User Reviews

If you can accept the premise: that an out-of-work crooner can be nominated for governor of a state on the basis of a single speech, there are some attractive moments in this film. Dick Powell moves beyond his ingenuous Warner Brothers musical style, and seems on his way to becoming the actor he later showed himself to be. Fred Allen replicates his sharp-tongued radio persona, and is able to provide most of the humor, even though he clearly did not have a charismatic screen presence even as real as that of Jack Benny or Eddie Cantor. The satirical treatment of small-state politics is rather heavy-handed, suggesting that there is nothing but self-interest involved. The songs are nothing special, but Powell delivers them in his usual off-hand yet convincing manner. For me, the most interesting and surprising episodes in the film were the two song and dance numbers by Ann Dvorak and Patsy Kelly. Having known Dvorak only as a performer in melodrama, from Scarface to Rebel Without a Cause, I looked closely, to see whether there was a double; but there were enough close-up shots to let one see that her dancing wasn't faked.(Whether the singing was dubbed is another matter). She was always an actress whose work I found compelling, though she never achieved top stardom at Warners; perhaps because Bette Davis was slated for some roles Dvorak might have played. Probably not a "gem", but a film many will enjoy.

What a novel idea, have a talented group of entertainers be the opening number in political campaign rallies for a candidate to office. Which is what Ned Lyman discovers, as he and his troupe appear in a small auditorium where a political speech is to be given later on at the same theater by the candidate for governor of the state, Judge Culliman. Mixing theater people with politicians will appeal to voters, or so Ned thinks. The Judge in his run for governor of the state hasn't elicited much sympathy. Add to that a drinking problem and Ned sees a great opportunity.

Ned Lyman is a resourceful man that sees an angle in which keep the company he has assembled together and precede the aspiring candidate's spiel to the crowd. Since Judge Culliman can't get it together, Ned appeals to his star crooner, Eric Land, to read the speech to the audience. The singer becomes a hit and what's more, the political machinery behind the campaign see in him a person that can be manipulated. Are they in for a surprise!

"Thanks a Million" is a delightful comedy with music directed by Roy Del Ruth. Dick Powell, who appears as Eric Land at the height of his singing career is the best thing in the movie. Equally effective is Mel Allen, the radio personality in a rare screen appearances. Ann Dvorak is seen as Eric's love interest, and Patsy Kelly is a singer with the company and Ned's girl.

The film is entertaining as well as has an important message as the end when Eric Land unmask all the people that thought they could use him for their own personal gain.

A fine-tuned crooner, two dancing sisters, a fast-talking agent, a gin-soaked gubernatorial candidate and an unemployed orchestra troupe collide with a pack of corrupt officials in this well-honed production, often classified as "the greatest political comedy of the Great Depression."

But, in a broader sense, it may well rank as the most entertaining political satire in film history.

Thanks a Million (20th C Fox 1935) would become an early Musical for the newly-formed 20th Century Fox Studio, for which crews constructed Sound Stage #16, a theatre set, to film "a show within a show," casting scores of extras as audience members.

This films's four leading characters arrive from varying entertainment backgrounds.... Dick Powell, a major star of Warner Bros. musicals, as 42nd Street (1933), Gold Diggers of 1933 (1933), Footlight Parade (1933) and Twenty Million Sweethearts (1934), had performed as a tenor in his early career.

Ann Dvorak, a child star in the Silents, had achieved recognition as a leading lady at Warner Bros. In Three on a Match (1932), she, Joan Blondell and Anne Shirley are billed above Bette Davis Warren William, Lyle Talbot, Humphrey Bogart, Allen Jenkins and Edward Arnold.

Fred Allen, host of several radio programs between 1932 and 1949, including "Town Hall Tonight" and "The Fred Allen Show," would arrive from NYC for his first major feature film roll here.

Patsy Kelly, a vaudeville dancer/comedian from childhood, had arrived in Hollywood four years earlier, to co-star with Thelma Todd in a series of comedy short films.

"Thanks a Million" introduces Eric Land (Dick Powell), Sally Mason (Ann Dvorak), Phoebe Mason (Patsy Kelly), Ned Allen (Fred Allen) (Actually should/be Ned "Lymon"), along with Tammany (Benny Baker) and David Rubinoff and the Yacht Club Boys (Charles Adler, Billy Mann, George Kelly, James V. Kern) in its opening scene, aboard a bus being chauffeured (by Herbert Ashley) through a downpour.

