Preston Sturges

"It makes Fatal Attraction seem like a walk in the park." Thus did ABC herald the three-hour TV movie Virtual Obsession when it first aired on February 26, 1998. Set in Salt Lake City sometime in the future, the story, based on a novel by Peter James, concerns a scientist named Joe Messenger (Peter Gallagher), who has created a super-computer in charge of all the city's power. In the course of his research, Joe has also developed a "post-biological" man in the form of Albert (Tom Nibley), the holographic A.I. manifestation of his computer. Enter Juliet Spring (Bridgette Wilson), a beautiful computer tech who becomes Joe's assistant. Incurably ill, Juliet hopes to keep herself alive by downloading her brain and personality into Joe's computer system. To expedite this, Juliet seductively steals Joe away from his long-suffering wife, Karen (Mimi Rogers). Ultimately, Joe breaks off with Juliet and returns to Karen, thereby incurring the terrible wrath of the now-computerized Juliet -- who is not only deadly, but virtually unstoppable. Almost as confusing to watch as it is to describe, Virtual Obsession has been rerun on cable TV under the title Host. ~ Hal Erickson, All Movie Guide

This comedy is a remake of 1941's The Lady Eve, and tells the story of the vegetarian son of a prominent meat packer who is sailing back from an African safari when he meets and falls in love with a con-artist's lovely daughter. Posing as a military officer, the card-sharp and his boys have come to fleece a few wealthy passengers at poker. The daughter finds the milque-toast son irresistible and much to her father's dismay, they fall in love. Unfortunately their happiness is nearly destroyed when someone tells him the truth about her father. Fortunately, that is not the end of their affair. ~ Sandra Brennan, All Movie Guide

Vendetta began as a pet project of producer/director/writer Preston Sturges. Producer Howard R. Hughes was at first enthusiastic about the project, but lost interest after a bitter argument with Sturges. Director Max Ophuls was originally slated to direct, but Hughes lost interest in him and hired Mel Ferrer instead. Eventually, Hughes decided to make the film anyway, primarily to introduce his latest protégé, Faith Domergue. The film sat on the shelf for four years before Hughes finally released it through RKO. The story begins in old New Orleans, where hot-blooded Corsican maiden Colomba (Faith Domergue) coerces her brother Orso (George Dolenz) into avenging their father's murder. There follows a series of labyrinthine plot twists, leading to a corpse-strewn denouement. Hillary Brooke co-stars as British gentlewoman Lydia Nevil, with whom Orso has a brief romance before sacrificing love for honor. The screenplay, which was credited to W.R. Burnett after several other writers had a crack at it, was based on Colomba, a novel by Prosper Merimee. ~ Hal Erickson, All Movie Guide

Preston Sturges' Unfaithfully Yours is a typically witty and wild screwball comedy starring Rex Harrison as a symphony conductor named Alfred de Carter who is convinced his wife (Linda Darnell) is having an affair. During one of his concerts, Alfred begins planning three different ways of solving the problem -- including murder -- setting each to a different classical piece. Sturges' script and direction are lively and the actors are perfectly cast, capable of wringing all the humor, both physical and verbal, out of the story. Despite the artistic success of the film, Unfaithfully Yours was unsuccessful at the time of its release, yet it was well-regarded by critics and film buffs. It was remade in 1984, featuring Dudley Moore in the lead role. ~ Stephen Thomas Erlewine, All Movie Guide

