Larson E. Whipsnade runs a seedy circus which is perpetually in debt. His performers give him nothing but trouble, especially Edgar Bergen and Charlie McCarthy. Meanwhile, Whipsnade's son and daughter, Phineas and Vicky, attend a posh college. Vicky turns down her caddish but rich suitor Roger Bel-Goodie, but changes her mind when she learns of her father's financial troubles. Will Vicky marry for money or succumb to the ventriloqual charm of Edgar Bergen? Will Whipsnade's Circus Giganticus make it over the state line one jump ahead of the sheriff?Written by
Rod Crawford <firstname.lastname@example.org>
There are two different cast lists in this movie, both with character names. IMDb uses the list in the opening credits because it is more complete: the end credits omit Mortimer Snerd. The only other difference places Eddie 'Rochester' Anderson last in the end credits, with the character name of "Cheerful" instead of "Rochester." See more »
Miss Sludge's cigarette changes length from scene to scene. It's also full length and unlit when she hits W.C. with it.
Also, the fan in the background is on in some scenes of the ping-pong game, and off again - during the fast cuts.
The sound of the ball bouncing in the fountain sometimes doesn't match the video - you hear it clinking in the cone when it's hovering at one point. See more »
W.C. Fields at less then his best, but still Fields.
When counting out change for a customer buying tickets at his debt-ridden circus, Fields leads the customer to believe that he not only has counted out too much, but accidentally given him change for a 20 rather than a 10. The customer grabs the money and runs without bothering to point out the mistake. I think you can guess what actually happened.
This is really the only relevance of the title to a movie which is basically a series of skits showcasing W.C. Fields and Edgar Bergen, occasionally together, but usually in individual routines. Although W.C. is always a pleasure to watch, this is certainly not one of the better movies in which to do that. First of all, the Bergen routines grow tiresome quickly. There's only so much I can take of watching a ventriloquist who moves his lips while everyone pretends that his wooden dummies are alive. Second, Fields' routines never reach the level of inspired zaniness which his best films are able to achieve.
Finally, Fields never really imbues his character with any humanity until the final scenes. It his ability to do so which makes his best movies so special ("It's a Gift", "The Bank Dick", "You're Telling Me", etc.). Without it, all you have is a run-of-the-mill hit-or-miss comedy.
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