Pot o' Gold

This light-hearted film sees James Stewart playing Jimmy Haskell, the owner of a failing music store in a small town. His music-hating uncle C.J. Haskell wants him to give it up and join the family business. Shortly afterwards he is forced to sell so heads to the city. Here he finds himself in an argument between a group of musicians, living at Ma McCorkle's boarding house and representatives of a local business man who is disturbed by their playing. Jimmy throws a tomato and hits the businessman... his uncle! He gets away without being recognised and is seen as a hero by the musicians; and Ma's daughter Molly. He is now in a predicament; his uncle is determined to identify and prosecute the man who threw the tomato and the McCorkle's might not take kindly to having a Haskell in their midst. Will he be able to reconcile the families or is he just going to upset everybody when the truth comes out?

This film won't provide too many surprises but that doesn't matter. It is charming, witty and features plenty of musical turns, but not too many. James Stewart is a delight as Jimmy and the rest of the cast are solid. The comedy is gentle; mostly based on the facts that Jimmy's uncle doesn't know he threw the tomato, the McCorkle's not knowing he is a Haskell and his attempts to keep it that way. Highlights amongst the musical numbers are a performance in a jail cell and the pre-dinner performance featuring 'musical glasses. Comedy highlights included making Uncle C.J. think he was hearing and seeing things that nobody else could and the finale where Molly comes up with a plan which could unfortunately land Jimmy in jail if he can't think of a way to implement it legally. Inevitably there is also some romance between Jimmy and Molly. Overall a fun little film with no offensive material and plenty of gentle laughs; well worth a watch.

Based on a popular radio show of the period. Jimmy Stewart was reunited with the director of 'Destry Rides Again' in this, the final film he completed before his war service. (He returned a changed man, with a new grace before the cameras in generally less frivolous fare, at least until the sixties.)

More like a thirties screwball comedy with songs (one of them performed by by a surprisingly substantial black contingent), with Paulette Goddard (ne Levy) as an Irish colleen living in New York.

Charles Winninger's grumpy old curmudgeon performs a similar plot function to Lionel Barrymore as the satanic Potter in Stewart's postwar return, 'It's a Wonderful Life', without of course presenting anything like as big a threat.

I admit that I selected this not because of the amazing Jimmy Stewart at his bumbling best. Nor for Paulette, presumably Hollywood's greatest charm of the period.

No, I was drawn by Horace Heidt, the real life bandleader who stars under his own name here and carries his band with him. For some reason unfathomable to me, his bands always seemed to come out on the second tier of music history while lesser groups are remembered fondly. Ah well, I guess that's the music business, and he did well enough before he left it to be a professional investor.

I met the man in 1964, a time closer to this movie than to now. He said a few things to me about music that I have never heard as intelligently since. From anyone. About any art.

The story here is a well built one: a food magnate with a cannon in his plant (to puff rice) has a feud going with the boarding house next door which houses Horace's band. The businessman's nephew comes to town and falls in love with the innkeeper's daughter.

The device of the show is a radio show that Steward takes over and which hosts the band.

Its a musical and true to the form at the time, has no consistency to how the music finds an excuse to appear. Sometimes it is a show within the show. (Even then, there's some strangeness. A big number is for a radio audience, but morphs into an elaborately costumed dance stage routine.)

Sometimes it is somewhat real, with the band-members just breaking into song and that developing into a number. And sometimes its strangely internal, where the thing stops being real and itself becomes a show. I think this was not deliberate but a simple affirmation of what they thought the audience would accept. Much of the music (except the big stage number) is more musically exciting than what you normally find in movie musicals. I'd recommend it on that basis.

And there are some nifty cinematic jokes, too, a few quite clever mixed in with the corny ones.

The radio show in the movie was based on a real radio show of the same name and gimmick featuring Horace Heidt, so there's yet another fold for the show within the show.

If you don't care about the movie and its story (and few folks seem to with musicals) and you think of musical numbers more in terms of musical than big dance numbers, you will like this. You will.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

Jimmy Stewart is Jimmy Stewart, in this film as much as in any. The hoofers, musicians, dancers and others are very typical and very good.

Because of our impressions and biases, we expect something very different in a Jimmy Stewart film. This one is way beyond 'Philadelphia Story', on a scale that runs from that to, say, 'Rear Window'.

This, however, is a very lightweight musical, to be considered closer to the 'Follies' films and shorts like the one about Catalina Island than such heavyweights as 'Carousel', 'L'il Abner' or 'Showboat'.

It actually reads more like a cartoon script than any coherent, literary film such as 'Golden Caddillac', 'Animal Crackers' or 'Bringing Up Baby'. Speaking of the last, it is a pity that JS and KH did not work together more.

The pace is frenetic ala Marx Brothers, the dance and musical numbers done very well and the emphasis is on having the minimum story necessary to string together the music.

There is a subtle but very special scene, near the end, when Paulette Goddard goes to Jimmy's place to rouse him out and get him to the studio for the climactic radio show. It is not a musical number though there is a great deal of physical comedy in the scene. What makes it special special part is, without rhythm or music, that it is very clear that Paulette Goddard is dancing. The blocking, direction and her own talent shine. This one scene is worth the price of admission.

With a story in the best tradition of American Musical Tradition, more talent per actor than many better known and better thought-of films, this is a very enjoyable diversion. I was constantly impressed with the tight writing and talent. Did I mention that the folks are good?

It ain't 'Grapes of Wrath' but 'Pot 'O Gold' is well worth the watching.

I didn't know what to expect when I bought this movie. It was on sale really cheap and I just wanted something different to watch. Well, that's exactly what I got! This movie is sweet, silly, and completely outrageous. I was laughing out loud at the unabashedly large plot holes. They were just having fun and didn't care. Neither did I. Loved it. For its fun spirit, this film reminded me a lot of Baz Luhrmann's Moulin Rouge - characters just breaking out into song and dance for no real reason. It's a musical that doesn't admit it.The last half hour is a little long and doesn't seem to really go with the rest of movie, but I'll forgive that because it was so fun to watch.