Tag Archives: palm beach story

DVR Alert: Preston Sturges and more on 7/18

18 Jul

July 18 is another one of THOSE days on TCM, folks. Clear off those old Lawrence Welks; you’re going to need the room:

Larceny, Inc. (1942)
Directed by Lloyd Bacon
Shown from left: Barbara Jo Allen, Broderick Crawford, Edward Brophy, Edward G. Robinson, Jack Carson, Jane Wyman

10:30 a.m. – Larceny, Inc. (1942) – another Edward G. Robinson gangster comedy. Edward Brophy, people.

Then the Preston Sturges block begins – and just keeps going…

Preston-Sturges-0512:15 p.m. – Child of Manhattan (1933) – a melodrama based on a Sturges play;

1:30 p.m. – Christmas in July (1940) – a fun, oft-ignored early Sturges;

2:45 p.m. – Sullivan’s Travels (1941) – no introduction;

4:30 p.m. – Hail the Conquering Hero (1944) – the movie that made me fall in love with Sturges and a more-or-less spiritual sequel to Miracle of Morgan’s Creek, but far more subversive, in my opinion…;

6:15 p.m. – The Sin of Harold Diddlebock (1947) – aka Mad Wednesday, this late Harold Lloyd vehicle by Sturges was hacked to ribbons and is much maligned, but were I running a series of Second Looks, this would be on the list;

8:00 p.m. – The Palm Beach Story (1942) – about which I’ve already written, is the day’s last Sturges and the first of Frank Rich’s guest programmer picks. The second is;

manchurianflower-clubcig3209:45 p.m. – The Manchurian Candidate (1962) – the famed glorious political thriller that’s somehow more up-to-the-minute than the remake from a couple of years ago, and featuring the garden club ladies who can easily ruin The Andy Griffith Show for you;

Rules_of_the_Game_SS_CurrentMidnight – The Rules of the Game (1939) – Jean Renoir’s sort-of-romantic- comedy satire that’s also always prominently featured atop  lots and lots of Best Movie Ever lists;

 

2:00 a.m. – Petulia (1968) – of which I know nothing beyond that it stars Julie Christie and George C. Scott, is directed by Richard Lester, and looks like this…PETULIA-6which means I’ll give it a shot;

And last but not least,

alicetoklas.105f4:00 a.m. – I Love You, Alice B. Toklas (1968) one of those grand slices of late-60s wacky, with Peter Sellers. When I was young, it was dated. Now it’s a period piece. The sine wave of comedy’s aging process is sometimes tough to track. Regardless, I love it.

Enjoy! That should keep anyone busy for a while. Hide from the ozone in the best way possible.

The Palm Beach Story (1942)

26 Apr
The Palm Beach Story (1942)

How is it that a scene where that guy helps that woman with a wayward necklace clasps is one of the hottest scenes ever filmed? How?

Preston Sturges and Jacques Tati are two of my favorite – I use this word under duress – auteurs.  What made me put them in a sentence together, something I wouldn’t normally have thought to do? The Palm Beach Story is on TCM at midnight and I watched Tati’s Play Time (againagainagain) the other night, and just now I got to thinking about The Rich. Money in comedy is usually either blithely ignored (all Fred & Ginger movies) or paramount (almost all Chaplin), especially in the Depression-era stuff in which I tend to indulge.

But in these two films I’m talking about, there are millionaires pulling strings hither and yon (in Tati’s case, only one – the American in the Royal Garden sequence, though someone (maybe the American?) must own that company Hulot is interviewing with; in Palm Beach it’s tough to throw a rock without hitting an affluent white guy). And they’re generally likeable, despite the fact that they’re also complete if somewhat unconscious puppetmasters. Perhaps that’s what feels unusual: in recent news, the ultra-rich are almost never portrayed as, you know, possessing of basic decency. In our modern Depression, it’s hard for me to imagine a hit comedy coming out that would treat wealth so blithely.

I am, however, quite certain that Abe Froman of Ferris Bueller’s Day Off is a direct descendent – perhaps the son – of The Wienie King. You will never convince me otherwise.

In the same vein, I like to think Frank Faylen’s taxi driver is Ernie of It’s a Wonderful Life – but why isn’t he in Bedford Falls? Do you think you know everything about Ernie’s life? Do you? Marvel Comics pulls this crap all the time. Why can’t Frank Faylen?

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I should also commit the brief blasphemy that this is my favorite Claudette Colbert performance. Yes, yes, It Happened One Night is a thing of beauty. “De gustibus non est disputandum” is tattooed on my bicep. Probably the finest work of Vallee and Astor, too. For McCrea, I have to lean more toward Sullivan’s Travels, which isn’t really surprising.

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And let’s meditate for a second on the ending. Without spoiling it, it’s a lot like the end of Shakespeare’s Twelfth Night. Which got me to pondering:

-time spent on an unusual  boat ride;

-significant time spent pretending to be someone else;

-a romantically fickle wealthy woman (though The Princess Centimillia is a drop less mournful than Olivia);

-and I think it could safely be said that Sirs Toby & Andrew could slip unnoticed into the Ale & Quail Club’s private car.

My conclusion? I don’t have one. But comedies are, as I’ll probably harp on repeatedly here, so seldom taken seriously as art and as craft (why award one when there’s a Dour and Important story out there), so a gentle formal comparison to Shakespeare couldn’t hurt my case, could it?

http://www.tcm.com/tcmdb/title/86154/The-Palm-Beach-Story/