Pennies from Heaven

Pennies From Heaven is a rejuvenating, landmark achievement in the evolution of Hollywood musicals, and certainly the finest American movie of 1981. [18 Dec 1981, p.C1]

This courageous film breaks new ground in movie musicals. [21 Dec 1981, p.49]

Dennis Potter's remarkably intelligent transatlantic adaptation of his BBC serial turns the pitfalls of 'Hollywoodisation' into profit, now stressing the 'pennies' over the 'heavenly' symbolism by specifically locating Arthur Parker's grubby melodrama in the Chicago of the Depression, and culling his liberating daydreams from not only the era's popular music, but its even more culturally resonant musicals, recreated with both MGM opulence and biting Brechtian wit.

There's something disconcerting and strained about plastic smiles and speed-fueled peppiness of dancers in old musicals, a forced bonhomie that's borderline creepy. Pennies brilliantly exploits that blatantly artificial pep in queasy, disquieting ways.

The depression drama is undermined by lumpy directing and by a flat performance from Steve Martin, who never approaches the dramatic eloquence he obviously has in mind. [24 Dec 1981, p.22]

Pennies from Heaven is dazzling and disappointing in equal measure. It's a musical with an idea, and ideas usually have been deadly to the musical, that most gloriously heedless of movie genres.

Almost as if he were directing Pinter, Herbert Ross has actors speak a line, then wait two beats before delivering the next phrase. Technique smothers such ordinarily lively performers as Martin, Peters and Harper.