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It's a Gift
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Directed by Norman Z. McLeod
W.C. Fields is in fine fettle as small-town grocer Harold Bissonette (pronounced Biss-o-NAY). Harold dreams of becoming a California orange farmer, but his gorgon wife (Kathleen Howard) will have none of it. After a grueling day at the store, during which his electric light stock is destroyed by a cane-wielding blind man (Charles Sellon), and his floor is flooded with molasses by the impish Baby LeRoy, Harold announces that he's sold the store and bought an orange grove. Seeking to escape his wife's nagging, Harold tries to sleep on his porch, which proves impossible thanks to innumerable interruptions--not least of which is an insurance salesman (T. Roy Barnes) loudly asking for Karl LaFong ("capital L, small A, capital F, small O, small N, small G!") The next day, Harold packs his family into the car and heads off for California. Once there, the little band of pilgrims drives onto the property of a wealthy man, assuming that it's a public park. They make a shambles of the grounds while trying to have a picnic, whereupon they are chased off the land by the scowling owner (Guy Usher). Finally, Harold arrives at his "vast" orange grove--consisting of a tumbledown shack and one scrawny tree. Harold sits silently ruminating over his bad luck until his new neighbor informs him that a wealthy land developer wishes to buy Harold's property to build a stadium. "Don't let them bluff you," advises the neighbor. "You can get any price." The potential buyer turns out to be the same fellow whose property had been invaded by Bissonette the day before, but business is business. The buyer offers several insulting sums, but Harold, fortified by a flask of gin, holds firm. "You're drunk!" the buyer shouts. "And you're crazy," responds Harold. "But tomorrow I'll be sober, and you'll always be crazy." Harold's stubbornness saves the day, and we fade on the satisfying sight of the Bissonette family living in luxury on the huge orange grove of Harold's dreams. A remake of Fields' silent It's the Old Army Game, It's a Gift was written by J.P. McEvoy and one Charles Bogle--and there isn't a Fields fancier alive who doesn't know who Charles Bogle really is. Downplayed by detractors as being merely three two-reelers strung together, It's a Gift has survived such piddling criticism to emerge as one of W.C. Fields' funniest efforts, as well as a comedy classic by any standards. ~ Hal Erickson, All Movie Guide
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by Risselada in Risselada Blog
loved it.
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"This is the third feature length film I've seen by director Norman Z. McLeod. I chose to watch this film based on previous good ratings I've given other films by this director and to better my favorite directors by algorithm listing. " [More]
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by CinemaRian in CinemaRian Blog
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"Out of all the great comedians, W.C. Fields was among the funniest, but his character was the least likable. The Marx Brothers would be the life of the party, Keaton a solid friend, and you might even take Chaplin to church with you, but Fields is like that embarrising relative at the family reunion that everyone tries to distance from. It's a Gift is generally considered to be his best film (although some prefer The Bank Dick), and it's not only hilar " [More]
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All Movie Guide
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Anyone seeking to understand W.C. Fields's humor and screen persona need look no further than Norman Z. McLeod's It's A Gift. The 1934 movie, which was successful but not highly regarded at the time, has become the defining film in the comic's screen career. It's also a very telling comedy about men who are downtrodden in spirit and put-upon by everyone around them, particularly women and children. It's misogynist humor, which is one reason why Fields' comedy, like that of the 1990s television series Married... with Children, is almost entirely a male phenomenon. In It's A Gift, Fields' performance as the common man and hen-pecked husband -- almost an American Andy Capp -- achieved a level of sympathy that he would seldom find in his other, more aggressive, assertive roles. Fields' Harold Bissonette is, or rather, once was, an essentially kind man -- he wants nothing more than peace and quiet to enjoy his meals, family, and home, and wouldn't even mind earning the respect of his wife, if that's what it takes -- but his patience is tried at every turn by some of the most obnoxious supporting players ever to grace a feature film. It's significant that the one and only completely sympathetic character in It's A Gift is Harold's new neighbor, a complete stranger (former filmmaker Dell Henderson) who does Bissonette a good turn without even knowing anything about him. The gesture is an element of the script that suggests, subtly yet profoundly, that there is hope for Harold and the men in Fields' audience like him. Fields never did another movie that was as cleanly executed, neatly constructed, or pleasing -- indeed, by the end of his career, with Never Give a Sucker an Even Break, his barbed humor spun in too many directions at once, evoking a spirit of anarchy but not much sympathy or warmth. (Ironically, this anarchic phase fit in very well with the mood of the late 1960s, when Sucker as well as The Bank Dick and My Little Chickadee were discovered by the counter-culture.) It's a Gift is Fields at his most affecting and funny and, along with his performance as Micawber in George Cukor's David Copperfield, his best work on screen. ~ Bruce Eder, All Movie Guide
 

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