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Home from service in World War II, business-minded Dennis O'Keefe (as Montague "Monty" Brewster) wants to marry curvy blonde sweetheart Helen Walker (as Peggy Gray) right away. The couple has clearly waited long enough. However, a lawyer arrives with news that postpones the nuptials and Mr. O'Keefe's longed-for honeymoon. He has inherited one million dollars from his anthropologist uncle - but there are stipulations. O'Keefe must spend the million in two months to obtain the real prize - seven million dollars. He must not reveal the will's million-dollar detail to anyone, including Ms. Walker. His deceased uncle believes O'Keefe should "learn to hate spending money." O'Keefe thinks spending the million will be a "cinch," but you know otherwise...

"Brewster's Millions" is a fun, fast-paced version of the classic story...

By speed-reading the lead performance, O'Keefe and director Allan Dwan help make it more believable; if you stopped to catch your breath, you would likely think of some better ways to spend the million. This also distracts from the fact that the self-described "poor" couple already look like millionaires - they are beautifully-dressed, live in what looks like a mansion and are waited on by loyal Eddie "Rochester" Anderson (as Jackson). By the way, Mr. Anderson infuses his role with more dignity than expected. Another obvious strength is Mr. Dwan giving the old stage play an almost three-dimensional quality. Observe, for example how Dwan introduces Anderson through a soapy window. And throughout the film, Dwan uses his sets, cameras and players exceptionally well.

******** Brewster's Millions (4/7/45) Allan Dwan ~ Dennis O'Keefe, Helen Walker, Eddie 'Rochester' Anderson, June Havoc

This is a harmless screwball romp (one of the last of its kind) from the '40s starring DENNIS O'KEEFE as a man who, to satisfy the whim of a wealthy relative, has to spend $1,000,000 within a short amount of time in order to qualify for a $7,000,000 inheritance.

The script makes sure that he has a hard time ridding himself of dough. Seems everything he touches suddenly has the Midas touch. It's stretching it a bit when he even gets a telephone call from some radio show blithely announcing that he just won $25,000. It should happen to all of us, most of whom are still waiting for the Prize Patrol to show up at our door from Publisher's Clearing House.

Anyway, the script makes sure that O'Keefe has to mug his way through many hapless situations involving show biz connections, a fancy yacht, horse racing, everything that conceivably could give him a chance of losing money--but of course there's a happy ending.

Nice to see so many '40s players in the supporting roles. HELEN WALKER, NEIL HAMILTON, JOHN LITEL, JUNE HAVOC,MISCHA AUER, GAIL PATRICK, EDDIE "ROCHESTER" ANDERSON among others.

Allan Dwan directed and keeps things moving at a fast clip. And whatever happened to DENNIS O'KEEFE? He was a good light comedian and did a lot of straight dramatic roles too. Then suddenly he was out of sight in the movies, swallowed up by television for most of his career.

Hook these folks up to a generator and there's enough high energy to light up a city. It's the nutty premise, of course, that carries the movie. Brewster (O'Keefe) must squander a million in order to inherit seven. Trouble is that he can't seem to squander it fast enough— the money comes back faster than it goes out. What a predicament, as the audience wonders what they would do in his place.

It's the wacky idea of giving money a negative value that's so engaging. It's like the economic counterpart to disbelief in religion, and we see that in the astonished reactions to Brewster's unorthodox behavior. After all, in a monetary economy money amounts to something of a secular god. So, simply getting rid of it heedlessly looks not only like an act of disbelief, but also of rank insanity. The comedic set-ups flow from this central idea, as time grows short and Brewster grows increasingly frantic.

Too bad O'Keefe has been largely forgotten. Though not front-rank, he's quite good at working himself into a humorous lather. Those two uninhibited farces Getting Gertie's Garter (1945) and Up in Mabel's Room (1944) are also lots of fun thanks to both O'Keefe and director Dwan who has a real feel for the material. Hard to think of better wartime escape than this trio of films. Then there's the lovely, star-crossed Helen Walker whose "upside- down" eyes look like no other actress of the period. No wonder Brewster thinks she's worth a million.

The movie's been made a number of times, but never better than here. The fact that all three Dwan comedies were produced by the independent Ed Small Productions likely accounts for their relative obscurity. Too bad because each stands as a talent showcase for its lead star and comedy director, and is still a lot of fun. Especially the one here since last time I checked, we're still in a money economy and Brewster still looks amusingly loony.

