ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

dfwesley Cary Grant shows his versatility in playing outside his usual breezy, comic roles, performing very well as a tough gambler. Laraine Day is most attractive as the War Relief leader who is absolutely smitten with him.I enjoyed Cary Grant and the knitting scenes. That is the kind of comedy where he excels. I don't think Grant was in the military during WW2, and Mr. Lucky avoids the draft in this film by an identity swap.Actually, the movie has a little of everything, romance, comedy,drama. It has an interesting beginning accomplished by a backward look into how it all began.The ending was almost as cloudy as the fog. Grant, who was supposed to have been missing, suddenly appears to the delight of Laraine Day. It leaves you wondering whether she will soon be rebuffed once again. I enjoyed it mostly because it is a pleasure to watch Cary Grant any time.

morrison-dylan-fan Discovering the Warner Archives label with the 1931 Pre-Code delight Flying High,one of the first things that I saw on the disc was an enticing clip of a rather obscure Cary Grant movie.Keen on picking up the movie,I was disappointed to find that the DVD was only out on import at an expensive price. Taking a look to see what titles have been put on BBC iPlayer,I was surprised to see this film appear!,which led to me getting set to finally meet Mr.Lucky.The plot:Always on the wrong side of the law,Joe Adams is constantly on the move with his pal Zepp.Getting a draft notice,Adams dodges it by taking the identity of a dead guy. Interested in funding an gambling ship,Adams finds that he is unable to raise all the funds in the underworld (!) so he decides to get help from a War Relief organization for a "charity casino." Receiving approval for the idea from main fund raiser Dorothy Bryant ,Adams soon finds his plan to gamble with cash to change,when he starts thinking about gambling with his heart for Bryant. View on the film:Looking out on a sea of rough waves and thick fog,director H.C. Potter & cinematographer George "Spellbound/Rebecca" Barnes whip the Hollywood glamour with shards of Film Noir. Restricted by the Code, (which led to the originally written Noir ending of Adams being left dead being changed) Potter and Barnes give the title a glossy caper shine,where Adams sly gambling tricks are followed by smooth camera moves. Digging under Adams easy-going charm,Potter and Barnes unveil a draft dodging Film Noir loner,whose attempts to keep his un-"Mr" Lucky past hidden leads to Potter looking into Adams eyes in cold,hard camera moves,as ultra-stylish clouds of smoke cover the screen,and Bryant looks down to her Adams hands covered in dirty money.Based on a real event that co-writer Milton Holmes had read about,Holmes and the 6 other writers (!) keep the flirting between Adams and Bryant popping with Adams teaching Bryant "street slang" allowing the movie to have some shots of Screwball Comedy.Peeling some of the glamour away,the writers make Adams Film Noir past an oncoming storm that cuts his "cheeky" image,with Adams care-free loner life changing from the first sight of Bryant,but being unable to pull himself from the circle of draft-dodging wise guys.Joined by an elegant Laraine Day as Bryant, Cary Grant gives a wonderful performance as Adams,whose charismatic nature allows Grant to lay on the charm whilst keeping Adams murky regrets bubbling away,as Mr Lucky's luck runs out.

deltascorch90 I was literally on the edge of my seat in some bits just taken up by the drama of it all. The father reading the letter in the church--I could almost visualize a Greek villager rallying his countrymen to "spare Greek honor another hour." Then there's the leading lady, whose eyes sparkled and lit up at some of the things Grant did. What reality! There's definitely something magical about this film. I was particularly struck when the "Well this is a pleasant surprise" bit came on from the episode of Band of Brothers. It struck me then how I'm at like the crossroads of it all, watching this film in its proper context and then watching the modern Band of Brothers looking back to this time. I don't know, I really enjoyed the romance between them, I could even feel myself longing for them to be reunited, as if it was something I was experiencing. One of the discussion board subjects reads "ultimate chick flick for me," and I suppose that's the case. This is a film that rightly deserves its happy ending. For my own emotions to be so yanked around by something, it's gotta be a good sort of film.

theowinthrop It's entertaining enough to sit through, and it offers a light on a problem that would forever plague it's leading man, but let us face facts: MR. LUCKY was a World War II moral boosting propaganda film, and as such it is dated. It is set in a mindset for 1942/43 when the actual destiny of the war effort was unresolved, and an Axis victory was still possible. Keeping that in mind we can forgive the character change that the script forces - but posterity lost a second chance of seeing Cary Grant play a rat.After his quasi-rat wastrel Johnny Aysgard in SUSPICION, Grant made the film TALK OF THE TOWN with Ronald Colman and Jean Arthur. His character of Leopold Dilg is suspected of arson/possibly felony murder, but we realize that he is being railroaded by Charles Dingle on those charges. A few years passed and in 1943 Grant agreed to play Joe Adams, gambler and con man, who decides to get involved in the charity racket to make a real killing. And I am sure that Grant chose the part because Joe was a rat - as bad and violent in his way as Johnny was in his.We see this in Joe early on - he has to raise some capital for his scheme, and goes to collect the money that is owed to him. As always Grant is dapper and soft spoken, but here he demonstrates what is underneath all this: his Joe gets the money by beating up the man who owes it. To make the scene more effective, we never see Grant beat the man, but the scene is shot from the legs down, where the man is whimpering on the ground and willing to give up the money. It was a unique moment in the film, only duplicated towards the end when Grant kicks his partner in the face in a final confrontation about the swindle. That is shown performed by Grant - far more visibly than the first scene.Yet the effect of this violence is shattered by changes in the screenplay. Grant's Joe meets the capable and suspicious Dorothy Briant (Laraine Day) at the organization that is creating the charity. She is antagonistic to him at the start, but subsequently they fall in love. At the same time one of her assistant/friends is "Swede" (Charles Bickford), and he starts working on Joe's conscience regarding the war effort and the need of the money for the purposes it is supposed to push. So when Grant beats up his partner he is actually doing it to prevent their plans for the theft of the charity money to come to fruition.Again the studio (RKO again) and the actor's agent refused to countenance a negative image for Grant. So we have to be satisfied with two scenes where Grant uses his muscles to beat people up. One should be thankful for small favors - Grant would try again in 1944 when he appeared in NONE BUT THE LONELY HEART to play a criminal type, but there too the screenplay would prevent him from playing a total rat again.