As the vehicle's radio receives an instrumental version of the song "Thanks a Million," performed by Paul Whiteman and his Orchestra, Ned challenges the Bus Driver that his troupe could outperform (after a little edging by Phoebe).

As the band prepares, Sally learns from Eric that he hails from this state, which they're crossing en route to New York City, and once swore that he wouldn't have returned without achieving success as a singer.

But soon, they're stranded. During a stop over, Ned schemes employment with Mr. Grass (Andrew Tombes) and other Commonwealth Party's gubernatorial candidate's election committee members to embellish the ticket with entertainment coinciding with speech-making.

This plan partially backfires on the heels of Sally and Phoebe's song and dance performance of "Sugar Plum" and Eric's spectacular delivery of "Sittin' on a Hilltop," no one would stay to hear Judge Culliman (Raymond Walburn).

At a celebration party, with Eric, Phoebe and the Yacht Club Boy's singing a politically flavored rendition to the tune of "Three Cheers for the Red, White and Blue," Ned enters to douse their enthusiasm, delivering an ultimatum from campaign headquarters, thereby redirecting any plans from New City on.

But the plot thickens as Judge Culliman arrives at the next venue not feeling much pain. Enter politicians from the Commonwealth Pary: Mr. Kruger (Alan Dinehart) Maxwell (Paul Harvey), Mr. Casey (Edwin Maxwell), plus Mrs. Kruger (Margaret Irving), who form agendas of their own.

Before the election is decided, more tunes fill the air: Eric and the Yacht Club Boys team for the magnificent "Sittin' on a Hilltop."

Gov. Wildman's (Charles Richman) reelection committee hires Paul Whiteman and his Orchestra, featuring Ramona and the King's Men, to perform "New O'leans."

And with David Rubinoff at his side on violin, Eric delivers the title song, "Thanks a Million," which would go on to become one of Dick Powell's hit records, as well as signature song.

Patsy Kelly and Fred Allen keep the wisecracks coming through to the ending, a scene which ranks among the most highly implausible endings in film history.

But the very premise of "Thanks a Million" is political farce, so this makes it all the more memorable.

Don't be lulled into thinking this is going to be good by its first ten minutes. It begins quite promisingly, maybe it's going to be something like an American version of THE GOOD COMPANIONS with a bit of THE DARK HORSE thrown in but no, it evolves into a tedious and utter abhorrent abomination of a picture.

It should have been something special; we've got the skill, expertise and enthusiasm of Darryl Zanuck's new studio, a top screenwriter (he wrote THE GRAPES OF WRATH for goodness sake!), a top director moonlighting for his old pal from Warner Brothers and also Warner's Dick Powell.... but what we get is something so atrocious it's barely watchable.

Something unspeakably horrible happened to Hollywood musicals around about 1935 - gone were the times when there'd be big show numbers at the end of the film, instead people now would annoyingly burst into song mid-conversation. This is so contrived and annoying - an ominous portent of the horror yet to come, namely THE SOUND OF MUSIC!

Everyone looks so dull and dour in this. They look like the 1940s have come five years too early for them. I miss the slinky evening dresses, the glamour even Dick Powell being cheesier than the Cheddar Gorge. I almost miss Ruby Keeler, Ann Dvorak is no substitute. She seems to be in a different film to this, a dark moody drama or maybe she's just bored - but not as bored as me. Yes, I hated this.

Dick Powell sings "Thanks a Million" in this 1935 film also starring Fred Allen, Ann Dvorak, Patsy Kelly and Paul Whiteman and his band. A group of stranded entertainers find work performing during political rallies. When the candidate shows up drunk, Powell pinch-hits for him, and the party machine decides to make him their candidate for governor.

This ridiculous premise gets wonderful, satiric treatment from director Roy del Ruth, and the songs are wonderful. Powell sings what became a hit for him, "Thanks a Million," as well as "Sittin' on a Hilltop" and "A Pocket Full of Sunshine." Ann Dvorak and Patsy Kelly dance and sing to "Sugar Plum." They're all absolutely delightful. Powell's acting is charismatic, his voice charming, and who would have ever guessed that under all that juvenile sweetness there was a tough actor and an excellent producer waiting to emerge.

The film pokes great fun at local government, and Fred Allen and Patsy Kelly keep the jokes going. A look back and more innocent times at a film that hopefully lifted some people out of doldrums when they saw it.

Although the golden days of radio were long before I was born, I've always enjoyed the great radio comedians and was thrilled to see this Fred Allen movie being shown around the time of the 2008 election.

