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Heavy-going, off-putting Depression-era musical (set to old recordings of the 1930s) is quite elaborate and usually looks good, but is filled with ciphers. Steve Martin, in a fair dramatic acting turn, plays a sex-obsessed sheet-music salesman in Chicago with no conscience who cheats on his frigid wife with a schoolteacher, later becoming involved in a murder investigation. Unfortunately for Martin, this character is such a crude, lascivious lout, we don't really care about his fate or whether or not his teacher-girlfriend (now a prostitute) leaves him. Jessica Harper (as the cold-fish wife) is every married man's nightmare: the bride-turned-shrew; Bernadette Peters is somewhat more sympathetic as the lover, and gets to utilize her natural Kewpie doll-ness to fantastic effect in the musical numbers. But, for the most part, "Pennies From Heaven" is peopled with low-lifes. The extravagant showstoppers, fantasy sequences designed like mini Busby Berkeley movies, are breathlessly intricate and exciting to watch, but they provide little emotional subtext for what's happening in the real world (I don't know if original creator Dennis Potter meant it or not, but the material plays like "Up the Sandbox" with music). Herbert Ross directed with a heavy hand, though he does get some fine moments from his cast, especially Christopher Walken as a hoofing pimp. An expensive remake of a British mini-series starring Bob Hoskins, the movie ultimately feels a bit claustrophobic and sluggish, and has an unsatisfying wrap-up to its reedy-thin plot. **1/2 from ****

An Americanized adaptation of the six-part 1978 British miniseries, underrated director Herbert Ross' brilliant PENNIES FROM HEAVEN was a huge commercial flop in US when originally released. Audiences of 1981 did not seem to understand the concept of a depression-era musical, where the actors lip-synch to original recording from the in 1930s in elaborate fantasies that are far removed from the actual world in which they inhabit. Though extremely unconventional, this device is absolutely heart-wrenching as the dreariness of the real world breaks away to the brightly-colored, perpetually optimistic fantasy land that only lives in the lyrics of popular songs. It is the eternal agony of the dreamer that is expressed; the cold reality that leaves us destined to reach for the sky, but doomed to walk the earth.

This leaves the film's cast with a difficult task, as they must not only contend with their dramatic art, but also be well versed in a variety of demanding dances and highly disciplined choreography. Comedian Steve Martin is far from the first choice to portray the downtrodden protagonist in any film, but the actor acquits himself expertly in both the film's demanding dance and drama. Mousy Jessica Harper delves into her eternally repressed character so deeply that one is never certain where one stops and the other begins; a triumph of form for any thespian. Renowned dancer Vernel Bagneris is mesmerizing as the film's most ambiguous character, and his density-defying dance to Arthur Tracy's heartbreaking rendition of the title song is one of my favorite moments in any film.

Even more impressive is tough guy actor Christopher Walken's then-unexpected prowess on the dance floor, as he delivers a riotously funny and surprisingly sexy striptease to Irving Aaronson's "Let's Misbehave." In this sequence, Walken pulls off the difficult hat trick of satisfying both seasoned viewers and film neophytes, while still managing to leave both groups wanting more. Best of all, however, is the lovely Bernadette Peters in a superb, Golden Globe award-winning performance. Never before has Peters' slightly tarnished Kewpie-doll personae been better utilized, and the actress' transformation from repressed schoolmarm to hardened prostitute feels both stunningly and horrifyingly real.

Herbert Ross and his creative team manage to bind all of the pieces together into one seamless collage of lost hope, forced optimism, and never-ending desperation. Gordon Willis' cinematography is never less than completely awe-inspiring, and the combined efforts of top-drawer art and set direction and Bob Mackie's seemingly authentic period costumes helps cement the look and feel of desolate decade that the film represents. Over all films in every genre, PENNIES FROM HEAVEN would be a likely contender to receive my vote for the single most underrated film masterpiece of the last twenty years. It exudes all of the contradictory joy and heartbreak that the movies offer, and serves it all up in one stunning presentation.

Man, did I love the musical numbers in this film.....but hated the story. I wound up taping just the music segments out of this film and making myself a neat little half-hour video of fantastic song-and-dance numbers.

The dance numbers are 1920s-1930s material except you get 1980s color and special-effects (and loose sexual mores). Actually, these are more like put- ons of those routines, including Busby Berkeley extravaganzas. Added to the routines are humor. I just laughed out loud at the absurdity of them, which included having the actors lip-sync to the old-time singers.

The dance routines are all totally different and very entertaining, from the opening bank skit, to the kids in the classroom to Christopher Walken's striptease to Steve Martin and Bernadette Peters imitating Astaire & Rogers. The dancing is good and the songs are great: catchy and fun.

Story-wise, Martin ("Arthur Parker") plays a boorish, profane, lying and just plain unlikeable character. Are we supposed to root for him? Maybe we are to root for Peters, who plays "Lulu," the school teacher-turned- prostitute (sounds like real-life these days with all the female teacher sex scandals). Hey, I like Martin in a lot of films. He can be a very entertaining guy, but the character he plays in here.....well, you can have him and this very cynical and depressing story. No thanks.

It's no surprise to me it bombed at the box office. Too bad, because with a more appealing story a lot more people would have been treated to the great musical numbers in this movie.

When Herb Ross opened "Pennies From Heaven" during Christmas of 1981 it met with harsh press and public indifference. Many concluded the musical was dead.

But "Pennies," like Bob Fosse's "All That Jazz" released two years before, is a key transitional work that juxtaposed the cynicism of the '70s to the exhilaration and escapist fantasy of its buoyant Depression era score.

Steve Martin ran the risk of alienating his fan base by trading in the "Wild and Crazy" guy for the brooding, unfaithful Arthur Parker. But he's a revelation. And what a dancer!

It was no surprise when audiences stayed away.

By all means watch it today, particularly on the new widescreen DVD release. You'll walk away with a greater appreciation of Christopher Walken, Bernadette Peters and especially Steve Martin.

It makes it so much harder to watch this major talent wasting himself in such tripe as "Cheaper by the Dozen" and "Bringing Down the House."

I saw "Pennies from Heaven" in the theater and I've seen it several times since. It has always been an unsatisfying watch. It's just too downbeat. Director Herbert Ross and company deserve an E for effort but the movie doesn't work as well as it should. Steve Martin's character is just too unlikable. The misery he spreads is just too much. The movie does look great. The set design and costumes are terrific. The musical numbers are very good. "Pennies from Heaven" jerks the audience from one extreme to another. It's often an uncomfortable movie to watch.