I Married a Witch (René Clair, 1942)

Cast: Fredric March, Veronica Lake, Robert Benchley, Cecil Kellaway, Susan Hayward, Elizabeth Patterson, Robert Warwick. Screenplay: Robert Pirosh, Marc Connelly, based on a novel by Thorne Smith and Norman Matson. Cinematography: Ted Tetzlaff. Art direction: Hans Dreier, Ernst Fegté. Film editing: Eda Warren. Music: Roy Webb.

This somewhat over-frantic supernatural romantic comedy was the product of much friction during its preparation and filming, and it shows. At various points, Preston Sturges (as producer), Dalton Trumbo (as screenwriter), and Joel McCrea (as the male lead) were involved with it and left because of conflicts with director René Clair and actress Veronica Lake (who also fought with Fredric March after he took over the lead from McCrea, who had hated working with her a year earlier on Sturges's Sullivan's Travels). The premise is that two witches, Jennifer (Lake) and her father, Daniel (Cecil Kellaway), burned at the stake in 17th century Salem, have returned from the dead to haunt the descendant of the man who had them burned. He happens to be a gubernatorial candidate in Massachusetts, Wallace Wooley (March), who is also on the verge of marrying a shrewish snob played by Susan Hayward. Daniel casts a spell to give Jennifer a mortal form, whereupon she puts an end to the wedding but also falls in love with Wallace. Complications ensue in a brittle and occasionally rather cruel comedy in which no one either in front of or behind the camera seems to be working at top form.

The Miracle of Morgan's Creek (Preston Sturges, 1943)

Diana Lynn, William Demarest, Betty Hutton, and Eddie Bracken
in The Miracle of Morgan's Creek

Cast: Betty Hutton, Eddie Bracken, William Demarest, Diana Lynn, Porter Hall, Emory Parnell, Al Bridge, Julius Tannen, Victor Potel, Brian Donlevy, Akim Tamiroff. Screenplay: Preston Sturges. Cinematography: John F. Seitz. Art direction: Hans Dreier, Ernst Fegté. Film editing: Stuart Gilmore. Music: Charles Bradshaw, Leo Shuken.

The Miracle of Morgan's Creek is one of the funniest films ever made, but it's my least favorite Preston Sturges movie. That's because it leans more heavily on wackiness than on wit. I have to admire how skillfully Sturges managed to hoodwink the censors -- could anyone else have managed to name a character, let alone one who mysteriously gets pregnant, Trudy Kockenlocker? The sheer audacity and the skill of the story's construction are breathtaking. But it's just a little too loud for my taste, which is partly the fault of casting Betty Hutton. Sturges was a director who could get astonishingly funny performances out of serious actresses like Barbara Stanwyck and Claudette Colbert, but casting the uninhibited Hutton as Trudy seems to kick the film up a notch too high. Still, the movie has one of my boyhood crushes, Diana Lynn, to bring a sly note to her role as Trudy's wisecracking kid sister, and every moment William Demarest is on the screen, steam coming out of his ears, is welcome.

Easy Living (Mitchell Leisen, 1937)

Easy Living is one of my favorite screwball comedies, but I once had a nightmare that took place in the set designed by Hans Dreier and Ernst Fegté for the film. It was the luxury suite in the Hotel Louis, with its amazingly improbable bathtub/fountain, and I dreamed that we had just bought a place that looked like it and were moving in. I don't remember much else, other than that I was terribly anxious about how we were going to pay for it. Most of my dreams are anxiety dreams, I think, which may be why I love screwball comedies so much: They take our anxieties about money and love and work, like Mary Smith (Jean Arthur) worrying about how she's going to pay the rent and even eat now that she's lost her job, and transform them into dilemmas with comic resolutions. Too bad life isn't like that, we say, but with maybe a kind of glimmer of hope that it will turn out that way after all. Easy Living, with its screenplay by Preston Sturges, is one of the funniest screwball comedies, but it's also, under Mitchell Leisen's direction, one of the most hilarious slapstick comedies. How can you not love a film in which a Wall Street fat cat (Edward Arnold) falls downstairs? Or the celebrated scene in which the little doors in the Automat go haywire, producing food-fight chaos that builds and builds? The fall of the fat cat and the rush on the Automat reveal that Easy Living was a product of the Depression, anxiety made pervasive and world-wide, when we needed hope in the form of comic nonsense to keep us going. This is also an essential film for those of us who love Preston Sturges's movies, for although he didn't direct it, his hand is evident throughout, not only in the dialogue but also in the casting, with character actors who would later form part of Sturges's stock company, Franklin Pangborn, William Demarest, and Robert Greig among them. Ray Milland displays a Cary Grant-like glint of amusement at what's going on, Luis Alberni spouts Sturges's wonderful malapropisms as the hotel owner Louis Louis, and Mary Nash brings the right amount of indignation and humor to her role as Arnold's wife. I only wonder why Ralph Rainger and Leo Robin weren't credited for their title song, which is heard (though without its lyrics), as background music throughout the film.