It's in the Bag: A dusty, weird little crime romp

Is it worth your time?

If you like movies that feel like they were filmed in someone's basement back in the 40s, you might get a kick out of It's in the Bag. It’s definitely not for the modern viewer who needs a sleek, high-definition thriller to stay awake. If you enjoy chaotic, low-stakes bumbling, you’ll be fine. If you want a tight, logical plot, keep scrolling.

The whole premise is just asking for trouble, isn't it? A hatter—yes, a hatter—deciding he's suddenly a criminal mastermind. It’s got that specific, scrappy energy you find in a lot of mid-century French stuff. It reminds me a bit of the frantic pacing in Business Is Business, though perhaps a bit less focused.

The bag situation

The kidnapping scene is exactly as clunky as you’d hope. Watching these guys struggle with a sack in the dark is almost like watching a bad play. It’s not elegant. It’s barely competent. Yet, there’s something funny about how seriously they take themselves while failing at the most basic human task: identifying who they’ve kidnapped.

Cinematic perspective: Exploring the visual vocabulary of It's in the Bag (1932) through its definitive frames.

Once they realize it’s the son in the bag, the movie shifts into this weird gear of panic. It’s not high-tension, though. It’s just… loud. They run around like headless chickens. I found myself checking my phone, then looking back up to see them still running around in circles. It’s a very specific brand of 1940s slapstick that doesn’t quite hit the mark, but it has a weird, persistent charm.

• The dialogue is pure Prévert, which means it’s way smarter than the characters saying it.
• The shadows in the kidnapping scene are probably the best part of the whole production.
• There’s a moment with a hat that I swear lasted three minutes too long.

It’s not perfect. Honestly, it’s a bit of a mess. The performances feel like they’re being played to the back of a theater rather than a camera lens. Some of the extras look like they’d rather be literally anywhere else. I kind of relate to them.

If you’ve seen Le congrès s'amuse, you know how these older European comedies can lean into the absurd. This feels like a cousin to that, just with a lot more yelling. It doesn't try to be profound. It just wants to get to the next punchline, even if it trips over its own feet to get there.

Maybe it’s the kind of thing you watch on a rainy Sunday when you’ve already finished everything good. It won’t change your life. It might just make you smile at how hard they're trying. 🎩