Fred Allen, who passed away in the early 1950s, was a contemporary of George Burns, Bob Hope, and Jack Benny, who pioneered the format of the sitcom in radio and later onto television. Unfortunately, Mr. Allen did not live long enough to make it into television (and he admittedly had a "face for radio", as he put it).

It is AMAZING to see how much the political parody in the movie Thanks a Million still hits the mark; the song "Square Deal Party" is a gem. If you get the chance to see this movie, don't miss it (I would recommend taping it - if you enjoy political satire, you will probably want to hear the lyrics of "Square Deal Party" again). It should be shown by the classic movie channels again WELL BEFORE 2012!!!

Fred Allen has an enjoyably sardonic, self aware delivery in this movie; it can be argued that his political satire on the radio was the first America had within that genre, if not some of the finest at that time. The Looney Tunes character Foghorn Leghorn (think the big rooster with the southern accent) is obviously based on the character Senator Claghorn from his "Allen's Allen." Fred Allen was a wordsmith who coined the phrase "low man on the totem pole" and is seriously underrated, in my opinion. Anyone who has an interest in American comedy/political satire and is not yet familiar with Fred Allen should spend a little time reading up on him and learning about a great American comedian who is sadly neglected and unknown today.

After becoming Warner Brothers big musical star in the Thirties, Darryl Zanuck who had formerly been chief of production at Warner Brothers before going to 20th Century, got Jack Warner to loan him Dick Powell for two films. The second was On the Avenue which may have been his best film in the decade and this one, Thanks a Million which is almost as good.

Powell desperately wanted to broaden his range, but the only thing Jack Warner gave him that could be classified as broadening was A Midsummer Night's Dream and that was a bit too broad. While both Thanks a Million and On the Avenue were not heavy drama, the writing was considerably above what Powell was given at Warner Brothers.

I happened to have some old vinyl albums which contained Dick Powell's recordings of the songs he sang from this film even though I had never seen it until recently. I liked the score that Arthur Johnston and Gus Kahn wrote, very much and it was what prompted me to get a bootleg tape of Thanks a Million. I'm glad I did.

It's one of the best political satires, I've ever seen done. Powell is a singer with a troupe traveling by bus to New York when it inevitably breaks down. To sing for their supper they join forces with political candidate Raymond Walburn to provide entertainment at his rallies. Soon they take over and one night when Walburn gets to drunk to go on, Powell gives a synopsis of his speech. Then political bosses Alan Dinehart and Paul Harvey get the bright idea to substitute Powell as their puppet candidate.

Elect a singing governor, nonsense you say. I would hasten to remind you that in that same era, Jimmie Davis was elected governor of Louisiana, Wilbert Lee O'Daniel was elected governor of Texas, and Glen H. Taylor became Senator from Idaho on the strength of their radio entertainment. Not as far fetched as you think. And very shortly Powell's home studio would be signing a mid-west sports announcer to an acting contract who would one day be president of the United States.

Powell gets able support from Ann Dvorak and Patsy Kelly as a singing sister duo, concert violinist David Rubinoff, radio's Fred Allen in the kind of role William Demarest later did for Preston Sturges. But acting honors go to Raymond Walburn. Walburn had playing these bloviating jovial type politicians down to a science, but he was never better than in this film as the tipsy fatuous judge the political bosses nominate as a puppet. He steals every scene he's in and the film should be preserved for him alone as well as one of Dick Powell's best musicals.

The songs Powell sings in this film Thanks a Million, I'm Sitting High On a Hilltop, and I've Got a Pocketful of Sunshine are very good. The last two were the philosophical type numbers that normally one would associate with Bing Crosby. In fact next year Arthur Johnston the composer part of the team would be writing for Crosby, they'd be doing Pennies from Heaven over at Columbia.

You made a million dreams come true and so I'm saying thanks a million to you, Dick Powell.

THANKS A MILLION (20th Century-Fox, 1935), directed by Roy Del Ruth, ranks one of the finer musical-comedies released during the initial years of the newly formed 20th Century-Fox studio. Although reportedly successful, it's so overlooked these days as musicals are concerned that after viewing it, one wonders why it isn't better known. It comes near to something of a political satire from the Preston Sturges (THE GREAT McGINTY, 1940) school for comedy, or Frank Capra's (MR. SMITH GOES TO WASHINGTON, 1939) common man making good philosophy. Starring Dick Powell and Ann Dvorak, both on loan-out assignments from Warner Brothers, the feature film debut of radio comedian Fred Allen, musical antics by the Yacht Club Boys, along with delightful wisecracking Patsy Kelly, notable faces of Alan Dinehart, Paul Harvey, Edwin Maxwell, Russell Hicks and Andrew Toombes, character actor Raymond Walburn in a memorable performance, and special guest appearance of Paul Whiteman and his Band, THANKS A MILLION should get enough votes to be declared a winner.

