It's a Gift

1934
Approved
1h 8min

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W.C. Fields and Baby LeRoy in It's a Gift (1934)

Añade un argumento en tu idiomaA henpecked New Jersey grocer makes plans to move to California to grow oranges, despite the resistance of his overbearing wife.A henpecked New Jersey grocer makes plans to move to California to grow oranges, despite the resistance of his overbearing wife.A henpecked New Jersey grocer makes plans to move to California to grow oranges, despite the resistance of his overbearing wife.

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PUNTUACIÓN EN IMDb

7,1/10

5,9 mil

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Premios
- 1 premio en total

Imágenes18

+ 11

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Argumento

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Curiosidades
The final scene, on Bissonette's "orange ranch", was filmed at the house and property W.C. Fields was living in at the time of the filming. For his entire life, Fields rented living quarters, adamantly refusing to buy a house or land.

Pifias
When Bissonette is opening the can of tomatoes with an ax you can tell that the splash of tomato juice is coming off-screen and not from the can.

Citas
Harry Payne Bosterly: You're drunk!
Harold: And you're crazy. But I'll be sober tomorrow and you'll be crazy for the rest of your life.

Créditos adicionales
The confrontation between W.C. Fields and Baby LeRoy was such a popular success that for this rematch the title card includes "with Baby LeRoy" as if the infant had second billing.

Conexiones
Featured in Hollywood: The Gift of Laughter (1982)

Banda sonora
California, Here I Come
(1924) (uncredited)
Music by Joseph Meyer
Played during opening and end credits, as well as on a record

Reseñas de usuarios86

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Reseña destacada

10/10

When Fields met his match ...

If W.C. Fields is the funniest comedian in sound films, and perfectly hilarious in starring vehicles (Bank Dick) and guest shots (International House), why is this one is his best? Because Fields' antagonists are, for once, as grand as The Great Man himself. Aside from an evil blind man, and a cheerfully homicidal baby (ever reliable Baby Leroy), there is the ultimate Spouse from Hell. Former Vogue editor turned actress Kathleen Howard is pure outraged selfishness (Fields' mirror image) as the wife; her declamatory style of acting would be at home in a John Waters epic. She is divine, and so is the film.