Fields wants to sell a film story to Esoteric Studios. On the way he gets insulted by little boys, beat up for ogling a woman, and abused by a waitress. He becomes his niece's guardian when... See full summary »
Fields wants to sell a film story to Esoteric Studios. On the way he gets insulted by little boys, beat up for ogling a woman, and abused by a waitress. He becomes his niece's guardian when her mother is killed in a trapeze fall during the making of a circus movie. He and his niece, who he finds at a shooting gallery, fly to Mexico to sell wooden nutmegs in a Russian colony. Trying to catch his bottle as it falls from the plane, he lands on a mountain peak where lives the man- eating Mrs. Hemogloben. When he gets to the Russian colony he finds Leon Errol (father of the insulting boys and owner of the shooting gallery) already selling wooden nutmegs. He decides to woo the wealthy Mrs. Hemogloben but when he gets there Errol has preceded him. The Mexican adventure is the story that Esoteric Studios would not buy. Written by
Ed Stephan <firstname.lastname@example.org>
In the soda-shop scene, Fields turns to the camera and announces that the scene was supposed to have been filmed in a saloon "but the censor cut it out". He was telling the truth. See more »
During the ice cream parlor scene, when WC Fields blows the foam off the ice cream soda, part of it lands on his hand. In the subsequent close up shot, when he picks the soda up, his hand is clean. See more »
Without doubt, "Never Give a Sucker an Even Break" is Fields at his absolute best. The "plotline" is so completely beyond belief that it provides the nearly perfect vehicle for Fields' unique and irreverent style with its constant stream of sight gags and one-liners. His mumbled verbal interactions with Madame Hemoglobin (Margaret Dumont) and the "tiny waitress" in the café (Jody Gilbert) are as memorably irreverent as anything he had done previously and are worth listening to closely to fully appreciate. The constantly changing scenes and situations in this film provide ample opportunity for his verbal and visual "charms" to be fully utilized, and in my opinion this is his finest and most consistently funny effort.
If you haven't seen this film, give it a viewing or two. If you are a true Fields fan, you'll enjoy it as much as or more so than any of his other more well-known offerings.
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