Maybe a Step Slow, to Perform and Write the Script. While Not At the Top of His Game, Fields Manages Quite Well as Scribe and His Acerbic Way of Charming Audiences.

He Brings Along Edgar Bergen with Charlie McCarthy and Mortimer Snerd, the Two Wooden Dummies. Fields Had Kept His Hand In on the Radio During His Movie Break and had Cultivated a Running Feud on the Airwaves that Proved Quite Popular. So it was Only Natural that They Help W.C. with His Return to the Silver Screen.

They Did Prove Adequate and Perhaps Made the Picture More Popular with the Kiddies and the Circus Backdrop Also Helped with the Younger Set. W.C. Fields Humor was Strictly Speaking "Adult" in Nature, So This was a Bit Different but a Good Contrast. Some May Say that This is Diluted Fields, but Considering the Aging Comedian was on Shaky Ground, it Didn't Hurt the Film that Much.

The Film as a Whole has Enough of Fields to Make it Worthy of His Other Work. The Ping Pong Match, the Circus Shenanigans, and the Wordsmith Fields Fills the Film with Puns, Odd Sounding Words and Phrases, and Some Delirious Sight Gags, Like the Alligator Pit.

The Movie was a Good Comeback for Fields, Although One Could Sense there Weren't Many Good Years Left as the Decade Closed. In the Thirties Though, W.C. Fields was a Top Draw and a Genius of the Genre.

Note…W.C. Fields made one more bona fide classic…The Bank Dick (1940).