This post is being published as part of the CMBA Comedy Classics Blogathon from January 22nd to 27th, 2012.
Love is a funny thing, especially in the movies, so Vinnie and I have donned our Team Bartilucci romantic screwball comedy caps to spotlight two of our favorites!
Dorian’s Pick: Ball of Fire (1941)
“Once upon a time — in 1941 to be exact — there lived in a great, tall forest — called New York — eight men who were writing an encyclopedia. They were so wise they knew everything: The depth of the oceans, and what makes a glowworm glow, and what tune Nero fiddled while Rome was burning. But there was one thing about which they knew very little — as you shall see…”
How could I
not fall in love with
Ball of Fire (BoF)? To borrow a line from
Foul Play, it was fate, Fergie — kismet! The star team of Gary Cooper and Barbara Stanwyck, reunited from
Meet John Doe that same year, was a tantalizing draw, plus I’m a sucker for stories set in my hometown, New York City. But I was also interested in
BoF because I like comedies about characters who appreciate wordplay and learning
(Pygmalian/My Fair Lady, anyone?). I’ve loved reading, writing, and generally having fun with the English language ever since I learned to read at the age of three (during a family vacation in the Bahamas, but that’s a story for another time). My older siblings used to show me off by having me read passages from
The New York Times out loud;
granted, I didn’t always
understand what all the words meant, but somehow I figured out what they sounded like phonetically. For another thing, on an even more personal note,
BoF’s sassy heroine Katherine O’Shea goes by the name “Sugarpuss,” or “Shugie” for short
. As luck would have it, our daughter Siobhan’s nickname happens to be “Shugie”!
(For the record, “Shugie” is pronounced like “sugar” ending with “ee” instead of “er.” For those of you who’ve never heard the name “Siobhan,” it’s pronounced “shuh-VON.” Those who pronounce it ‘SIGH-oh-ban’ will be asked to leave the Internet.) Mind you, this was
long before we watched and loved
BoF; up till then, we had nicknamed Siobhan “Shugie” in honor of Shaggy’s baby sister on the animated TV series
A Pup Named Scooby-Doo (yet another story for yet another time. We’ve got a million of ’em)! Our Shugie thought the name “Sugarpuss O’Shea” was the most hilarious name she’d ever heard!
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| Professor Potts digs NYC’s sub(way)culture! |
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| Taking good notes for research is important! |
Sweetening the entertainment pot further, other talented people behind
BoF included director Howard Hawks; Samuel Goldwyn, producing
BoF for RKO; screenwriters
Billy Wilder and
Charles Brackett, who based their story on Wilder and Thomas Monroe’s
From A to Z; and versatile Director of Photography Gregg Toland, who got an Oscar nomination that year for
Citizen Kane. To qualify for the 1941 Academy Awards,
BoF played a week-long engagement in Los Angeles, then officially opened at the Radio City Music Hall in January 1942. Set in the then-contemporary New York City of 1941,
BoF is a breezy comic take on
Snow White and the Seven Dwarfs (more about that shortly). In New York City’s Central Park, we meet our hero Professor Bertram Potts (Cooper in lovable naïf mode), the youngest of eight brilliant, endearing professors taking a constitutional in Central Park on the first sunny spring day of the season. Prof. Potts’ colleagues are played by a great cast of beloved character actors: Oskar Homolka (Hitchcock’s
Sabotage and the Harry Palmer spy thrillers
Funeral in Berlin and
Billion Dollar Brain) as Prof. Gurkakoff; Henry Travers (Hitchcock’s
Shadow of a Doubt, It’s a Wonderful Life) as Prof. Jerome; S.Z. “Cuddles” Sakall
(Casablanca, Wonder Man) as Prof. Magenbruch; Tully Marshall
(Scarface, Grand Hotel) as Prof. Robinson; Leonid Kinskey
(Duck Soup and
The Man with the Golden Arm, and he’s a
Casablanca alumnus, too) as Prof. Quintana; Aubrey Mather as Prof. Peagram
(Jane Eyre, The Song of Bernadette); and Prof. Oddly (Team Bartilucci fave Richard Haydn, known for voicing animated characters as well as his supporting roles in live-action films). These men have virtually cloistered themselves in the house they all share at The Daniel S. Totten Foundation. They’re in their ninth
year of writing their encyclopedia of slang. Man, these boys need to get out more! More to the point, they need to get their slang encyclopedia finished pronto, because even though Miss Totten (Mary Field from
The Dark Corner and
Dark Passage — so much dark in such a lighthearted movie!) has a crush on Potts, the Foundation’s lawyer Larsen (veteran character actor Charles Lane, back when he was actually young!) is pressuring our boys to “slap it together” and finish already. Potts firmly replies that “we are not the slapping-together kind…If our work goes slowly, it’s because the world goes so fast.” Well, Potts and company had better hang onto their hats, because their world is about to go a whole lot faster, not to mention funnier! (By the way, there isn’t a real-life toaster inventor named Daniel S. Totten that we know of, though there
are electric toasters!) Fun Fact: According to the TCM Web site, Wilder and Brackett picked up authentic slang for the script by visiting the drugstore across the street from Hollywood High School; a burlesque house; and the Hollywood Park racetrack.