The story opens on a rainy night where Ned Lyman (Fred Allen) and his musical troupe riding on a bus bound for New York City. Departing a bus in New City, Pa., only to have to wait two hours for the next bus to their destination, the troupe decide to escape the rain by entering a building where a political rally is taking place. Campaigning for governor is Judge A. Darius Culliman (Raymond Walburn), making his long-winded speech that puts his attendees to sleep, although many are there only to wait until the rain stops. Noticing a disaster, Lyman suggests to the candidates that the only way for Culliman to get a full house is to try a new approach in hiring his troupe entertain with songs and dancing in between speeches, with Eric Land (Dick Powell) acting as crooner, and Sally and Phoebe Mason (Ann Dvorak and Patsy Kelly) performing as dancers. The idea practically works until one night Culliman arrives drunk, leaving Eric to fill in and campaign for Culliman.Eric's trusting and pleasing personality has the public wanting Culliman to withdrawn his ticket and have Eric run for governor instead. At first he refuses, but Eric does it anyhow, but for the wrong reasons, thus, causing him to lose the love and trust of his girlfriend, Sally, especially after spending more time with Betsy Kruger (Margaret Irving), his campaign manager's (Alan Dinehart) wife, who wants Eric for herself.

On the musical program, with music and lyrics by Arthur Johnston and Gus Kahn, songs include: "Thanks a Million" (instrumental, violin played by David Rubinoff); "Sugar Plum" (danced by Ann Dvorak and Patsy Kelly); "I've Got a Pocketful of Sunshine" (sung by Dick Powell); "Square Deal party" (written and performed by The Yacht Club Boys); "Thanks a Million" (sung by Powell and Dvorak); *"A Fella Has to Learn His A.B.C's Today" (written and performed by The Yacht Club Boys); "Sugar Plum" (sung by Dvorak and Kelly); "Sittin' High on a Hill Top" (sung by Powell); "The Belle of New O'Leans" (sung by Ramona playing piano); "Happy Days Are Here Again" (instrumental); "Thanks a Million" (sung by Powell); and "Square Deal Party" (reprise/sung by cast). Good tunes with optimistic titles quite popular during the Depression era, most largely forgotten today.

*A Fella Has to Learn His A.B.C.'s Today" is a comic number deleted from the final print that exists on a motion picture soundtrack album (double featured with HAPPY GO LUCKY, a 1942 Dick Powell musical) as distributed by Caliban Records in 1981.

Singing dominates dancing in this production, with Dick Powell keeping himself busy in his sixth 1935 theatrical film release, putting his vocal chords to good use. A likable box office attraction, it's no wonder why anyone wouldn't want to vote for him. In 1937, Powell was invited back to 20th Century-Fox for another successful musical, ON THE AVENUE, featuring Madeleine Carroll and Alice Faye, with score by Irving Berlin.

Summed up best as an Election Day movie, THANKS A MILLION was remade by 20th-Fox as IF I'M LUCKY (1946) starring Carmen Miranda, Perry Como, Vivian Blaine and Phil Silvers. Both musicals, currently presented on the Fox Movie Channel, were formerly shown on the American Movie Classics cable channel from 1991-92. (***1/2)

...made at Fox shortly after Darryl F. Zanuck took over the studio when he realized that Warner Brothers would always consider him just another employee. There is quite a bit of talent taken from Warner Bros. - director Roy Del Ruth and leads Dick Powell and Ann Dvorak as well as Alan Dinehart who always played less than reputable characters.

A traveling vaudeville troupe is having difficulty getting gigs and is on their way back to New York when the bus stops in a small town during a pounding rain storm. Troupe manager Ned Lyman (Fred Allen) goes inside an auditorium to get out of the rain and sees an old has been judge of a politician stumbling through a boring political speech - He is the Commonwealth Party's nominee for governor. When the rain stops everybody leaves. Nobody wants to hear what this guy has to say. So Lyman convinces the Commonwealth party leaders to hire his troupe to entertain before the judge speaks to get people in a receptive mood.

