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In his only time in this particular role Fred MacMurray doubled as producer as well as well as star Pardon My Past. He also plays dual roles in the film in one of those mistaken identity films.

MacMurray and William Demarest fresh out of the service just want to get some new clothes and head off to Beaver Dam, Wisconsin to start a mink farm. But a couple of strong arm guys grab them both and hustle them off to Akim Tamiroff who says MacMurray owes him $12,000.00 and calls him by a different name.

When they go to look up this doppleganger at the address they discovered, they also discover MacMurrray is a rich and spoiled playboy who's been living in Mexico. He has an estranged wife Rita Johnson and a daughter Karolyn Grimes. There's money there, but it's controlled by an avaricious uncle Douglass Dumbrille. When playboy MacMurray also shows up it gets interesting.

Pardon My Past is funny in spots, but the parts are greater than the whole itself. MacMurray disliked the role of producer and never did it again. According to Charles Tranberg's biography of him, MacMurray would henceforth pick up his paycheck say his lines and leave the rest to other hands.

Not one of Fred's best films, but decent enough.

While Fred MacMurray had always held warm feelings for the hometown where he had always been a star, regardless of his Hollywood career, he used Pardon My Past to deliver his most direct tribute to the small Wisconsin community of Beaver Dam.

During MacMurray's childhood, Beaver Dam was relatively isolated at the center point between Milwaukee, Madison, and Green Bay. Before the advent of the freeway, none of these cities were any less than a day's travel one-way. So, the budding star had to make due with his limited audience, and never disappointed his hometown.

Pardon My Past was the only movie MacMurray ever produced himself. It is the story of two GIs coming back to America after World War II, heading to Beaver Dam to start a mink farm. The city is made reference to no fewer than eight times, or once every eleven minutes, in the movie.

Fred never forgot his roots, he never grew too far away from his home. He adored the friends he made and he loved the city of Beaver Dam up until the day of his death in 1991. He was truly a rarity from any era of Hollywood, and, speaking as a fellow graduate of Beaver Dam High School, we are proud to have called him our own.

Despite the best intentions of all concerned, "Pardon My Past" emerges as a tired and tiresome comedy of errors with every player trying to make up for the lack of wit in the dialogue and absence of comic inventiveness in the plot by overplaying his or her part to the hilt. True, Dewey Robinson's bungling detective does manage to bring a touch of genuine humor to the proceedings; and even overly repetitious dialogue cannot completely take the edge off Tamiroff's smooth portrayal. There's also no doubt that Miss Chapman makes an attractive heroine. But gross overacting by most of the other players overwhelms the viewer. Unimaginative direction doesn't help. Although MacMurray has a dual role, there are no special effects, except in the one mildly effervescent shot in the entire film: The camera, tracking with MacMurray and Demarest as they flee across the lawn, picks up a cab which it follows back to the house where it closes in on MacMurray emerging. A rather neat trick certainly, and it's all delivered in the one shot without a cut. Metty's photography is consistently glossy, but other credits are undistinguished. Production values are no more than fair. Most of the action takes place in the one set. Dimitri Tiomkin composed and conducted the music score. Make-up was supervised by Otis Malcolm. The production manager was Scotty Rankin. Otho Lovering is credited as supervising film editor. (This means that he was present on the set and advised the director on camera set-ups).

Fred MacMurray and William Demarest, just out of the army, are on their way to Wisconsin to start up a mink farm. Their plans change when Fred is waylaid on the sidewalk by some tough guys who insist he is somebody named Pemberton who owes them lots of money.

The plot starts from there and develops into a wild tale that includes an honest bookie, a crooked uncle, an estranged wife and child, and a long lost twin.

MacMurray and Demarest are both excellent. No one ever expressed sputtering bewilderment or mild-mannered outrage better than Fred MacMurray; and no one but Bill Demarest could be quite so great delivering a line like, "Oh, get back under the house, you termite!" (Barked at Douglass Dumbrille, the wicked uncle.)

The picture also includes fine performance from Harry Davenport as the patriarch ("I'm just the grandpa—the only Pemberton that ever did an honest day's work in three generations!"); Marguerite Chapman as a family secretary who tries to figure MacMurray out; and especially Akim Tamaroff as a bookie with an appreciation for old books and a keen sense of fair play.

Just delightful, especially for those who love great character actors.

This is a movie that is incredibly enjoyable but if you think too much, then your head might explode--the plot is THAT crazy! However, if you can turn off your brain and just enjoy, then you'll have a great time.

Fred MacMurray stars in dual roles--Eddie York AND Francis Pemberton. It seems that neither man knows the other exists and they are exact duplicates. The problem is that Eddie and his buddy, Chuck (William Demarest), don't realize that Pemberton's life is a mess and Pemberton had left the country owing a large gambling debt. The gambler thinks that Eddie is Francis and threatens to kill him unless he is paid $12,000 immediately! So in desperation, York locates Pemberton's mansion to try to get the money. However, as he's an exact duplicate, everyone there thinks he's Pemberton as well!

The plot, though very contrived and practically impossible, the way they explain everything is actually pretty clever. Plus the film abounds with great writing and dialog--giving the actors plenty with which to work. Particular standouts in the film were Akim Tamiroff and especially sweet old Henry Davinport--who gives one of his funniest and best supporting performances. A really cute and enjoyable film--and one that should be better known, as it's exceptionally well executed.