Absent from films since 1938 (except as producer of a brace of RKO Radio features), silent-screen comedy favorite Harold Lloyd returned before the cameras in The Sin of Harold Diddlebock. The project began as a labor of love between Lloyd and the brilliant, innovative producer/writer/director Preston Sturges. Though these two comedy geniuses eventually had a stylistic falling out, resulting in an uneven, spasmodically dreary film, on the whole Harold Diddlebock is well worth having. Sturges cleverly opens the picture with the final reel of Lloyd's silent classic The Freshman(1925), in which the drudge of the college football team makes good and scores the winning touchdown. The story proper begins in the locker room, where football hero Harold Diddlebock (Lloyd, looking three decades younger than his 53 years) is impulsively offered a job by banker J.E. Wagglebury (Raymond Walburn). Taking his place at his new desk and festooning his walls with inspirational homilies, Harold starts to work, supremely confident that he's poised on the brink of bigger things. Twenty-three years pass: In 1946, a weary, stoop-shouldered Harold is still at the same desk at the same job, his dreams of success but a dim memory. Summarily fired by the pompous Wagglebury ("You have not only ceased to go forward, you have gone backward"), Harold collects his final paycheck, cleans out his desk, and bids farewell to office girl Miss Otis (Frances Ramsden), all of whose older sisters had previously been Harold's sweethearts. Wandering aimlessly on the street with his severance pay in hand, Harold is spotted by a dessicated street hustler named Wormy (Jimmy Conlin), who inveigles the newly fired clerk to join him at a nearby bar. Informed that Harold has never taken a drink in his life, the bartender (Edgar Kennedy) lights up and declares, "Sir, you rouse the artist in me!" With great ceremonial flourish, the bartender concocts a potent beverage called the Diddlebock. Harold takes one sip of the brew, lets out a yell, and immediately loses all the inhibitions that have kept him from advancing himself in the past two decades. With Wormy in tow, Harold goes on a wild spending and carousing spree, totally losing track of an entire day-and-a-half.

At the end of his revelry, the hung-over Harold is awakened by his sister (Margaret Hamilton), who informs him that he's bought a garish new wardrobe, a ten-gallon hat, and goodness knows what else. He soon finds out what else when he ventures into the street and is informed that he's bought a horse-drawn cab (with driver!) -- and a circus, complete with hungry lions. Quickly formulating a plan to get rid of the circus at a substantial profit, Harold decides to elicit bids from the town's various bankers, bringing Jackie the Lion along with him so that the bank guards won't stop him at the door. All of this leads to a wild recreation of Lloyd's skyscraper-teetering gags from his silent days, a noisy episode at the local jail, and a romantic tête-à-tête with Miss Otis, who reveals at the very end how Harold really spent his "missing" Wednesday! Though it tested well upon its first release, Sin of Harold Diddlebock was abruptly withdrawn from circulation by its co-producer Howard R. Hughes, who spent four years reediting and sometimes reshooting the film before finally releasing it through RKO as Mad Wednesday. Both this version and the original Sin of Harold Diddlebock still exist; while the earlier version is undeniably richer in comic invention and characterization, the shortened Mad Wednesday works better in front of an audience. Neither version completely fulfills the potential of its premise, however. Though not to be missed, this final Harold Lloyd vehicle pales in comparison with his vintage silent comedies. ~ Hal Erickson, All Movie Guide

"Some are born great, some achieve greatness, some have greatness thrust upon 'em." Firmly in the latter category is Norval Jones (Eddie Bracken), a feckless wartime 4-F who must stand by helplessly as his sweetheart Trudy Kockenlocker (Betty Hutton) entertains every visiting GI in town. One morning after a particularly wild night, Trudy labors under the apprehension that last eve, she'd married a soldier named Ratzkywatzky or something. Evidently something had happened that night, for soon Trudy discovers that she's pregnant. Hiding this information from her bombastic policeman father (William Demarest), Trudy begs Norval to tell the world that he's the father. He agrees, but only after secretly wedding Trudy under an assumed name. Complications and disasters pile up thick and fast, and before long Norval is facing arrest on a variety of charges. Providentially, Trudy gives birth to sextuplets-and suddenly Norval is a national hero! This vintage Preston Sturges farce plays so fast and loose with the censorial restrictions of mid-1940s Hollywood that critic James Agee was moved to comment that, "the Hays office must have been raped in its sleep." As usual, Sturges populates his cast with steadfast members of his stock company-- including, in guest roles, Brian Donlevy and Akim Tamiroff, the stars of his previous film, The Great McGinty. Originally filmed in 1942, Miracle was held from release from two years, not because of censor problems but because its parent studio, Paramount, was overloaded with product. Miracle of Morgan's Creek was remade (and considerably laundered) as the 1958 Jerry Lewis vehicle Rock-a-bye Baby. ~ Hal Erickson, All Movie Guide