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| The happiest fellas in Brainiac Land! |
Just as our eight professors aren’t seven height-challenged miners pitted against a wicked witch and a poisoned apple, nor is our heroine a sweet, demure princess. Instead, we have beautiful, brassy nightclub entertainer Sugarpuss O’Shea,
a.k.a. Shugie (Stanwyck). She’s introduced to us in smart, snappy style, performing “Drum Boogie” (her singing was dubbed by Martha Tilton, bandleader Tommy Dorsey’s lead singer), accompanied by the great drummer Gene Krupa (as himself)! Seems the D.A. is convinced that Shugie’s gangster beau Joe Lilac (Dana Andrews, before
Laura made him a star at 20th Century-Fox) just might have knocked off one of his fellow hoods. Ol’ John Law wants Shugie for questioning, since the D.A. has an incriminating receipt for a pair of pajamas she’d once given him as a gift. With a “subpeeny” nipping at her heels, Sugarpuss goes on the lam, and we don’t mean the Little-Bo-Peep kind! But Lilac’s henchmen Duke Pastrami (Dan Duryea) and Asthma Anderson (Ralph Peters) see the business card from Potts that Shugie had left behind after initially nixing his invitation to join his slang symposium. The thugs get ideas: first, if Lilac marries Shugie, he’ll be safe because as Mrs. Lilac, she wouldn’t be able to testify against him. Second, who’d think to look for Shugie in a quaint old house infested with bookworms? Asthma and Pastrami give Shugie incentive to go along with their scheme by giving her a ring with a diamond almost as big as the one at Yankee Stadium! Potts and his colleagues are plenty book-smart, but something tells me they’ll also be street-smart by the time Shugie gets through with them!
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| If Shugie’s the new neighborhood Avon Lady, we’ll take one of everything! |
BoF’s sprightly plot and snappy patter had me smiling from the start. Cooper and Stanwyck have marvelous chemistry together as Shugie shakes up Potts and Company’s scholarly existence for the better. While the versatile Stanwyck is always awesome in both dramas (such as my own favorite,
Double Indemnity) and comedies, I particularly enjoy seeing her funny flag fly in films like
BoF and
The Lady Eve. It’s a joy to see Stanwyck’s impeccable comic timing in
BoF, and it doesn’t hurt that she’s as beautiful as she is hilarious. With Edith Head costuming her, whether Stanwyck is wearing sequins or a simple shirtwaist dress, you can’t take your eyes off her, especially with the confident, panther-like way she walks. I was touched at the sight of “Potsie’s” modest engagement ring above Joe Lilac’s huge rock, undoubtedly the best ring Potts could afford on his academic salary, bless him. His proposal to Shugie touched me even more, especially: “Dust piles on our hearts, and it took you to blow it away.” Shugie finds herself growing increasingly fond of her “eight wise idiots,” and slowly but surely falling in love with Potts and regretting her commitment to Lilac and the con job she agreed to.