An archetypal fast and furious, beat-the-clock screwball comedy based on a typically offbeat idea of a returning soldier standing to inherit millions if he can spend a million dollars in two months, but not tell anyone in the process. Cue a procession of hair-brained supposedly dead-duck schemes and investments which naturally come good to thwart our hero's plans until things right themselves by the end.

The basic idea is a good one and you suspect in the hands of a Frank Capra or Preston Sturges could have been wrung for more laughs and one suspects a bit deeper social comment, this failing exposed none more so than when Brewster's overnight largess to his black servant is to offer him a lackey's job for life, just after he's thrown tens of thousands of dollars at the rest of his nearest and dearest.

For me the pacing was just too frenetic and while likable enough the lead actors lacked the personality and timing of the recognised A-list acting talent of the day. Plus, I have to say the crudely deferential treatment of said black man-servant, all loud wise-cracks and "Yass boss, no boss" dates the film horribly.

But putting that to one side, this is a rollicking, occasionally humorous and engaging Golden Age comedy, worth diverting 75 minutes of your time for.

Dennis O'Keefe never became a top-tier star and today is mostly forgotten. It's a shame, as although he may not have had 'the look', he was quite enjoyable in gangster and light comedy films. Here, he and decent dialog manage to take a silly plot and make it worth watching.

The film begins with Monty Brewster (O'Keefe) coming back home after the war. He plans on marrying his sweetie, Peggy (Helen Walker) and settling down to a happy life. However, he soon is contacted by a lawyer. Apparently a VERY eccentric distant uncle has died and left his $8,000,000 to Monty...IF he manages to spend a million of it in two months. Supposedly it's to make him appreciate the value of money and make him sick of spending--though this makes no sense. He also cannot give much of the money to charity. In the process, a funny thing happens...the more he invests in stupid schemes, the more money he seems to make!! And, Peggy is getting sick of him because Monty is NOT allowed to divulge the crazy conditions of the will.

While the film goes a bit overboard when Monty starts acting crazy when he can't get rid of his money, it's a fun and frenetic film. Not deep or sophisticated--just funny. So, provided you can just turn off your brain and enjoy, you'll like this film very much.

Monty Brewster (Dennis O'Keefe) arrives home from WWII, ready to marry his beautiful fiancée (Helen Walker), when he learns that he has inherited eight million dollars from an eccentric uncle. There's a catch in the will, however. Monty must spend one million dollars in two months, and have nothing to show for it, in order to inherit the rest of the money. He also can't tell anyone about the terms of the will and he must postpone his wedding until after he has completed his task. Naturally, this leads to all sorts of chaos and has Monty's fiancée and friends thinking he has lost his mind.

One of Dennis O'Keefe's best roles. It's a very funny and likable screwball comedy with a solid cast, including the always fun Eddie "Rochester" Anderson. The plot's about as contrived as it gets so I recommend you put your inner critic to bed before watching.

Dennis O'Keefe stands to inherit $8 million from an eccentric uncle...but only if he can first spend a cool million in the next two months. He can't buy war bonds and he can only give 5% to charity— the rest he has to blow as fast as he can. The premise is a fun one but must have been pretty familiar even in 1945.

The challenge looks like a cinch to O'Keefe—the only major drawback he sees is having to put off his marriage to beautiful Helen Walker. However, difficulties arise:

For one thing, his buddies think he's crazy. But that isn't so bad— he'll just fill them in later. His fiancée, too, will understand once everything is settled. His other problem, however, is much worse: He can't seem to get rid of all this cash. He places foolish bets on horses…and wins big. He invests in worthless stock… and cashes in. He puts thousands into a Broadway show that's a sure flop….

The supporting cast is excellent and features familiar faces including Joe Sawyer, Neil Hamilton, and the always-watchable Gail Patrick; Eddie Anderson plays a family employee named Jackson; and Mischa Auer and June Haver look like they're having a ball as a couple of wacky actors.

Helen Walker is just fine as the devoted but confused fiancé; happily, she shows some spirit in response to O'Keefe's bizarre behavior.

Mainly, though, this is Dennis O'Keefe's show—he appears in almost every scene—and he expresses the emotional ups and downs of his peculiar situation with great gusto.

