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Posted: |
Feb 24, 2017 - 7:43 PM
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By: |
Howard L
(Member)
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Owing to the comments of trusted 'boarders I've been delving into films like The Miracle Of Morgan's Creek and Hail The Conquering Hero for the first time and am loving every bit of it. Their clever rapid fire dialogue, extended takes, tracking shots that go on forever AND music add up to a phenomenal film-viewing experience.
I've been familiar with Sullivan's Travels for a number of years and that was it as far the Sturges canon went. It will remain my favorite for a host of reasons with the incredible ending the topper. My introduction to the film was a scene in Grand Canyon wherein the Steve Martin character makes reference. It may have spurred me on to finally see Travels, I can't recall. To this day, however, the title character's refusal to make "O Brother Where Art Thou" slays me. Especially after seeing O Brother Where Art Thou.
The Depression/WWII settings in these films are another grabber. The fact they were made, too, in that era adds tremendous flavor. It is the era of my folks, for one, and from a historical perspective the contrast in the national zeitgeist portrayed then to what it is now is beyond stunning. I'm thinking primarily of politics that the Sturges films lambaste at every opportunity.
Satire, heavy dramatic satire is the undercurrent in these otherwise wacky comedies. Sturges as writer is a genius, Sturges as director is a genius, and he as a combination of both...what did Sully say at the end, his head shaking in disbelief?
"Boy."
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Posted: |
Feb 24, 2017 - 11:58 PM
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By: |
Bob DiMucci
(Member)
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It's still a wonder how some of the situations in THE MIRACLE OF MORGAN'S CREEK ever got past the Hays Office. After an October 1942 story conference between the Production Code Administration (PCA) and the film's producers, the PCA sent a seven-page letter asserting their concerns about the story. The PCA urged that the filmmakers be "extremely careful in handling a subject of this kind because of the delicate nature of the high point of the story," and suggested that once the basic facts of the situation were established, the filmmakers "then get away from them." The PCA expressed "apprehension concerning certain of the lines which are spoken by Emmy [Diana Lynn] ...[which are] likely to be offensive because they come from a fourteen-year-old girl."The PCA also stipulated that "Trudy [Betty Hutton] will, at no time, be shown to be drunk....It is acceptable to indicate that she, along with the others, did drink some champagne, but she should not be shown drunk." The PCA "respectfully suggest[ed] that all the material...having to do with the pregnancy of the girl, be drastically cut down and the matter entirely rewritten."
In December 1942, the PCA wrote that "we feel that any attempt to make a parallel between the birth in this picture and the birth of the Savior will be highly offensive and irreverent." Other letters in December 1942 reveal that Sturges withheld the final scene from the PCA, "in order to preserve the element of surprise when the picture is finally shown." The War Dept. also screened the film and objected to "the story's implication of the soldiers' lack of proper conduct." In their 26 February 1943 letter, the War Dept. urged that the scene which shows the departing soldiers "should result in giving the audience the feeling that these boys are normal, thoroughly fit American soldiers who have had an evening of clean fun."
Although Sturges noted in his autobiography that it was his intent to "show what happens to young girls who disregard their parents' advice and who confuse patriotism with promiscuity," the PCA received many letters of protest due to the subject matter of the film. Sturges further stated in his autobiography that he expressed his opinions in a sermon which was to be spoken by a pastor in the film, but the studio excised the scene due to the unacceptably comedic depiction of the pastor.
Bosley Crowther of the New York Times noted: ". . . a more audacious picture--a more delightfully irreverent one--than this new lot of nonsense . . . has never come slithering madly down the path. Mr. Sturges...has hauled off this time and tossed a satire which is more cheeky than all the rest....It's hard to imagine how he ever...persuaded the Hays boys that he wasn't trying to undermine all morals." THE MIRACLE OF MORGAN'S CREEK became Paramount's largest-grossing film of 1944. Sturges was nominated for an Academy Award for Best Original Screenplay.
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Posted: |
Dec 31, 2020 - 3:56 PM
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By: |
Howard L
(Member)
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I will never look at Rex Harrison the same way again after seeing Unfaithfully Yours. His unvarnished portrait of an uber-vain obnoxious ego-driven mad genius of a celebrated symphony conductor is impossible to shake off. And deliciously so. This is a film with little if any proper underscoring with Alfred Newman, "Music Supervisor," clearly pulling off a masterful job with the recording of classic works. It is a film, nonetheless, that satirizes artistic genius and music with equal panache.
What a set-up: "Sir Alfred" believes his voluptuous, adoring wife (Linda Darnell) has been cheating on him with his handsome young secretary and imagines taking revenge while conducting three major pieces in a gala concert performance. Each vignette shows a perfectly precise and well-executed plan involving murder or forgiveness or Russian roulette. In proper manners and impeccable speech, of course, and to the "live" symphony taking place. What follows post-concert is a hysterical slapstick farce diametrically opposed to the meticulous execution within the previous schemes--er, scenes. It is just Sir Alfred, film, and music--symphonic music with mickey-mousing that would have Carl Stalling applauding. Or wincing.
The usual rapid fire dialogue without the usual Sturges stock cast, excepting the instantly recognizable Alan Bridge playing a hotel dick. Miss Darnell, as always, is a beauty to behold. Her light, comedic touch in the revenge fantasy scenes is a bit of a revelation.
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I came to Sturges very late and mostly enjoyed them but in one of them I was brought up short by one of the characters actually using the phrase, "That's mighty WHITE of you, friend." Ouch.
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) yet appears to be made up to look like Joseph Kennedy. It was EERIE how much he resembled both the elder Kennedy and perhaps even more so, son Jack. I'm sure this was not by accident. Anyway, it was something of a highlight for me to hear him perform "Goodnight Sweetheart" in character. I mean I've always known this was something of a signature piece, but the song's interpolation by the great Fred Steiner for Star Trek TOS is such an indelible part of my film music memory going back to youthful days that it remains definitive.