This is working out pretty well until one night the judge shows up drunk to a rally and is thus in no condition to speak. They get crooner Eric Land (Dick Powell) to give the speech for the judge and he's a huge hit with the audience. The party leaders come to Eric and ask him if he'd consider running for governor in the place of the judge. He agrees only after his girlfriend Sally (Ann Dvorak) tells him that he'll be singing on the radio and that the publicity would be a great way to get out of vaudeville and into radio for good. Besides, who would vote for a crooner for governor? What could go wrong?

Well what goes wrong is that the party boss who enlisted him has a wife who likes the material trappings of her marriage but likes to play the field, and Eric is the field she'd like to play in next. Also, Eric is actually pulling ahead of his opponent AND apparently Eric will be expected to hire a bunch of grifters into his cabinet so that they can steal from the taxpayers. How will this all work out? Watch and find out.

This film is much more sublime than Warner Brothers musicals of the 1930s after the code, many of which put lots of fast talking and flurries of action to replace the sharp edged dialogue and situations they could no longer do. Zanuck figured out how to do musicals in the time of the code - he'd do plenty in the 1940s - but at this time he didn't have the talent to do them yet. Thus all of the borrowing. This has the great feel of old time radio with what I'd even call a "cozy" scene opening the film as the troupe travels on the bus in the pounding rain one night with the movie's signature theme "Thanks a Million" playing on the radio.

The 1930s saw a tremendous growth in radio since it was first introduced in the 1920s. A few radio celebrities made a good living doing side work in cinema, led by Jack Benny, Will Rogers and George Burns and Gracie Allen. Radio personality Fred Allen augmented his popularity on the airwaves as a humorist by introducing himself in his first feature film in the October 1935 musical, "Thanks a Million."

Allen's barbs and one liners, beginning with his 1932 'The Fred Allen Show,' pioneered the comedy host-and-guest format for radio and television programs that talk show host Johnny Carson perfected. The newly-formed Twentieth Century-Fox's first feature film, "Thanks a Million," capitalized on Allen's immense popularity and worked its plot around him. His character Ned Allen is a band leader featuring singer Eric Land (Dick Powell). During a bus transfer, Allen notices a candidate running for the governor's office who needed some pizzazz to spark his stump speeches. He gets the campaign to hire his band to drum up crowds for the candidate Judge Culliman (Raymond Walburn), who loves his drink. At one stop, the judge is too drunk to speak, and Eric takes his place, firing up the crowd to call for him to replace Culliman. Eric does so and wins the election.

A couple years after the release of "Thanks a Million," Allen quipped on his radio show that the movie proved that "Up in Washington, they elected a band leader Lieutenant Governor, and if people will vote for a jazz band leader, they'll vote for anybody." He was referring to Victor Meyers, a former jazz-band conductor in Seattle who won the state's Lt. Governorship. In fact, Meyers had paid a visit on the 20th-Century studio lot while "Thanks A Million" was filming and joked to Dick Powell that if the actor became discouraged with show biz he could set his sights on a political career. Later, when Meyers heard Allen's joke on the radio, he hired an attorney and sued the studio for making him the brunt of an embarrassing joke that could potentially ruin his future political life. The lawsuit was eventually dismissed.

Studio producer and executive Darryl F. Zanuck, whose partnership in 20th Century Pictures in 1933 resulted in the purchase of Fox Films in 1935, loved to dream up stories which, under the pseudonym Melville Crossman, he would write his plots. He heard about Meyers' successful run for state office and based his "Thanks a Million" around a band's lead singer replacing a candidate for the governor's office. Fred Allen contributed to the film's dialogue. The Cambridge, Massachusetts born and raised Allen's first gig was in vaudeville before he took his act on to Broadway. CBS executives loved his New York City schtick and offered him a slot on their radio network's stations. He moved to NBC shortly afterwards. Allen was in three short films before "Thanks a Million," his first in 1929 showcasing his vaudeville act. After his feature film debut, Allen appeared in three additional full-length movies. But radio was clearly his forte, exclaiming "I have the perfect face for radio." One high point in Allen's popularity was when he and his good friend Jack Benny carried on a ten years-long feud about Benny's violin playing, which boasted both entertainers' radio ratings considerably. Allen is known to television viewers as a regular panelist on "What's My Line?"

Film reviewer Matt Hinrichs notes that Allen's "characterization of type-A manager Ned Allen is much more abrasive than his radio personality, but at least this offers a rare glimpse of a radio legend in action on celluloid."