John Paul Jones DeJoria , Eloise Broady - 2nd Annual Art for Animals Fundraiser Evening For Eastwood Ranch Foundation - Arrivals at De Re Gallery - Los Angeles, California, United States - Saturday 4th June 2016
Sturges wrote for women like few other screenwriters ever have, even in our supposedly more advanced times. His heroines have a welcome tendency towards toughness, clarity of mind, sharpened tongues, devastating wit, and the ability to wear smashing evening wear without looking the least bit fragile. The remarkable Stanwyck is a fantastic creation as Harrington, able to think (and speak) circles around everybody in any given room, but still retaining the heart to fall madly for nebbishy Pike.
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Sturges loved fake beginnings, and this is one of his best. We open on a knock-down, brawling fight on (and below) a train that's roaring through the mountains at night. The two men finally knock each other off into the raging river, and the screen reads: THE END, after which we find out that it's a film being screened for a couple worried executives by a very popular comic filmmaker, John Sullivan (Joel McCrea), who's trying to break out of his niche, going on about holding a mirror up to life and painting a "true canvas" of humanity's suffering. Chagrined to discover that the suits don't think his silver-spoon upbringing entitles him to know anything about the human condition, Sullivan hits the road with ten cents in his pocket (kitted out in authentic bum-wear from the studio wardrobe) to find out something about it. He spends the rest of the film trying to get away from the suits (worried about losing their golden goose), and striving to find realism. At first he doesn't succeed, accidentally ending up back in Hollywood time and again, but eventually Sullivan gets a little more realism than he had intended.
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One of the century's smarter films about politics, Preston Sturges' The Great McGinty takes a blowsy, no-nonsense approach to the subject at its core -- corruption -- and by treading that line between sanctimonious outrage and full-blown farce achieves a welcome attitude of realistic (and fatalistic) morality. Sturges' fable starts in one of those wonderfully atmospheric, fly-buzzed and smoky bars that inhabit Third World cities in all great films, where the man, Dan McGinty (Brian Donlevy), is working as a bartender, and telling the story of his fairy tale rise and fall. In its own meritocratic way, the story is actually quite inspiring: man comes out of nowhere, rockets upward through a major city's political organization, marries well, lives better, eventually becomes governor. Sure, he rose to power on a raging tide of graft, but that's the Chicago way, right?
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One of the few truly great writer/directors of American film, Sturges had more ideas than he knew what to do with; witness the film's credits sequence showing the main characters (Joel McCrea and a wonderful Claudette Colbert) getting married. There's a race to the altar, mistaken identity, a woman in a bridal gown locked in a closet, and general fast-paced madcappery, all done with music only -- it's an abbreviated précis of what could have made an entirely separate film. Then it's largely forgotten: The whole story is only alluded to near the end of the film, with one character referencing it only to say, "Well, that's a whole other plot."
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