Three Men on a Horse (1936) User Reviews

No Stars To Get In The Way

[bkoganbing · 8/10 · 18 April 2008]

In adapting Three Men On A Horse for the screen Jack Warner took a big chance in not having one of his box office leads headline in this film. Instead Three Men On A Horse remains pretty faithful to the Broadway play and gives some of the character people under contract at Warner Brothers a chance to shine on their own. I don't know about you, but personally I like these kind of films where all these performers with a particular shtick get to outdo the other.

The nominal lead is Frank McHugh and it seemed like either he or Alan Hale appeared in every Warner Brothers production of consequence for a while. McHugh plays the typical henpecked milquetoast who does poetry for greeting cards for a living and grossly underpaid for his originality and he has a genius at doping out winning horses. But that's only a hobby, he never bets himself.

But when Damon Runyon like characters Sam Levene, Teddy Hart, and Allen Jenkins find out about his 'hobby' one night in the Hotel Lavalliere Bar, these three gibbronis decide to ride along on a winning thing. They kidnap the poor schlimiel, but treat him ever so gently and cater to his whims which aren't all that much. Along for the ride are Joan Blondell as Levene's girlfriend, Eddie Anderson as the hotel porter and elevator operator and Edgar Kennedy the bartender.

But there's more than that here. Frantically looking for McHugh who's disappeared is his wife, Carol Hughes and his boss Guy Kibbee. And also on the scene is McHugh's brother-in-law Paul Harvey who doesn't think much of him. Actually Harvey's blowhard character is my favorite in this film.

Amazingly enough it all kind of works out for McHugh in the end. But you have to see the film to find out. And I mean HAVE to see the film which is a real treat with some of the best character players ever on screen in the golden age of the studio system all in one film.

And no big stars to get in their way.

One of those fast moving comedies Warner's did so well in the 30's

[AlsExGal · 7/10 · 7 November 2009]

In the 1930's Warner Bros. had a group of supporting players that they largely cast in the manic comedies that they did so well in those days. Three of those players - Frank McHugh, Guy Kibbee, and Joan Blondell - all show up in this often forgotten little film. What is so odd here is Joan Blondell, after several starring roles, is playing in support of Frank McHugh. McHugh had been an excellent supporting player in all kinds of Warner Bros. pictures for several years - an eccentric choreographer in Busby Berkeley's "Footlight Parade", a kind-hearted neer-do-well in the melodrama "Lily Turner", etc. However, here McHugh is the center of attention, and he handles it well.

Here Warners has managed to combine comedy with crime after the production code was in full effect with no danger of violating the code yet with great comic effect. McHugh plays a mild-mannered man who writes greeting card slogans and lives in a house on a street where every house looks the same. One morning, after a fight with his brother-in-law, he stops in at a bar rather than going to work. There he makes the acquaintance of three hoods who are trying to pick a winning horse without much success. The key to this new friendship is that McHugh has a gift for picking the winning horse in every race every day as long as he doesn't bet himself.

If you ever run across this film I strongly recommend it for an amusing way to spend eighty or so minutes.

Truly one of the most fabulous ensembles in movie history.

[mark.waltz · 8/10 · 29 November 2018]

It's not often when a seemingly action-less stage play ends up working on stage nearly as well, hence the number of recent plays that either never get filmed, or if they do, don't do very well and end up overlooked at award time. For George Abbott, though, his plays are continuously revived even though they are obviously of a different time. He was a fantastic playwright, producer and director, carrying out every detail in character, dialog, sets and story, and as a result, a good majority of his plays which were filmed did very well. While a revival of this play might do fine for a limited run from a non-profit organization on Broadway, it is definitely a product of its time. (An off Broadway company that dedicates itself to obscure titles did revive it a decade ago, however.)

The film version of this play is the only chance to see popular character actor Frank McHugh in a leading role. He is a henpecked husband, virtually ignored by his dizzy wife Carol Hughes on matters of fiances, and verbally abused by his nasty father-in-law (Paul Harvey), who treats him like something you'd scrape off of your shoe. Tired of dealing with his home life, he escapes to the world of track betting, and on a hunch, gives gamblers Allen Jenkins, Sam Levene and Teddy Hart the name of a horse to bet on. The horse wins, and they decide to keep him around for good luck, calling McHugh's boss (Guy Kibbee) and intentionally not telling McHugh that Kibbee has basically fired him for not showing up for work. Then, there's the presence of the gum smacking, tough talking Joan Blondell, who becomes a temptation for McHugh even though she's obviously involved with Levene.

