Don't listen to the negative reviews

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Copyright 18 November 1932 by Paramount Publix Corp. New York opening at the Rivoli: 2 December 1932. U.K. release: 10 June 1933. 83 minutes.COMMENT: On the whole, the film suffers from the lack of background music, though very occasionally "natural" music does provide a welcome break from the oppressive soundtrack silence. One thing that's not silent, however, are the actors; and, unfortunately, our players here do tend to be over-heavily theatrical — with a few notable exceptions, including Wynne Gibson, Charles Laughton, Joyce Compton and, to a lesser extent, George Raft. Frances Dee has a tiny part, as has Berton Churchill in "The Condemned Man" sequence in which James Cruze (definitely NOT Bruce Humberstone who denies he directed this sequence) makes effective use of Negro singing for background music. Production values are excellent. After a slow start — the Prologue seems to take forever to get to the point which we already know (thanks to all the film's publicity) — we move (in the current television print) to "The China Shop" episode, which is very enjoyable; then on to "The Streetwalker" which, with its wonderful evocation of mood and atmosphere, is one of the film's three high-points. "The Forger" is also an enjoyable episode, as is "The Auto" (though slightly below the usually brilliantly comic standard of W.C. Fields). "The Condemned Man" is a so-so entry. Gene Raymond is miscast, the dialogue is repetitious and we can spot the conclusion right from the start. Fortunately, it's short. With "The Clerk", we have another high-point, thanks both to Lubitsch's masterfully inventive (all the sweeping tracking shots through myriad corridors and up the stairs) yet thoroughly detailed (Laughton making last-minute adjustments to his dress, before the deferential knock on the door of Brown's office) direction and the comic genius of Charles Laughton. "The Three Marines", alas, is the film's really big disappointment. It runs far too long, and neither players nor director are able to do a great deal with a one-line joke that basically misfires. "The Old Ladies' Home" provides a final high point, before a somewhat anticlimactic Epilogue. Another of the film's delights should be mentioned, and that of course is the splendid gallery of support cameos, a list that includes Jack Pennick as the ungainly sailor who even the prostitute rejects in "The Streetwalker", Willard Robertson as a doctor in the Prologue, Samuel S. Hinds as a relative in closing, Tom Kennedy as Tough Joe in "The Three Marines", Fred Kelsey as a prison warder, and Robert Homans as an identification policeman in "The Forger".All told, this is grand entertainment. P.S. A big star in 1932 and 1933, Wynne Gibson overshadows everyone else on Paramount's re-issue posters – even though her name is hilariously misspelled as Wynne Bigson!

This poor excuse for a film is truly dreadful. It doesn't even deserve 1 out 10. It should get a zero because there is nothing in it that merits it being called a movie. I don't know what it is, but it's not a movie.Charles Laughton appears 52 minutes into the film, but his presence adds nothing to the project. It has multiple writers and directors, but it is a waste of talent and expertise. Clearly, filmmaking in the 1930s was primitive because 'Tales of Manhattan' did it better in 1942 which also featured Laughton. Although Edward G. Robinson stole the show in that ensemble piece, Laughton's performance in that film was far superior to this poorly made effort.Not worth the money on DVD and I can see why it has not stood the test of time.

Perhaps some parts could have been eliminated in this film...namely, those stories where the money did not help. For example, the guy on death row was unable to save himself, and so his million dollars went back to the old man (and the man was trying to give away his money so that his relatives would not inherit it). Then, there was the segment with Gary Cooper who cashes it for ten bucks. Such an action is obviously ironic, but what was the point? The best sequences were the ones in which the characters lives were truly altered and made better by the experience of receiving the unexpected windfall. Consider the one where Fields and his lady (Alison Skipworth) get to enact revenge on road hogs; the one where Laughton gets to tell his boss off; and (my favorite), the one where May Robson takes over the retirement home. Finally, I think the film could have been enhanced by showing the old man convening with all the recipients at a party they give in his honor. That would show he has something to live for now.

What a terrific 1932 film! Paramount's expensive depression comedy drama is one of the very best films made in the '30s and both a poignant and hilarious look at life in 1932 America. If you saw 42ND STREET and American MADNESS and perhaps THE KID FROM SPAIN all made the same year, you would have possibly the definitive early 30s films that allow as full a view of emotions and community as could be found. The cast is astonishing.. all the Paramount A- level stars, 8 of the best directors and 8 truly inspired vignettes present a balanced view of ordinary people 'winning a million dollars'... and their next move. My personal favorite was the prostitute who just wanted a good night's sleep, unmolested, and in a clean bed. The production values are huge, massive sets and elaborate scenes, especially the short one with Charles Laughton... the attention to detail and the fully realized settings are indicative of a very expensive film. All 8 scenes are terrific, not a slouch among them, and the final sequence in the old ladies home is particularly touching. George Raft's con man sequence and Gene Raymond's electric chair scenes are real eyeopeners given the irony involved. IF I HAD A MILLION is a film to find and celebrate. How amazing to have seen this in a 3000 seat cinema in 1932! imagine the cheering from the audience in the comedy scenes! What a crowd pleaser. In Australia this film ran prime time Saturday night 8.30pm on Nationwide free to air TV, such is its treasured reputation. It scored a ratings hit. True! check The TV guides here for ABC2 Saturday night Nov 1st 2009 if you do not believe me.