Yes, the plot's an oldie—but clever dialog and the energetic cast lend it zip. Lots of fun.

I originally saw this film when I was a boy of 7 (assuming it was in the year the film was released, 1945) and I've been waiting all those 64 years to see it again, since it stuck permanently in my childish mind as a delightful experience. Well, upon finally seeing it again on TCM, on February 2, 2009, like several other of your commentators, I still think it's a delightful experience, and I couldn't believe my ears when it was announced to be broadcast as a TCM premiere. I believe it's the non-stop snappiness of the dialogue in true screwball comedy fashion which makes it so endlessly entertaining. Up till now I've given the prize for snappy dialogue to the biopic of Dorothy Parker (name and year?) in whose opening scene all the witty Algonquineers throw verbal shafts at one another as the camera pans across them one by one; but BM is right in there as a contender for that title. The one-liners went by so fast I can't remember a single one of them; but they're all good. Who wrote such witty stuff? I was sure it must have been a Preston Sturges comedy until the deco logo flashed across the screen "An Edward Small Production." Edward who? This was the first time I had ever seen or noticed that name before. Yet on IMDb his bio and filmography as a producer are a mile long. I'll have to investigate more of ES' work.

Ever since 1902 when the novel was first written and a play debuting on Broadway in the same decade, Brewster's Millions has had an enduring popularity that will never change. Who would not want to be in Montgomery Brewster's shoes and be given a chance to inherit a fortune and all you have to do is spend a small fortune to make it happen.

In this case returning war veteran Dennis O'Keefe is given said opportunity with certain restrictions. After all it would be no fun to just write a check for a million dollars to charity. No, he has to invest some of it, spend some of it, hire people at extravagant salaries, stuff like that.

But in this case O'Keefe proves to have a Midas touch. Everything he touches including the biggest losers turns into money makers. His war buddies Joe Sawyer and Herbert Rudley along for the ride think he's flipped his lid. So do the women in his life Helen Walker and Gail Patrick, not to mention showgirl June Havoc whom he backs in a flop show, but still winds out on top. Zero Mostel and Gene Wilder should have learned that secret.

Whether he makes it or not is for you to watch the film for and which girl he winds up with. Mischa Auer is also around as a ham actor from Havoc's show and so is Eddie Anderson just transferring his Rochester character to a different employer than Jack Benny.

I'm sure most people are familiar with Richard Pryor's 1985 version, but O'Keefe's version stand on its own measure and it measures well.

Dennis O'Keefe in a field day romp in Brewster's Millions.

He becomes an instant millionaire through inheritance but in order to get the full $8 million, he must spend $1 million by age 30, which is in 2 months.

He is not permitted to tell anyone why he is spending money as if there is no tomorrow. Naturally, his love-life will be adversely affected.

Of course, when this occurs, O'Keefe gets that Midas Touch. Everything and everyone he touches yields a gold-mine.

As his butler, Eddie 'Rochester' Anderson has lots of fun here and you can see that he is enjoying himself..

The film co-stars Helen Walker as his befuddled girlfriend and there is a nice turn by June Havoc, as a flashy Broadway show-girl, caught up in this mayhem.

The picture succeeds because of the fine performance of O'Keefe who has the part of the suddenly wealthy ex-G.I. down to a science. We feel his emotions of joy, frustration and comic desires.

This is a zippy, energetic little movie with a great comic set-up--a returned soldier must liquidate $1 Million dollars in two months in order to inherit $7 million more. Moreover, he can't tell anyone why he's spending money so recklessly. The story has great potential for the kind of manic, ludicrous, keenly insightful social satire that Preston Sturges made into high-art. In Sturges' films, charismatically anxious characters with clashing motives careen wildly from one travail to the next. In Brewster's Millions, characters dully wring their hands over the odd behavior of the protagonist. While Brewster's Millions is well-paced and jovial, it's missing all the marvelous characterization that make a screwball comedy sing (and give it artistic staying power). It reminds us why Hawks, Capra and Sturges are revered. In their ensemble comedies, every character adds texture and depth to the proceedings. Here supporting characters are little more than painted backdrops. An exception is African-American actor Eddie Anderson in an unfortunate, but era standard, man-servant role. Despite being cast as subservient, Anderson's charisma and comic timing add sorely needed vitality to the film. Anderson's performance suggests what the film might have been with more proficient actors in all the roles. I kept imagining what James Stewart could have done as titular hero Brewster, adding layers of mischief, desire and resentment to a character that, as played by Dennis O'Keefe, is merely affable and nervous.