Plays about milquetoast, nagged husbands and the every day man who can't seem to get a break can be relatable to men today, and in many senses, it hasn't dated in that aspect. The dialog is rip-roaring and tough talking as if it had come out of the mouths of characters from "Guys and Dolls" (of which Sam Levene was an original Broadway cast member), and the cast delivers it with gusto. Blondell, while top billed, is basically secondary to McHugh, but she makes every scene that she's in crackle. Those who only know her from her cameo as the tired waitress in "Grease" will be surprised to see her as a buxom leading lady. Hughes is delightfully funny with her dumbbell Gracie Allen like wife, although unlike Gracie, nothing she says is smart, even under the surface. Edgar Kennedy is hysterical as the slow burning bartender. The direction by Mervyn LeRoy is superb, even with just a few set pieces padding out the film. This is the type of film to revisit because there is so much to capture that it could never all be caught in just one viewing.

Witty Dialogue

[hmpulham · 5 September 2002]

Well, Warner Brothers didn't spend much money on this little b-movie, but, the results were very satisfactory. Basically, they filmed a stage play, loaded it with the best character actors, and let them go. If you enjoy witty dialogue, and silly escapism, this is a nice way to spend a few hours.

Actor Frank McHugh's blatant innocence and comedic timing are so genuine

[Ed-Shullivan · 6/10 · 25 March 2018]

Considering this sketch type comedy was released 82 years ago (almost a century ago) it still holds up very well for the millenium babies who should get a kick out of the fast paced and simple story line that even they can keep up with. I know what I speak of as we have three (3) millenials of our own who are more focused on their cell phones text, streaming instantly the latest on the huge facebook privacy breach that contains almost all of their personal information, and marching to the "no guns, no more" campaign.

This simple story has a hard working jingle writer by trade named Erwin Trowbridge (Frank McHugh) capable of picking the winner of each horse race as long as he only plays for fun and does not gamble with any of his own money. Three hard core race track gamblers soon realize that in Erwin Trowbridge they hold the "golden goose" and after each race won by Erwin Trowbridge picking the winner their greed becomes ever more prevalent but we the audience don't know when Erwin Trowbridge's luck may just run out.

Through one of the gansters' acquaintances named Patsy (Sam Levene) Erwin meets a cute blonde moll named Mabel (Joan Blondell) who sees the need to protect Erwin from her violent boyfriend Patsy who is hell bent on threatening his golden goose Erwin if he fails to deliver yet another winning horse as these three comedic and compulsive gambling goons keep doubling up on their bets and continue their win streak.

We the audience can sit back and enjoy this comedic cat and mouse game that continues between the innocence of Erwin and his three hostage holders who refuse to let their golden goose go home, and/or back to what Erwin does best which is writing jingles for a greeting card company. Erwin repeatedly says he justs wants to go home to his loving wife Audrey (Carol Hughes) who rewards Erwin's love by ordering an endless string of dresses and hats, although his pesky brother-in-law Clarence Dobbins (Paul Harvey) is always over at his house defending his little sister and calling Erwin derogatory names.

Erwin's innocence shines through all the troubles he is subjected to and we the fans want to see what poor Erwin will be subjected to next in this laugh fest door opening/door slamming slap fest comedy. If the internet ever goes down for a couple of hours Three Men On A Horse would be an enjoyable way for even millenials to spend a Sunday morning or afternoon. I give this fast paced comedy a good 6 out of 10 rating which is pretty good for a black and white comedy released some 82 years earlier.

A dated, but still humorous comedy.

[Thai Guy · 6/10 · 15 October 1999]

It's very tame and dated, but there are still more than a few chuckles in this comedy concerning a young man (McHugh) who is having marital and work troubles and ties up with gangsters when they find he has the ability to predict winners at the horse racing track. LeRoy directs at a tight, fast paced clip. McHugh was arguably one of the funniest guys in Hollywood for many decades.

Better than average

[jamesrl48 · 7/10 · 30 August 2002]

This movie at least has a plot and is funny. The only question not answered was why the hero was in the hotel drunk. This would be a great movie to remake for those who love comedy. The only problem with it is the set and that it was made in 1936 before we quit being entertained by the plot instead of special effects. Throw a few special effects in and the movie would be a real winner. For those who like old movies, this is a winner.

A bit too shrill and obvious to be among the better comedies of the era.

[planktonrules · 6/10 · 6 April 2015]

"Three Men on a Horse" is a mildly amusing 1930s comedy. However, its a very loud movie and is about as subtle, at times, as a stripper at a Baptist barbecue!

