The second to last film in which The Great Man starred is widely regarded as his signature work, a deserved estimation for a number of reasons. However, it should be stressed that this does not guarantee that it will preserve the curious into a fan: THE BANK DICK is a product so painstakingly characteristic for its creator that it may be required to view the comedy in context to him. With this film in 1940, W.C. Fields was at last considered powerful enough to do his whole act again, having been forced to perform on radio and only as a side-kick to other stars during the last few years, after his drinking habits had caused him severe illness. The Great Man was ready to confirm that his grit was still present; some would say more than ever before.
Problems were soon to occur, though. Universal objected to several parts of Fields's script, and hired a writer to change story structure and dialogue. Thankfully, experienced director Eddie Cline recognized which of the scripts that was superior; hence the original version passed by with minor changes. What remains is a comedy which appears surprisingly modern, not only in terms of humor but also in tone. Many viewers tend to express disappointment in the admittedly nail-thin thread to which the material is tied; and in the process, not recognizing the fact that a loose story is not necessarily a disadvantage. Having observed the dysfunctional family eating breakfast, we are hastily introduced to our hero Mr. Anti-Hero --a certain Egbert Sousé, that is-- replacing a movie director, only to soon witness his mishaps as a "Bank Dick." This lack of continuity serves at least one highly significant purpose: instead, we are presented with scenes to thoroughly characterize Sousé himself, along with his family and dubious associates. This focus on characterization is really from where the movie, and the comedy, evolves; for the most part, the eccentric personalities simply struggle to survive one another, with one hopeless dilemma leading to the next. Everything is a result of the previous. That is the one thing they know for sure in life.
Certain reviews and posts at the message board confirm that THE BANK DICK is not a comedy for the entire family, so to speak. Without underestimating the brilliance and originality of several of his contemporaries, it is a fact that screen comedy before Fields was, generally speaking, quite innocent and suitable for most ages. Problems in the family, controlling wives, and annoying children; sure, it had all served as sure-fire inspiration for all of the comedians at one time or another. However, what is unique when we see Fields confronted with such problems in THE BANK DICK, is that his character witnesses the mayhem from the perspective of a comparatively mature reality. When Laurel and Hardy, lovable as they are, elope from their wives, one can be quite certain that the women will take off in a pursuit immediately, emphasizing that what we are presented with is a truly cartoonish world, and we need not to worry about it. As a contrast, when Egbert's wife nags at her husband for smoking in the house, probably just in need for something to complain about, it's delivered in a way which seems almost uncomfortably close to a truly convincing, dysfunctional family atmosphere. So much so that, while hideously funny, much of the humor comes off as rather dark in essence. "Don't you dare strike that child!" "Well she's not gonna tell ME I don't love her!"
Apart from this, first-time viewers should be aware that based upon my experience, THE BANK DICK improves after each viewing. I did find it funny after first viewing, but much more so during the second time; having got more acquainted with the characters, I howled with laughter throughout. Numerous lines and sketches come to mind, but there is particularly one part which I simply can't resist mentioning here: bank examiner J. Pinkerton Snoopington (played by ever-brilliant Frankling Pangborn) is offered a drink by Sousé --for reasons I will not reveal-- and consequently forced to bed due to a hangover worthy of acclaim. Helping the poor thing to bed, Sousé drops him out of the window, presumably by accident. The manner in which Fields rushes downstairs in order to save him, determined yet underneath quite matter-of-factly, is a brief moment of priceless comedy which beautifully demonstrates the comedian's ability to achieve subtlety into his acts, when it was required for. Sensitive cheek-bones should stay away, though.
Thank you for reading this review. Now, turn off your computer, put this film in the player and laugh your head off. THE BANK DICK may not be the very funniest film Fields ever made in my book (IT'S A GIFT and MAN ON THE FLYING TRAPEZE share that nomination), and it seems totally deprived of the tiny soft spot which had often been present in previous Fields-films. Yet, the film easily presents the comedian at his most daring -- and purest. A feast of laughter from start to finish, once you get it.
Problems were soon to occur, though. Universal objected to several parts of Fields's script, and hired a writer to change story structure and dialogue. Thankfully, experienced director Eddie Cline recognized which of the scripts that was superior; hence the original version passed by with minor changes. What remains is a comedy which appears surprisingly modern, not only in terms of humor but also in tone. Many viewers tend to express disappointment in the admittedly nail-thin thread to which the material is tied; and in the process, not recognizing the fact that a loose story is not necessarily a disadvantage. Having observed the dysfunctional family eating breakfast, we are hastily introduced to our hero Mr. Anti-Hero --a certain Egbert Sousé, that is-- replacing a movie director, only to soon witness his mishaps as a "Bank Dick." This lack of continuity serves at least one highly significant purpose: instead, we are presented with scenes to thoroughly characterize Sousé himself, along with his family and dubious associates. This focus on characterization is really from where the movie, and the comedy, evolves; for the most part, the eccentric personalities simply struggle to survive one another, with one hopeless dilemma leading to the next. Everything is a result of the previous. That is the one thing they know for sure in life.
Certain reviews and posts at the message board confirm that THE BANK DICK is not a comedy for the entire family, so to speak. Without underestimating the brilliance and originality of several of his contemporaries, it is a fact that screen comedy before Fields was, generally speaking, quite innocent and suitable for most ages. Problems in the family, controlling wives, and annoying children; sure, it had all served as sure-fire inspiration for all of the comedians at one time or another. However, what is unique when we see Fields confronted with such problems in THE BANK DICK, is that his character witnesses the mayhem from the perspective of a comparatively mature reality. When Laurel and Hardy, lovable as they are, elope from their wives, one can be quite certain that the women will take off in a pursuit immediately, emphasizing that what we are presented with is a truly cartoonish world, and we need not to worry about it. As a contrast, when Egbert's wife nags at her husband for smoking in the house, probably just in need for something to complain about, it's delivered in a way which seems almost uncomfortably close to a truly convincing, dysfunctional family atmosphere. So much so that, while hideously funny, much of the humor comes off as rather dark in essence. "Don't you dare strike that child!" "Well she's not gonna tell ME I don't love her!"
Apart from this, first-time viewers should be aware that based upon my experience, THE BANK DICK improves after each viewing. I did find it funny after first viewing, but much more so during the second time; having got more acquainted with the characters, I howled with laughter throughout. Numerous lines and sketches come to mind, but there is particularly one part which I simply can't resist mentioning here: bank examiner J. Pinkerton Snoopington (played by ever-brilliant Frankling Pangborn) is offered a drink by Sousé --for reasons I will not reveal-- and consequently forced to bed due to a hangover worthy of acclaim. Helping the poor thing to bed, Sousé drops him out of the window, presumably by accident. The manner in which Fields rushes downstairs in order to save him, determined yet underneath quite matter-of-factly, is a brief moment of priceless comedy which beautifully demonstrates the comedian's ability to achieve subtlety into his acts, when it was required for. Sensitive cheek-bones should stay away, though.
Thank you for reading this review. Now, turn off your computer, put this film in the player and laugh your head off. THE BANK DICK may not be the very funniest film Fields ever made in my book (IT'S A GIFT and MAN ON THE FLYING TRAPEZE share that nomination), and it seems totally deprived of the tiny soft spot which had often been present in previous Fields-films. Yet, the film easily presents the comedian at his most daring -- and purest. A feast of laughter from start to finish, once you get it.