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| Mr. Looper, er, Hooper, lilac’s not really your color! |
But the professors climbing out of their ivory tower aren’t the only outstanding supporting character actors in
BoF. There’s Will Lee as Benny the Creep, one of Lilac’s henchmen, long before he became the beloved Mr. Hooper on TV’s
Sesame Street; Charles Arnt from
My Favorite Brunette as Lilac’s lawyer; and Allen Jenkins (his many roles included George Sanders’ sidekick in the
Falcon films and the voice of Officer Dibble on Hanna-Barbera’s animated series
Top Cat, another Team Bartilucci fave) as a garbage man who enlists the professors’ help in winning a radio quiz show so he can take his sweetie out on the town — but let him tell you in his own words as Potts tries to keep up with all these new-to-him words and phrases:
“We’ll be steppin’, me and the smooch, I mean the dish, I mean the mouse, you know, hit the jiggles for a little rum boogie?...Brother, we’re gonna have some hoy-toy-toy!” In turn, the delighted professors roar, “Hoy-toy-toy!” The garbage man adds, “If you want that one explained, go ask your papa.”
As Miss Bragg, Kathleen Howard is the very model of an uptight, narrow-minded den mother type who, to slightly paraphrase a line from
Witness for the Prosecution, has just had an egg-beater thrown into the wheels of her Victorian household. Miss Bragg may mean well in her stick-up-the-butt way, but I couldn’t help hoping someone would belt her one, so I couldn’t help approving when Shugie did just that — that is, until I read on the
TCM Web site that while shooting the fight scene with Howard, Stanwyck accidentally connected too hard with a punch and broke Ms. Howard’s jaw —
yikes! Just goes to show sometimes it’s unwise to go too far for your art!
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| Is this what they mean by “stopping on a dime”? |
Of all the lovable professors, the one I found myself most fond of was Richard Haydn’s Prof. Oddly, who gets so into whatever he’s examining that the other professors have to whistle for him like a dog. A widower, Prof. Oddly is the only one of the group who’s been married. When Shugie and the professors set off for New Jersey for the wedding, unaware that Lilac and his goons are setting the boys up, it leads to a funny and truly touching scene as Prof. Oddly suggests fatherly advice to Potsie, sharing his fond remembrances of happy times with his late wife Genevieve and the popular old song by that name, with all the professors poignantly singing along. With the help of a loose room number on the motel room door, it leads beautifully to both comedy and sweet love, though not without bumps along the way. It all ends in our guys dashing (in every sense) in top hats and tails to New Jersey to save the girl and the day in a finale that only our astute octet could have pulled off, and it had me cheering! It’s no wonder that, according to the TCM Web site,
BoF ended up being the 25th highest-grossing film of 1942, taking in $2.2 million at the box office (which was serious coin back then). Between the success that year of both
BoF and the Oscar-winning
Sergeant York (1941), it was a mighty fine year for Gary Cooper, who ranked seventh at the box office for 1941 — no small feat considering all the films available back then, decades before TV and so many other forms of entertainment created competition for fans’ attention. Another Fun Fact: In 1942, Barbara Stanwyck joined her
Remember the Night co-star Fred MacMurray for a radio version of
BoF broadcast on
Lux Radio Theatre in 1942, and of course, they would eventually reunite for
Double Indemnity and
There’s Always Tomorrow. On a related note, as a fan of Danny Kaye and Virginia Mayo, I’d like to check out
A Song is Born, their musical remake with Hawks, even though I hear it’s not as good as the original. I sympathize; improving on the perfection of
BoF is a tall order indeed!
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| Things that make you go "Yum-yum!" |
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| Nothing perks up symposiums like a conga! |
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| One ring to rule them all, one ring to bind her! |
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| Before Witness for the Prosecution’s Monocle Test, there was Prof. Gurkakoff’s Reflector Test! |
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| Hope is the thing with feathers — perfect for tickle torture! |
Vinnie's Pick: Oscar (1991)
To simplify greatly, there are three types of people; those who have never seen
Oscar, those who love
Oscar, and those who have never forgiven John Landis for Vic Morrow, and refuse to give any of his work since a fair viewing.