It took three screenwriters to adapt this frantic farce from Byron Ongley's and Winchell Smith's play, which originally derived from a novel by George Barr McCutcheon...so many talents, and yet no one was able to eliminate the general air of queasiness inherent to this material (the central idea being that money is nothing but a nuisance). Dennis O'Keefe shows no charisma playing an American soldier returning home from duty, about to marry his longtime sweetheart only to be notified he's been left seven millions dollars by his deceased uncle. Before he can have it, however, he has to spend one million dollars in two months' time while keeping the reasons why a secret from his friends and fiancée. Why must he go through the hell of trying to rid himself of one million bucks? To curb his appetite for spending, of course! Throwing money around thoughtlessly makes O'Keefe look like an irresponsible jerk to his loved ones--and to the audience as well. What kind of 'hero' can ordinary Brewster possibly be when money is nothing but an albatross around his neck? He invests in a losing racehorse and a flop musical, both of which turn around and become great assets to him (much to Brewster's dismay). He complains about having the Midas touch, but if this were really the case, he wouldn't need the seven million dollars. And why should we think he even deserves it? These questions go unanswered because the writers weren't aiming for the sociological quotient--they're just after innocuous laughs--and so we get scenes such as O'Keefe's concerned buddies actually paying the guy back for services already rendered. The film relentlessly follows a foolish conceit while ignoring the obvious, that people with money shouldn't throw stones. *1/2 from ****

Brewster's Millions (1945)

*** (out of 4)

Screwball comedy has Monty Brewster (Dennis O'Keefe) returning home from the war and finding himself with an inheritance for $8 million. The only catch is that he must spend $1 million within a two month period in order to collect the rest of the money. One of the deals is that he can't tell anyone so the people around him, including his fiancé (Helen Walker) and best friend (Joe Sawyer) thinks he's crazy. This was the fifth version of this famous story and two more would follow with the most recent being the 1985 version with Richard Pryor and John Candy. Having only seen tha version (the 1914 Cecil B. DeMille film is lost) this one here plays much better, although there aren't quite as many laughs. For a comedy one might say this fails because there aren't too many laughs but I didn't find that to be the case because there's so much innocent charm that one can't help but get caught up in the story and the situation O'Keefe finds himself in. O'Keefe really makes the film go with his frantic performance, which is very good. The way he slowly starts to lose his mind as he can't get all the money spent is priceless and makes for a good time. June Havoc, Gail Patrick, Mischa Auer and John Litel add nice support as well. Eddie 'Rochester' Anderson, a black actor, does a great job playing O'Keefe's servant and delivers most of the laughs in the film. It's also worth noting that this movie was banned in Memphis because it was deemed that their relationship was too "equal in nature" and the people of Memphis didn't want people watching a movie where the races were shown as equal. While the film isn't a major success or a masterpiece of comedy, it does work for what it is. The nice performances by the now forgotten actors is another reason to watch this film even though it's rather rare.

This is an easy movie to watch. What stood out to me was the scene where Monty is sharing his million when first having gotten word of possibly receiving it. He informs the surrounded group how each will benefit, one will run a corporation, one have a fleet of taxis, another will never have to wash another dish, and Rochester, the black servant, will, "have a job for life!" Wow, thanks boss.

But I like the film. It is silly and harmless. It reminded me of William Vanderbilt, the son of Cornelius. He inherited umpteen millions and spent wildly in his lifetime, abetted by his shrew of a wife, yet when he died, he had almost exactly the amount he had inherited.

It should happen to us.

In order to inherit $7,000,000, an ex-soldier must spend $1,000,000 in two months' time.

The "screwball comedy" subgenre seemed to exist primarily in the 1930s. It was revived a little bit with "I Love Lucy", but really existed in this small time frame. Somehow, a decade too late, this film came along and made its mark -- some would probably call it a classic. I mean, heck, they remade it, which says something.

