Spinster poetess Susan Grieve lives in a Manahattan apartment where naval hero Slick Novak comes with her for a nightcap. Next morning they visit her Connecticut farm where Novak tells her ... See full summary »
A lawyer whose wife has had an affair sets out to leave her by flying to LA. He becomes ever more involved in the lives of a few fellow travelers on a journey that ends up showing him as much about himself as about the others.
Boozy, brassy Apple Annie, a beggar with a basket of apples, is as much as part of downtown New York as old Broadway itself. Bootlegger Dave the Dude is a sucker for her apples --- he thinks they bring him luck. But Dave and girlfriend Queenie Martin need a lot more than luck when it turns out that Annie is in a jam and only they can help: Annie's daughter Louise, who has lived all her life in a Spanish convent, is coming to America with a Count and his son. The count's son wants to marry Louise, who thinks her mother is part of New York society. It's up to Dave and Queenie and their Runyonesque cronies to turn Annie into a lady and convince the Count and his son that they are hobnobbing with New York's elite. Written by
(at around 2h) The orchestra perform their piece for the reception and all the string players are playing "arco" (bowed). However the bass line is distinctly heard as "pizzicato" (plucked). Both the cello and the double bass players should be seen using their fingers to produce the notes and not their bows. See more »
[Queenie walks with her make-up artists]
Alright, gang, here is your challenge. Com'on Annie, stand up and meet your makers.
[Annie stands up]
Now this got to be a complete overhaul, kids, from top to bottom.
Don't forget a new set of kidneys...
Com'on Annie, lets go.
[leading Annie to the bedroom]
Com'on wizards, let's wiz!
[Junior shaking his head]
My old lady always say you cannot make a pig's ear out of an old sow.
Monsieur, your old lady was not Pierre! Hum!
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With "Pockeful Of Miracles" Frank Capra remakes his own "Lady For A Day" with Capraseque results - that means a mix bag with mostly delightful stuff in it - The major problem here is Glenn Ford, not as an actor but as a producer. There is too much dedicated to Ford's character's businesses, moving away from what really matters - Apple Annie and her predicament. Bette Davis was one of the major supporters of Glenn Ford at the beginning of his career - A Stolen Life, did for his career what "Thelma and Louise" did for Brad Pitt's and one should remember that Davis sort of "imposed" Ford for that role. Now Glenn Ford bills himself above Bette Davis. That should tell you something. The film, however, more than survives the petty egos and comes out as a wonderful swan song for the extraordinary Frank Capra. Bette Davis herself confessed to have found enormous difficulty at being faithful to Apple Annie in those gorgeous gowns post-makeover, but this is, was and always will be a fairy tale and as such it succeeds beautifully. The entrance of Davis after the make-over scored with the Nutcracker suite, it's one of my most cherished movie memories as are Davis's eyes as she witnesses the "miracle" in first person. A collection of wonderful character actors: Thomas Mitchell, Ellen Corby and in particular Edward Everett Horton makes the whole thing a smashing pleasure. Beautiful Hope Lange is terrific and Peter Falk wears a coat that makes his character a shady relative of his future "Colombo". If you're not made of stone and/or your levels of cynicism have not reached inhuman stages, you're going to enjoy this very much. I certainly did.
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