Here’s where we find ourselves–the proverbial wild west. A shapely blonde dancehall singer, clutching a smoking gun. She’s trembling with residual anger, surrounded by friends and allies who are aghast at her latest escapade. She’s just shot a judge, in the buttocks, for the second time in as many hours.
That’s what’s onscreen, in the opening salvo of Preston Sturges’ first Technicolor picture. To step out of the screen, though, we must acknowledge the disappointing truth. This was a disastrous flop for all concerned. Preston Sturges had just tossed 2 million of 20th Century Fox’s money into a hole. Betty Grable had just ruined her streak of profitable hits. Darryl F. Zanuck had just alienated one of Hollywood’s true geniuses. No one came out unscathed.
None of which is to imply that The Beautiful Blonde From Bashful Bend is a waste of your time. Far from it. In fact, set aside that even lesser Sturges is still imminently watchable fun, let’s approach this more coldly. Not as a movie to be enjoyed, but as an archeological artifact to help us better understand Sturges’ genius, and its limitations.
Jean Arthur is a writer for the Boy’s Constant Companion.
No, Jean Arthur is an actress, and in the movie Easy Living she plays a writer for the Boy’s Constant Companion, but let’s not get bogged down in such hairsplitting. In any event, she barely holds that job and is fired early in the film. It wasn’t much of a job anyway–the harridan spinsters who policed that magazine must have been insufferable coworkers.
But it paid the rent. Well, no it didn’t–she’s behind in her $7 a week rent when we first meet her, and has only a single dime for her bus fare, so it’s not like the job was some fabulous boondoggle. But things are tough all over–haven’t you heard there’s a Depression on? Of course, if times are so tough, how to explain the fur coat that just dropped out of the sky onto her head?
Posted by R. Emmet Sweeney on January 20, 2015
Struggling stage actors Henry Fonda and Margaret Sullavan were married on December 25, 1931. They divorced two months later. In 1936, Fonda and Sullavan were both burgeoning movie stars, and appeared together in the romantic comedy The Moon’s Our Home, whose story of whirlwind romance and hurricane breakup recalled their brief fling. Recently released on DVD from the Universal Vault, the studio’s burn-on-demand service, the film is an aggressive farce that gained added oomph from Fonda and Sullavan’s fraught, passionate relationship (the transfer looks soft and interlaced, but it’s watchable). Director William A. Seiter was a sensitive shaper of star personas, having helped mold the Dadaist antics of Wheeler and Woolsey and the blossoming sass of Ginger Rogers. The Moon’s Our Home, with the aid of some acidic dialogue contributed by Dorothy Parker, is a bumptious battle of the sexes, with Sullavan a bite-sized Napoleon and Fonda her arrogant outdoorsman opponent. Their fights are shockingly violent, and the film ends with one of them in a straightjacket.
I’m here to talk about farces. About romantic comedies, TV sitcoms, and silent slapstick. About Charley Chase, the Marx Brothers, and Charles Coburn. I’m inspired this week by the lovely 1943 romantic comedy The More the Merrier, with Jean Arthur, which TCM is running Monday night. But I’m also hoping you’ll not only set your DVR for that gem, but maybe seek out a DVD of Charley Chase’s Mighty Like a Moose… but I’m getting ahead of myself.
Posted by Susan Doll on March 17, 2014
One of my favorite tropes from Golden Age romantic comedies is the “faux marriage” in which the leading man and leading lady either pretend to be married, or they actually wed for reasons other than true love. As they scheme, maneuver, or fight their way through the plot, they fall in love for real, though circumstances, stubbornness, or other characters prevent them from confessing their true feelings until the inevitable happy ending. The plot device is still commonly found in romantic comedies as a way to bring the main characters together while creating major obstacles for them to overcome.
The repetition of certain lines of dialogue is one of the defining characteristics of Ernst Lubitsch’s cinema. Lubitschean characters repeat certain lines as a way of creating double-entendres on the spot. Audiences are expected to recognize the repetition, and to remember the context of the original lines, so that those memories get overlaid on top of the repeat, imbuing the words with a weight of additional meaning beyond the literal significance of the words themselves.