When the film begins, you learn that Irwin (Frank McHugh) has an odd hobby--he picks race horse winners. However, and this is what makes it odd, he does not bet on them...despite being able to pick winner after winner. When some mobsters discover him, he has some new best friends--best friends who also take a strong interest in his job, as Irwin is a mousy sort of guy who lets his boss (Guy Kibbee--in an uncharacteristic sort of nasty role) push him around. Their help, it turns out, also helps Irwin deal with his interfering brother-in- law and leads to a case where the worm clearly turns and asserts himself.

It's nice to see a film where all the actors are folks who usually are supporting actors--not just McHugh and Kibbee but also Alan Jenkins and Edgar Kennedy. The only A-list actor here is Joan Blondell who, in an unusual twist, only has a supporting role. The humor is okay here, however, and could have been a lot better had the direction been better. Too many performances were either shrill and annoying (Irwin's wife!) and seemed a bit over the top (Blondell) and lacked subtlety or believability. As a result, it's only a fair comedy and could have been better.

Blondell & McHugh In The Winner's Circle

[Ron Oliver · 10/10 · 30 November 2002]

A meek & mild fellow, with the uncanny knack of picking winning race horses, is taken in charge by a trio of racketeering gamblers.

Fast-moving & fun, THREE MEN ON A HORSE is another example of the comedy crime picture that Warner Bros. was so expert at producing in the 1930's. Casts & plots could be shuffled endlessly, with very predictable results. While this assembly line approach created few classics, audience enjoyment could usually be assured.

Frank McHugh & Joan Blondell are both well cast in the lead roles, especially Brooklyn-accented Blondell with her unsophisticated charm & pert blonde looks. Interesting thing about the screenplay is that there is absolutely no romantic development between McHugh & Blondell. He remains true to his dimwitted spouse Carol Hughes, while Blondell carries the torch for her bad guy boyfriend Sam Levene.

The rest of the cast is excellent. Guy Kibbee appears as McHugh's bad-tempered blustery boss. Plain talking Allen Jenkins & excitable little Teddy Hart play Levene's gang members. Slow-burning Edgar Kennedy has a good role as the bartender who wants to use McHugh's talents to finance his early retirement. Obnoxious Paul Harvey does very well as McHugh's bullying brother-in-law.

In smaller roles, Eddie ‘Rochester' Anderson scores as a gambling elevator operator; Harry Davenport has one tiny scene as an employee in a greeting card publishing house; and Eily Malyon plays a stern maternity ward nurse. Movie mavens will recognize an unbilled Charles Lane playing a laconic laundry man.

silly, campy, but fun. just what we expect.

[ksf-2 · 7/10 · 11 January 2021]

Old black and white film pros Frank McHugh, Joan Blondell, and Guy Kibbee get together for a caper. we learn two things right at the start of the film: Erwin is GREAT at picking winners in the races. and erwin's brother in law is a pain, who yells and keeps interfering in Erwin and Audrey's marriage. when Charlie (Allen Jenkins) finds out that Erwin can pick winners, they kidnap Erwin and try to keep him locked up. Blondell is the good-hearted moll for the bad guys, and tries to help Erwin. it's silly and campy, and moves right along. Keep an eye out for Charles Lane.. he's the man who picks up the cleaning. for a while, he held the record for the most roles in films. Eddie Anderson (Rochesterrrr !) is in here as the elevator guy. the annoying brother-in-law (Paul Harvey) had worked with Bogart on FIVE films. it's pretty good, but the fake brooklyn accents get annoying after a while. funny scene where the elevator guy is in the room rooting for the winner with the rest of them. directed by Mervyn LeRoy. Gypsy, Wizard of Oz.

Well, Well-Whaata ya know ! A Frank Mc Hugh Starring Vehicle !

[redryan64 · 5/10 · 23 March 2018]

WE DIDN'T WRITE that opening title to be neither cruel nor seemingly unappreciative of the talents and body of work of Mr. Mc Hugh. He was a versatile and highly underrated performer. Much as is the case with certain "Stars", Frank's fine work at the comedic, "Comic Relief" if you will, that both put him in great demand, yet held his roles usually to a good buddy to the hero.

BUT THIS PICTURE, although it did exploit the lovable little man persona that Frank had long before mastered, was just a little different. Rather than Mc Hugh's being a friend and sort of "sidekick" to the main character (James Cagney, Bing Crosby, Robert Armstrong), it was his destiny to be the (comedic) center of attention. the Star of the show, the big cheese.