Star-Spangled Rhythm is a typical wartime all-star musical-comedy melange, this time from Paramount Pictures. The slender plot involves the efforts by humble studio doorman Pop Webster (Victor Moore) to pass himself off as a big-shot Paramount executive for the benefit of his sailor son Jimmy (Eddie Bracken). The overall level of humor can be summed up by the scene in which Webster is advised that the best way to pretend to be a studio big-shot is to say "It stinks!" to everything -- whereupon Cecil B. DeMille shows up to ask Webster's opinion about his current production. Betty Hutton, cast as studio switchboard operator and co-conspirator Polly Judson, is at her most rambunctiously appealing here. The huge lineup of guest performers includes Bing Crosby (and his 8-year-old son Gary!), Bob Hope, Veronica Lake, Dorothy Lamour, Dick Powell, Mary Martin, Alan Ladd, Fred MacMurray, William Bendix, Paulette Goddard, and Eddie "Rochester" Anderson, most (but not all) of them going through their characteristic paces. Highlights include a surrealistic rendition of That Old Black Magic with Johnnie Johnston and Vera Zorina; a frantic staging of the old George S. Kaufman sketch "If Men Played Cards as Women Do" with MacMurray, Ray Milland, Franchot Tone, and Lynn Overman; and The Sweater, the Sarong and the Peekaboo Bang, first performed by Goddard, Lamour and Lake, then lampooned in drag by Arthur Treacher, Sterling Holloway and Walter Catlett! PS: The actor playing Rochester's chauffeur in the Smart as a Tack number is John Ford "regular" Woody Strode. ~ Hal Erickson, All Movie Guide

As for the opening reels, the principal motivating factor is money. After a deliberately confusing pre-credit sequence (not explained until the film's punch line), Tom Jeffers (Joel McCrea) and Gerry Jeffers (Claudette Colbert) are married. "And so they lived happily ever after," exults a title card, "...or did they?" Well, they didn't. After five years of marriage, Tom hasn't raised a dime with his pie-in-the-sky inventions. Using the sort of logic common to Sturges heroines, Gerry decides that the only way to help her husband is to divorce him, marry a wealthy man, and use the second husband's money to finance Tom's schemes. Borrowing money from a generous self-made business mogul known only as the Wienie King (Robert Dudley), Gerry boards a train to Palm Beach, FL, where all the rich folk go. En route, she is "adopted" by the Ale & Quail Club, a group of perpetually drunken millionaires whose idea of a good time is to shoot their rifles at everything that moves (among the club members are such Sturges regulars as William Demarest, Robert Warwick, Jimmy Conlin, Robert Greig, Jack Norton, and Dewey Robinson). Taking refuge from this rowdy crew, Gerry makes the acquaintance of likeable stuffed shirt John D. Hackensacker III (Rudy Vallee), who happens to be one of the wealthiest men in the Western Hemisphere. While Gerry spoons with Hackensacker in Palm Beach, the confused Tom (remember him?) dallies with Hackensacker's man-crazy sister, Princess Centimillia (Mary Astor). How all this straightens itself out is better seen than described, which is pretty much the case whenever one discusses Sturges' singular work, and The Palm Beach Story is vintage Sturges with one side-splitting sequence after another. ~ Hal Erickson, All Movie Guide

In Preston Sturges' classic comedy of Depression-era America, filmmaker John L. Sullivan (Joel McCrea), fed up with directing profitable comedies like "Ants in Your Plants of 1939," is consumed with the desire to make a serious social statement in his upcoming film, "Oh Brother, Where Art Thou?" Unable to function in the rarefied atmosphere of Hollywood, Sullivan decides to hit the road, disguised as a tramp, and touch base with the "real" people of America. But Sullivan's studio transforms his odyssey into a publicity stunt, providing the would-be nomad with a luxury van, complete with butler (Robert Greig) and valet (Eric Blore). Advised by his servants that the poor resent having the rich intrude upon them, Sullivan escapes his retinue and continues his travels incognito. En route, he meets a down-and-out failed actress (Veronica Lake). Experiencing firsthand the scroungy existence of real-life hoboes, Sullivan returns to Hollywood full of bleeding-heart fervor. After first arranging for the girl's screen test, he heads for the railyards, intending to improve the lot of the local rail-riders and bindlestiffs by handing out ten thousand dollars in five-dollar bills. Instead, Sullivan is coldcocked by a tramp, who steals Sullivan's clothes and identification. When the tramp is run over by a speeding train, the world at large is convinced that the great John L. Sullivan is dead. Meanwhile, the dazed Sullivan, dressed like a bum with no identification on his person, is arrested and put to work on a brutal Southern chain gang. With its almost Shakespearean combination of uproarious comedy and grim tragedy, Sullivan's Travels is Sturges' masterpiece and one of the finest movies about movies ever made. ~ Hal Erickson, All Movie Guide

