The Luckiest Guy in the World

It's an MGM Presents A Crime Does Not Pay Subject. Charles Vurn is always looking for easy money and he's feeling lucky. He's falling behind at his job and with the rent. He demands $500 but his wife Martha refuses to give him the money. He digs through her drawers and finds the money. In the process, he pushes her into the radiator and kills her. His landlord comes to give him a large commission check. It's too late for his wife but for him, he has one more scheme. He starts getting lucky until he doesn't. It's short and sweetly bitter. It's fun to have the poetry of comeuppance. It's a great little short. It's fun to see a bad person get their due.

Luckiest Guy in the World, The (1947)

*** 1/2 (out of 4)

The final entry in MGM's "Crime Does Not Pay" series seems more like a film noir than an actual film in the series but there's nothing wrong with that. Barry Nelson plays a compulsive gambler who has blown his rent money, stolen money from work and now needs money from his wife. She refuses and he accidentally kills her but this here sets off a string of good luck but of course his crime is eventually going to catch up with him. The "Crime Does Not Pay" series is one of my favorites and while this one here doesn't really feel like any of their previous films I'm okay with that because this is a very well made film that manages to have the look and feel of some of the best noirs of this period. Nelson does a very good job in the role of a loser who eventually catches a few breaks. He's totally believable as the man and really brings a lot to the character making him someone we can care about even though we don't like what he's doing. It's also worth noting that there's a comedian on the radio during one scene and this is none other than Red Skelton. This short received an Oscar-nomination, which it certainly deserved as this is one of the better examples of a noir in the shorts department.

Barry Nelson has been embezzling. His wife walks out on him. Then his luck begins to change, and he sees a way to start all over again. He only needs to get away with murder.

The series of crime two-reelers had been running for a dozen years at this point, but they had gotten a bit stale, and did not comport well with MGM's post-War optimism. In the 1930s, everyone was worried about crime and gangsters. In the first half of the 1940s, it was foreign spies. Now they figured the string was run out, and that CRIME DOES NOT PAY now longer paid. Good thing they went out on a high note.

I just watched this excellent short earlier today on the turner classic movie channel as part of their 31 days of the Oscars. The Luckiest Man In The World was nominated for the Oscar of Best Short Subject, Two-reel Jerry Bresler in 1947. I'm not sure of what the other nominees were, but it is a shame it did not win the award. This short perfectly illustrates just how one's obsessing for the unreachable can easily dwindle into a downward spiral of unstoppable events eventually driving the person over the edge in an ironic twist of fate/pay back. Also, it has great characterization which enables the viewer to quickly sympathize the main character. This film has excellent pacing, not at all rushed or slow at any point. The short is simple, but gets its point across with utmost ease and beauty. If you happen to stumble across this one, count your lucky stars!

Director Joseph Newman's "The Luckiest Guy in the World" is, quite simply, a too-long neglected masterpiece of film noir. Like a previous poster, I, too, saw this recently on Turner Classic Movies and it grabbed me right from the beginning, a compelling story of an "average Joe" whose life spirals out of control when he desperately needs money to pay off gambling debts.

Baby-faced Barry Nelson, one of the screen's best portrayers of Mr. Nice Guy types, turns in a solid performance of a man caught in an inescapable trap of his own making. Also excellent, in the only other roles of any size, are Eloise Hardt as his long-suffering wife and Henry Cheshire as his sympathetic, unsuspecting boss. Max Terr's taut musical score is a plus, too.

Almost all the entries in MGM's "Crime Does Not Pay" series were good little crime dramas. Like many live-action shorts of the period, they served as a valuable training ground for promising writing, acting, and directing talents that the studio was trying to develop. "The Luckiest Guy in the World" is, far and away, the best, an outstanding short and a lost classic of film noir.