One of the best things about this film is how it gets better as it goes. Brewster gets increasingly wound up and zany. The first half hour is pretty standard comedy... and then it lets loose, with the lead actor giving some run-of-the-mouth equal or better to anything ever done by James Cagney or Rosalind Russell.

I enjoy old movies and have really been looking for more comedy lately. Laughter is the best medicine, afterall. This is just light fun. But it was perfect for tonight. If you're into old movies you'll enjoy picking this a part, the delivery, the pacing, and thinking about how it could be made with this, that, and the other change for a different era.

IMDb gave the 1985 (Richard Pryor 'Brewster') 6.2 stars and the 1945 (Dennis O'Keefe 'Brewster') 6.6 stars. I would agree with IMDb.

Dennis O'Keefe was quicker on the wit than Richard Pryor, although known mainly as a mystery/suspense actor, while Pryor is a comedian. O'Keefe's pacing, as was the film's, in general, was superior to Pryor's. It is also unlikely that a black man would have gotten such a deal, especially in 1985, although he could have spent the $1 million much faster. I could have spent $1 million in 10 days in 1975 and I'm a high IQ white conservative. O'Keefe did it in 60 days in 1945. Richard Pryor should have played the Eddie Anderson role in 1985. The Brewster role could have been played well by Bill Murray or Robin Williams.

It has become Hollywood liberal to place more blacks in title and support roles than they are as a percentage of the U.S. population, which is 12%. Why aren't Hispanics and Mexican-Americans represented according to their percentage of the population?

Unfortunately, mention of the film title today always stops with Richard Pryor. While the Peoria comedian deserves mention, his 1985 film is not the definitive version. You have to go back to 1945 to pick up the Dennis O'Keefe rendition. It's wild and wacky, silly enough to amuse but also throws a spotlight on Hollywood's special ability to let one escape from the real world for an hour or two. Good luck finding it!

He could've just donated it. The whole thing was completely ridiculous. If it wasn't for Dennis O'Keefe's handsome face, it would be a complete zero. I definitely do not recommend watching this movie.

Alan Dwan was sent out in 1911 to find a missing film crew. According to the story, the director was out on a bender and Dwan cabled the home office "You have no director. Suggest you disband company." Back came a telegram saying "You direct." With this telegram he went to the crew and said "Either I'm a director or you're out of a job." "You're the best director we ever saw!" And direct he did for the next fifty years, sometimes shorts, sometimes prime features with Douglas Fairbanks Sr. and often in the Bs, but always doing his best.

This is one of his best Bs, based on a story written by George Barr McCutcheon, which he wrote under a pen name to prove he could write a best-seller without depending on his name to sell it. It was a best seller. The stage play that this movie was based on was also a hit, and so is this farce, directed at top speed with a great cast. If it ever shows up anywhere you can reach it, go to see it.

Where has this wonderfully funny movie been hiding all these years? And why? It's long been on my short list of films I wish would show up on home video, along with Mel Brooks' "High Anxiety" and Altman's "A Perfect Couple" and "A Wedding". Though most of what Allan Dwan directed before and after WWII was more or less serious, he made nothing but a dozen or so comedies/musicals from 1940 through 1945. And this may have been the best of them, certainly vastly superior to the 1985 Richard Pryor remake. The all-but-forgotten Dennis O'Keefe starred in the last several, including 2 that can still be found on VHS -- "Up in Mabel's Room" and "Getting Gertie's Garter". These may have constituted the last flowering of the screwball comedy genre that had produced so many hilarious films since the mid-30s. To be fair, "My Friend Irma", which introduced Martin & Lewis just a few years later, was probably the very last really worthy film of the genre. These Dwan/O'Keefe gems were not so much the Three Stooges/Marx Bros./Lucy breathless kind of silly as they were softer slapstick fare. In fact, they were the precursor of some of the earliest and funniest TV sitcoms -- Marie Wilson as "My Friend Irma", Elena Verdugo in "Meet Millie", Joan Davis in "I Married Joan" and Eve Arden as "Our Miss Brooks" -- all of which debuted in 1952. Granted, "Brewster's Millions" is by no means a great film, but it's typical of a kind of good light-hearted entertainment that many might enjoy today if given the chance.

Tune your brain to the days when a dollar bought a LOT. Then watch this version of "Brewster's Millions." It is absolutely hysterical, and none of the more recent versions come close.