MGM's third follow-up to its landmark Broadway Melody is short on story, but that's okay, since the plot is merely a clothesline upon which to hang sleek and opulent musical production numbers by Fred Astaire and Eleanor Powell -- particularly a breathless and eye-popping gloriously black-and-white six-minute tap dance finale between Astaire and Powell to Cole Porter's "Begin the Beguine." The tale itself is a typical backstage contrivance: Johnny Brett (Fred Astaire) and King Shaw (George Murphy) are a couple of hoofers working in a dance hall for peanuts. Due to mistaken identity, King gets tapped for the lead in a Broadway show opposite big star Clare Bennett (Eleanor Powell) rather than Johnny. But when King drowns his trouble in booze on opening night, Johnny covers for him, taking his place in the show. ~ Paul Brenner, All Movie Guide

A romantic comedy drama directed by former art director Mitchell Leisen and based on a skillful Preston Sturges screenplay. Barbara Stanwyck stars as Lee Leander, a New York City shoplifter who is arrested just before Christmas after trying to filch an expensive piece of jewelry. Her trial delayed until after the holiday, Lee comes to the attention of an assistant district attorney, John Sargent (Fred MacMurray). Although he will be expected to prosecute Lee in a few days, John takes pity on the prisoner, who is from his home state of Indiana. He arranges for her to be released for the holidays and escorts her home, but her mother (Georgia Caine) is not interested in a reunion. So John takes Lee to his own festivities, where Lee is bowled over by the love and affection of the Sargent family, particularly John's mother (Beulah Bondi), who is so unlike her own. Lee and John fall in love, but their return to the Big Apple and Lee's trial loom large over their romance. ~ Karl Williams, All Movie Guide

James Whale directed this screen adaptation of Marcel Pagnol's French classic Fanny. Madelon (Maureen O'Hara) is a lovely young woman who lives in a seaside community, where she has fallen in love with Marius (John Beal), a sailor. Marius is called to duty and sets sail, shortly before Madelon makes the discovery that she'd pregnant with his child. Not sure what to do, Madelon confesses her predicament to Panisse (Frank Morgan), a longtime friend who is pals with Cesar (Wallace Beery), Marius's father. To spare Madelon the shame of a child born out of wedlock, Panisse offers to marry Madelon, and she agrees, though both realize this will be a union of convenience rather than love. When Marius returns after his hitch is up, he declares his love to Madelon, but time has forced her to realize that the older but loving Panisse would be a better father for her child than Marius, who she loves but rarely ever gets to see. Port of Seven Seas was written for the screen by Preston Sturges, who came aboard for the project when William Wyler was originally slated to direct. ~ Mark Deming, All Movie Guide

The inimitable Preston Sturges originally scripted Hotel Haywire with George Burns and Gracie Allen in mind, but by the time the film went before the cameras, the Burns and Allen roles had been recast with Benny Baker and Colette Lyons -- and significantly abbreviated in the process. A dentist named Parkhouse (Lynne Overman) plays a practical joke on a poker-playing buddy by sending him home with a lady's chemise stuffed in his coat pocket. The gag backfires, whereupon Parkhouse finds himself in hot water with his own wife (Spring Byington). Threatened with divorce, Parkhouse is advised by a zany astrologer to frame Mrs. P. in a compromising situation at the Hotel Haywire, enlisting amateur detectives Bert and Genevieve Sterns (Baker and Lyons) in his scheme. Things get really hectic when Parkhouse's daughter Phyllis (Mary Carlisle) and her sweetheart Frank (John Patterson) show up at the same hotel. The film is dominated by the antics of larcenous astrologer Zodiac Z. Zippe, played with comic ferocity by Leo Carrillo. ~ Hal Erickson, All Movie Guide