La chanson à deux sous

Mr. Doyle's poor review is questionable at best. This film is a delight from beginning to end. Edith Fellows does NOT play a brat, but a determined and pleasant young girl who can use a little guidance. The songs are fun and Bing and Edith make a great team! If this was a crappy movie, the DVD wouldn't cost $30!! Madge Evans is a bit of a pain, but that's the role she has to play and does it well. Donald Meek is typically good, but Edith steals the show in the first scene at the carnival. Funny when her line 'Thank you, you CROOK! appears near the film's first few minutes. I;m giving this a 9 out of 10. I don't know where some of the rural scenes were filmed, but the interiors were filmed at the old General Service Studios in Hollywood.

How innocent the movies were 70 years ago! But innocent doesn't mean without cool: Bing is the paragon of smooth, then or today. And what a vehicle for several excellent pop songs: "Pennies From Heaven", of course, but also "So Do I", "Let's Call A Heart A Heart" and even "One, Two, Button My Shoe". Of course the plot is no more sophisticated than Bellini's operas, but who's really watching it for the plot when it's bel canto?! And you have to love the interplay between Bing and Louis Armstrong - and while you're watching Louis, that's Lionel Hampton playing the drums rather than vibes tonight - not many remember that he first started on the drums before moving to the vibes. I mean, what's not to like here? Check this thing out, you'll love it. Even the graphics on the hand-painted "The Haunted House Cafe" sign are fun!

I was ten years old and this was one of Bing Crosby's earliest films. Oh how I used to enjoy all his films! I believe this is the first film he did with the great Louis Armstrong. What a joy and thrill to all that great music; same for Birth of the Blues.

PENNIES FROM HEAVEN has an improbable story about a drifter (BING CROSBY) who plays the lute and sings for his supper at a nightclub he opens at The Haunted House Cafe. The house has been inherited by DONALD COOK and EDITH FELLOWS from a prisoner on death row who wills the house to them as atonement for having killed the girl's father and is turned into a café by Bing and his friends, including LOUIS ARMSTRONG who is the vocalist and trumpet player.

The main focal of the plot is Bing's relationship with bratty little Edith Fellows, who causes no end of trouble throughout and is the most irritating factor about the whole thing although she's meant to be amusing and cute. MADGE EVANS as a social worker brings some sense of practicality to the whole affair and DONALD COOK provides some good humor, but the script meanders all over the place.

Crosby makes the role of the drifter pleasant enough but his character is never quite believable. Only when the musical numbers are played does the film reach any real level of entertainment, particularly during the "haunted" number at the café featuring a skeleton dance while Louis Armstrong belts out the song.

This is a harmless trifle in Bing's career, on loan to Columbia before his big successes at Paramount, and mostly because he delivers a few songs in his unmistakable crooning style, particularly the title tune.

Bing is his usual amiable self, but the script is miserable. He is credited with giving Armstrong a break by insisting that he be given prominent billing, a breakthrough for Louis. They would appear in four films together throughout Crosby's career.

Bing Crosby is one of the few performers who while he performed in over 70 films while he was alive, was so talented he has now appeared as a performer in just as many after his death in archive footage. He was a very shrewd Businessman too. This film, released by Columbia, was really made by a production company partly owned by Bing. A lot of film historians forget how Democratic the earlier years of films were where often the actors owned their own productions before the studio system really took over in the late 1930's. The big stars like Crosby even later than this had the power to own their own films and get a piece of the box office.

This film has the major attraction of Crosby in his prime with plenty of support and a fine performance by Louis Armstrong who is one of the great musical performers of the era too. Directed by Norman Z McCleoud who is a comedy director with Monkey Business & Horsefeathers, 2 of the great Marx Brothers films already on his resume, this film flows along quite nicely. The script is light hearted and puts together just enough plot to get through all the great musical numbers.

This is the type of film that isn't made anymore but is great to see, especially since a lot of Crosbys work is very entertaining. This one holds up well even today after all these years.