To single out an especially piquant example from To Be Or Not To Be, consider what Lubitsch does to the phrase “Heil Hitler.” Over the course of 90 minutes it is yawned by Jack Benny, treated like an Abbot and Costello routine by most of the rest of the cast—Heil Hitler! No, I Heiled Hitler first!—there is Bronski’s fake Hitler says “Heil myself,” and of course Carole Lombard’s orgasmic moan.
The central conceit of the movie isn’t about making fun of what the Nazis took from Poland, it’s about creating a fictional space where the Poles take everything from the Nazis. This isn’t a movie about the German invasion of Poland—it’s about a Polish invasion of Germans.
During the course of the film, our heroes subversively appropriate the Nazis’ uniforms, their identities, even their salute—and as these icons of Nazi terror are systematically taken over by the Polish actors it simply serves to undercut the power of those totems. They turn “Heil Hitler” into a punchline before the first German troops set foot in Poland. [...MORE]
Posted by David Kalat on April 27, 2013
Last week I posted here some embarrassing anecdotes about my experiences as a color timer in the early 1990s—and I’d intended to immediately follow it up with a sequel. The first post was about Even Cowgirls Get the Blues—a film I knew was a commercial and critical disappointment, and I thought it was funny trying to pretend I was the reason for its problems. And so the sequel would flip the story—a Hollywood film I came near, but which soared to great heights because I was kept safely far away from it.
Except when I sat down to start writing this, I was absolutely jaw-droppingly gob-smacked to discover that my whole premise was flawed. To my utter astonishment, I learned that the Coen Brothers’ The Hudsucker Proxy was not considered a success. I’m still trying to wrap my head around this.
Posted by David Kalat on March 23, 2013
Just in case my love of screwball comedies wasn’t evident from all the times I’ve posted about it here before, I’m here this week to celebrate Ralph Bellamy’s contributions to the genre.
I need to note that upfront, because Ralph Bellamy had such a massive and sprawling career that you could be a huge Bellamy fan and not actually have seen any of the movies I’m going to talk about–even though Bellamy was a major force in the development of the screwball comedy, and was so singularly associated with it he became a punchline in and of himself.
Posted by David Kalat on May 12, 2012
Hollywood’s fascination with itself has generally meant that movies about movies–or, more precisely, movies that celebrate movies–tend to be overvalued by the film establishment relative to their actual merits. For example, Preston Sturges’ Sullivan’s Travels tends to show up on a lot of classic movie lists, it was singled out for the Criterion treatment back before Criterion’s management really cottoned on to the idea that comedies can be classics, and when writers try to summarize why Preston Sturges is important, Sullivan’s Travels is almost always cited as his one or two most significant accomplishments. What Sullivan’s Travels is not, however, is terribly funny–it is one of Sturges’ tamer works. If you want to ask me what Sturges should be most remembered for, I’d have to say Palm Beach Story–a profoundly anarchic comic masterpiece that wholly abdicates any responsibility to make a lick of sense.
Posted by R. Emmet Sweeney on April 17, 2012
I had a similar reaction to Mr. Stewart when I watched Kim Novak purr her way through Bell Book and Candle, just released by Twilight Time on a gorgeous blu-ray. He also might have been agog at Westward the Women (1951), the William Wellman femme-Western released in a well-appointed DVD from the Warner Archive, which includes an audio commentary from film historian Scott Eyman. They are two films that focus on female desire, a rare occurrence in the generally leering male gazes of post-code Hollywood (pre-code films were replete with sexually independent women – check out Baby Face (1933) for a bracing example). Bell Book and Candle is set in motion because of Novak’s uncontrollable lust for Stewart, and Westward the Women kicks off because of hundreds of ladies’ self-sacrificing desire for a better life out in California, a gender bending variation on Horace Greeley’s advice to, “Go west, young man”.
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