AND IT WAS a fine job and somewhat underplayed characterization that was his ultimate contribution to this, a highly overlooked and even forgotten little comedy. Other than Frank's being in demand as a second bananna, it is a mystery that this role didn't spawn a whole series of Frank Mc Hugh comedies

BUT, OF COURSE, as with any human endeavor, this was not a solo accomplishment. Kudos are awarded to those who labored in rendering a very quick moving, unpretentious and enjoyable second feature ("B"). First up is Director Mervyn LeRoy followed by an outstanding cast of versitile supporting players The lineup boasted of the names: Joan Blondell, Allen Jenkins, Guy Kibbee, Sam Levene, Edgar Kennedy,Carol Hughes, Teddy Hart, Eddie "Rochester" Anderson,Paul Harvey, Virginia Sale, Harry Davenport.

WITH ITS RUNNING time of 86 minutes, it would be a n hour and a half well spent, if only once.

Very funny 30's comedy (but also definitely dated)

[gin007 · 8/10 · 15 November 2000]

The film definitely has some dated elements...even some humor that in the 30's probably would have been great but today one shrudders at their use.

Nevertheless, the film is great -- Frank McHugh plays a rare principle (which is a travesty since he is extremely funny and steals practically every scene he is in). Allen Jenkins also appears, playing another great hood (but loveable) character that he is so good at.

Watch McHugh's mastery of slight mannerisms that make his shy character come to life.

"Don't look a gift horse in the mouth."

[classicsoncall · 6/10 · 8 December 2016]

I think I would have liked this better if some of the players weren't so harsh and ill mannered. I'm thinking mainly of Paul Harvey as brother-in-law Clarence and Sam Levene as the principal kidnapper Patsy. Oh yeah, and that manic guy Frankie, played by Teddy Hart. Watching his character I came up with a description of him as a poor man's Joe Pesci. Fortunately Allen Jenkins was part of the bad guy crew to lighten things up a bit. This would have been more of a comedy if the trio that whisked Erwin Trowbridge (Frank McHugh) away for his knack of picking horse race winners lightened up a bit and played it less seriously.

Say, did anyone else think Joan Blondell might have hurt herself doing that warm-up/dance routine in the hotel room for Erwin? Man, she had twists and turns in there that defied the laws of physical mobility. And think about this one - as a greeting card writer, Erwin was making forty dollars a week! That one really puts the good old days in perspective, doesn't it? When boss Carver (Guy Kibbee) finally caved at the end of the story and raised him to seventy five bucks, the guy could have had a heart attack!

Maybe I missed something, but this was a puzzler. After the recovered verses were put together from the scraps that Patsy tore up, how come they looked like undamaged sheets of paper?

But you know what? Any movie that has Eddie 'Rochester' Anderson in it can't be all bad. I was pretty sure that was him the first time he appeared on the elevator, but the give away was when he first spoke. He's got such a distinctive voice I'd know it without the face. With all that though, you can't convince me that a guy who could pick winning horse races would never place a bet himself.

Jake Liebowitz's son is being confirmed?

[richard-1787 · 5/10 · 26 September 2016]

This is a pleasant, well-paced comedy, one that shows lots of signs of having been a (very successful) stage play. It's a lot of character actors - plus Joan Blondell - doing what they did best, and doing it well.

My one question, and it is a small one: what are we to make of the fact that the printer, Jake Liebowitz, has a son at church being confirmed? The name is so obviously Jewish. Is there some sort of inside joke here? I'd appreciate hearing from anyone with information about this.

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For this review to go through, I need 10 lines of text. So I will just repeat what I wrote above. My apologies.

This is a pleasant, well-paced comedy, one that shows lots of signs of having been a (very successful) stage play. It's a lot of character actors - plus Joan Blondell - doing what they did best, and doing it well.

My one question, and it is a small one: what are we to make of the fact that the printer, Jake Liebowitz, has a son at church being confirmed? The name is so obviously Jewish. Is there some sort of inside joke here? I'd appreciate hearing from anyone with information about this.

Warner Brothers Contract Players in an Unheralded Gem

[tr-83495 · 10/10 · 26 April 2019]

Warner Brothers contract players come off with an above average little gem, especially for 1936. Too much of this is stereotypical, but the Warners' signature gangland-style plot derivative is still present and there is still studio influence to talk "gangsterese".

This was the same year Bogart took this out to preposterous lengths and it made him the great gangster one-line character actor he was. Any of the men in this movie could have done the same thing. It was the same thing in the Warner stable: who would get to the Gangster throne first? It was Humphrey Bogart, and now these just-as-good other actors are forgotten.

Joan Blondell could have been what Bette Davis became, but her star never quite rose and her popularity never surfaced until the 1960s on television, when her name finally became a household word. Blondell became a star to the 60s generation, with 100 million people watching her show every week. Young people never heard of Humphrey Bogart, but they knew who Joan Blondell was.