Die Falschspielerin

A second viewing of this after many years has confirmed it as truly one of the great comedies. I don't think Sturges was ever better (although I haven't seen all his films), and certainly he was never blessed with a better star pairing than Fonda and Stanwyck, plus his usual wonderful array of character comedians in the supporting roles. A double bill of Eve with "Hail the Conquering Hero" reveals that, while both still have their charms, Eve can still have a theatre rocking with laughter, while Hero leaves them a bit cold with its descent into Capra-cornish patriotism and mother love.

The Lady Eve has one of my favourite performances ever from Henry Fonda, showing that his grave sincerity could serve screwball comedy equally as well as Fordian moral uplift. He takes some of the funniest deadpan pratfalls this side of Buster Keaton.

And of course Stanwyck is a delight ... and Charles Coburn ... and Eugene Pallette ... and William Demarest ... and ... and ... ssshhh ... Eric Blore.

If you've never seen it, give yourself a treat

Fast-talking, quick-thinking, altogether delightful comedy from Preston Sturges, who also adapted the screenplay from Monckton Hoffe's original story. An elderly cardsharp and his equally crooked daughter, traveling in style by cruise ship from South America, zero in on their next victim--a handsome but somewhat unsteady ale-heir--but the daughter mixes business with pleasure and ends up falling for the lug. Barbara Stanwyck, with her crafty stare and sexy smirk, surprisingly doesn't run roughshod over articulate Henry Fonda, and they make a winning combination. Sturges' script blends grown-up jokes and conversation with pratfalls while never losing the filmmaker's graceful touch and innate sophistication. The results are amusingly frisky, prickly and unpredictable. *** from ****

In this period of Henry Fonda's career, most of the good films was stuff he made away from his studio at 20th Century Fox. The Lady Eve is one of the best examples of that,

With the success that Preston Sturges had with Christmas in July and The Great McGinty the year before, Paramount decided now they could trust Sturges with a big budget and an A list pair of leads. In fact they borrowed Henry Fonda from Darryl Zanuck and signed the then freelancing Barbara Stanwyck.

This was a banner year in the career of Barbara Stanwyck. She did Meet John Doe, The Lady Eve and Ball of Fire in the same year, the last one she got an Oscar nomination for Best Actress. The Lady Eve came first and paved the way for a similar role in Ball of Fire.

She's a street smart dame in both films, in the Lady Eve she's a shill for her conman father Charles Coburn and in Ball of Fire she's a nightclub singer and moll for gangster Dana Andrews. In both films she falls for rather withdrawn, naive, and bookish sort of men who bring out the mother instinct in her. In fact she has similar nicknames for them, Gary Cooper is called Pottsie and Henry Fonda is Hopsie.

Stanwyck, Coburn, and Melville Cooper are a trio of con artists who are looking for a fresh pigeon and they find one in Henry Fonda who is a millionaire's kid. Fonda today would be called a trust fund baby, but he has an interest in science and he's coming back from the Amazon on a boat when meets up with the slick trio.

Of course Stanwyck falls for the shy and bumbling Fonda, but there are many hurdles to overcome before these two find happiness.

This may have been Henry Fonda's best comedy part. And like Joel McCrea in other Preston Sturges films, Fonda does so well in the part because he plays it absolutely straight. No tongue in cheek, no winks at the audience, Fonda plays it straight and sincere.

The usual Preston Sturges stock company is here and prominent in the cast is always William Demarest as the mug that is a kind of bodyguard factotum for Fonda. Hired of course by Eugene Palette in another one of his crotchety millionaire father roles.

Best scene in the film is right at the beginning as Stanwyck analyzes all the moves a lot of the other females on board are using to attract Fonda before she decides on a very direct approach.

The Lady Eve holds up very well as do all of Preston Sturges's work after over 60 years. I do kind of wonder though if Stanwyck can control that streak of larceny in her even though she's marrying a millionaire who can give her anything.

As a lifelong Preston Sturges fan, I find the problem with submitting 'user comments' on his films to be twofold. The first is where to begin, the second how to stop. A third problem (growing out of the first two) manifests itself immediately upon watching a flawless jewel like THE LADY EVE: why even bother to praise it? No matter how accurate or elegant a rave you write, they'd still be merely words, and words can't do Sturges justice...not after hearing and seeing his own words spinning like a thousand plates over the 90-odd minutes it takes for this film to utterly captivate you. Unlike many black-and-white products of the studio era, which generate condescension or apathy among the Gen X'ers of today (when do we get to Gen Z - or are we there already?), the Sturges cult grows with every passing year, as younger fans fall under his spell, drawn initially to his work for the still-startling energy of the stream of raspberries he blew at the Production Code. (In this sense, EVE marks a high point; it's all about sexual gamesmanship, and its tone is both matter-of-fact and dizzyingly playful at the same time.) But hopefully, they're coming for the sizzle and staying for the steak. Like all Sturges' Paramount films, EVE is an embarrassment of riches - a boudoir farce, a slapstick clinic, a cynical dialogue comedy AND a love story of great, soulful heart. It's especially recommended to anyone beset by misery and tribulation as a guaranteed restorative and cure-all. When a movie from any era can so completely take you out of yourself and lift the blackest of clouds without resorting to any cheapjack plot-gimmicks or trite manipulation of an audience's emotions, all you can do is be grateful. Though the unfailingly superb Sturges Players are on hand, in fine form (including of course his human rabbit's foot, Wm Demarest) EVE features a number of actors making their first and only appearances in a Sturges-directed film: Stanwyck, Fonda, Eric Blore, Melville Cooper and perennial Fonda cohort Eugene Pallette. All of them take to the material like catnip, making one long for an alternate reality in which Preston Sturges could have remained unmolested at Paramount for 20 years and a dozen more films than he actually made, not only to see this cast reunited, but to see what might have resulted from any number of quality actors being exposed to the hothouse atmosphere of his screenplays. That it never worked out that way is one more reason to treasure THE LADY EVE.

I don't know how I missed seeing this until now, but tonight I watched THE LADY EVE unfurl on TCM and took notice of how great the chemistry was between BARBARA STANWYCK and HENRY FONDA. And even more so, how fantastic their ability with screwball comedy had to be in order to make their characters as believable as they are.

Fonda, especially, impressed me with his honestly naive interpretation of a man without guile. He seemed totally hoodwinked by Stanwyck's con artist, even in those relentless close-ups that captured every expression on his Honest Abe face. Stanwyck, of course, had a role tailored to her abilities and was at the top of her form as an actress.

I would have liked a better role for Melville Cooper who is somewhat wasted in his rather thankless supporting role but Charles Coburn, William Demarest and Eric Blore have no such trouble with full-bodied character parts.

Sturgess obviously is a master of long takes--and proves it again in his seduction scene where Stanwyck toys with Fonda's hair as she drapes herself across him, a spider spinning her web. Her best moment is the scene in the dining room where she uses her make-up mirror to make a running commentary on all the women who are ogling the rich catch (Fonda) while he becomes aware of the female attention. Although Fonda's pratfalls are painfully real, Sturges lets them occur a little too frequently. Demarest too has his share of falls--as he did in that other Sturges masterpiece, THE MIRACLE OF MORGAN'S CREEK.

Fonda's performance ranks with his mild professor in THE MALE ANIMAL. As for Stanwyck, her professionalism has never been more solid. She was nominated in 1941 for Best Actress in BALL OF FIRE but she is equally impressive in her dual role assignment here.