It's a comedy, something that star Sylvester ("
Stop or My Mom Will Shoot") Stallone is not well known for. Specifically it's a screwball farce, based on a French film from 1967 Director John Landis and his writing team turned it into a period piece, following many of its trappings religiously. It takes place largely in one location, the palatial residence of gangster Angelo "Snaps" Provolone, who has promised his father (a hiLARious cameo by Kirk Douglas) that he'd go straight. On one madcap day as he prepares to invest in a bank and fulfill his promise, he learns that his head accountant "Little" Anthony Rossano (Vincent Spano) is in love with his daughter, Lisa (Marisa Tomei) (except he's not), who is pregnant from another man, the titular Oscar, their chauffeur (except she's not), planned to marry her off to his dialect coach, Dr. Thornton Poole (Tim Curry) who is also in love with her (except he's not), and at random times, 100,000 dollars plays a shell game among three black satchels that make their way about the house.
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| Snaps, Connie, and Aldo keep it all in the Family |
Landis keeps the film going at a breakneck pace - characters and situations fly in and out of the house at ramming speed, the dialogue is fast and laced with period slang ("Nix the underwear, Doc, it never happened"). With all the questionable characters (and black bags) that come and go, it's no surprise Lt. Toomey (Kurtwood Smith, a guy who's a LOT better at being funny than people realize - we're still all remembering Clarence Boddicker) is sure something's up in the Provolone home. Like so many tributes to past genres, it's as good as you remember 1930s madcap comedies were, but so few
actually were. Another recent example is
Down With Love, which featured more bedroom comedy tropes per capita than any actual films of the genre.
The meat of the plot is from the French original, the comedy of errors about the people in love and the bags, but Landis added a whole layer of comedy by making it a comedic Prohibition-era period piece. Lots of wordplay comedy, many new characters, and the whole plot about the bankers and Lt. Toomey's insistence that things are not as they appear. And oh, those bags... A classic plot point of comedies, whether used as the McGuffin to get the spies after the wrong guy, or a devious way to hide the diamonds, it's been seen in endless films, in recent years, most famously
What's Up Doc?
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Lisa and Thornton's budding romance
is by the book! |
Both Stallone and Landis surrounded themselves with friends - there's lots of folks in the film who'd worked with one or the other in past films. Peter Reigert and Mark Metcalf return from
Animal House, as does scoremeister Elmer Bernstein. As opposed to the tack they took in
Animal House, where Bernstein wrote a deliberately serious score that worked perfectly against the on-screen goings on, they went for a patently comedic soundtrack here, based on the opera
The Barber of Seville.
A couple of important first major breaks in the film as well - It's Marisa Tomei's first major role, and while she got a Razzie for it, The Wife and I knew right away we'd be hearing from her again, and I don't mean a postcard. One year later she grabbed an ACTUAL Oscar for her role in
My Cousin Vinny. Similarly, lovable lunkhead Connie was played to slack-faced perfection by Chazz Palmintieri, who just a year before had played a very different kind of mobster in his self-written one-man play
A Bronx Tale. Combining this with similarly comedic gunsel Cheech in Woody Allen's
Bullets Over Broadway, and he quickly became one of our favorite comedic gangster actors. So when we later saw him in things like
The Usual Suspects and the film version of
A Bronx Tale, we were blown away by the diametric opposite performances.
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"So, boss, which satchel has the secret
Government underwear?" |
Tim Curry had just premiered his older, slightly puffier look in the previous year's
The Hunt For Red October, and had already shown staggering ability for madcap comedy in another sadly underappreciated film,
Clue. His timing here is flawless, his face a wild set of earnest expressions and a perfect upper-class twit of a voice.
But in honesty, the shining jewel of performances is Stallone himself. In later comedic performances like
Spy Kids 3-D: Game Over, he's more parodying himself, but here he plays a note-perfect comedic gangster in the Damon Runyon tradition. He shares the screen with some heavy hitters, but holds his own expertly. "Snaps" remains exasperated throughout, and some of his best lines are when his emotions get the better of him. As he tries to explain a small part of his day to his wife Sofia (Ornella Muti), including mention of a daughter Theresa, she responds "We don't HAVE a daughter Theresa!", to which he gaspingly replies, "Do you think I don't KNOW that?"
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| Going to the chapel and they're gonna get married... |
Few films got as bad a rap as this one in its time. In those pre-Internet days, it was able to be the number-one film for two weeks before the reviews started making the rounds and and people suddenly were educated as to how bad a film it was. It's gained a big following thanks to video, one it seriously deserves. See it.
Expeditiously.
