Madame et ses flirts

When commenting on a film as brilliantly constructed and deeply entertaining as The Palm Beach Story, it's hard to know just where to start.

Do you tip your hat to the uniformly wonderful performers?

Do you pay tribute to the bizarre and hilarious conversations held by the Weenie King (Robert Dudley), an incidental character who manages to be a lot more than a mere plot contrivance?

Do you mention the fact that the film was clearly an influence upon the (slightly superior) screwball classic Some Like It Hot?

Nope. You just say, Preston Sturges was a genius and this is his best film.

Gerry Jeffers (Claudette Colbert) has decided that she needs to divorce her husband Tom (Sturges regular Joel McCrea). Why? We're not quite sure. Perhaps she's looking for thrills, perhaps she simply wants a partner who can pay the rent and perhaps she's truly come to believe that she no longer loves him. No matter. Her mind is made up and there's nothing Tom can do about it. Try as he might, Gerry slips through his fingers and ends up on a train to Palm Beach, the divorce capital of the world.

Echoes of Some Like first appear on the train ride when Gerry finds herself unable to sleep do to the racket being caused by The Ale and Quail Club. It's bad enough when they start shooting out windows, and what comes next... let's just say that it's a lot funnier than it would be if it happened in real life.

Still, Gerry makes it to Palm Beach, in the company of nutty millionaire John D. Hackensacker (Rudy Vallee). Things only get really out of hand once Tom arrives and becomes pegged as a bachelor, Captain McGlew. And spoil more of the plot for you I will not.

Sturges was capable of operating in many modes: responsible and patriotic (Sullivan's Travels) and outrageously madcap (The Miracle of Morgan's Creek) are two that come to mind. But Palm Beach shares its elegance, wit and reserve with The Lady Eve, in which con artist Barbara Stanwyck sets her sights on absent-minded professor Henry Fonda. (Even the mistaken identity plot is similar upon examination).

Between the two, Eve may end on a slightly more graceful note, but Beach seems to be made with a bit more... well, experience. Sturges seems at his most relaxed throughout the film and it does a world of good. (The story is bogged down only by brief moments of racism early on). And leaving, it's hard not to feel sunny and refreshed.

For those in need of a vacation, I recommend a stay at Palm Beach. And the rest of you should come along as well.

One element of this film that shouldn't be ignored is that it, like "Sullivan's Travels" and "The Miracle of Morgan's Creek," is a conscious lampooning of earlier movies from the 1930s. It takes a standard, conventional plot from those movies and turns it on its ear. The same plot can be seen for example in the Paramount movie from 1931, "Up Pops the Devil," with Carole Lombard and Norman Foster (who coincidentally was Claudette Colbert's first husband). In that movie, a wife who still loves her husband wants to divorce him for his own good; she thinks she's just a noose around his neck, and once rid of her, he'll become a success. It's set in the same upper crust of society as "The Palm Beach Story," with a millionaire suitor for the wife and a nymphomaniac girl for the husband. Here, everything is played straight, with as much pathos and melodrama being milked out of the situation as can be. In "The Palm Beach Story" though, the same basic plot and characters are used, but it's the comedic potential and wackiness of the situation that's emphasized, to marvelous effect.

The subplot with the twins, glanced at in the beginning and end of the picture, is another conscious lampooning of conventional movies, here a lampooning of the structure of movies themselves, of their conventional beginnings and endings. It's not meant to be taken seriously; as McCrea's character casually says at the end, it's all stuff "for another movie."

No words can be found to adequately praise Claudette Colbert's performance. Joel McCrea is good too, as the prototypical wooden 1930s leading man. Rudy Vallee is absolutely hilarious as a "momma's boy" version of John D. Rockefeller, as is Mary Astor as his rich nymphomaniac sister. Her eunuch, Toto, played by Sig Arno, seems straight out of an Ernst Lubitch picture, perhaps a Sturges nod to the master. Quite a few scenes of the film, in their settings and atmosphere, pay homage to Lubitsch. Sturges does the "Lubitsch touch" proud, especially in those two scenes when Colbert sits on McCrea's lap so that he can undo the back of her dress, with the two of them both times melting into a kiss, and the scene ending with a fade out, leaving little doubt as to what will happen next. The second scene is particularly romantic, done as Rudy Vallee sings "Good Night Sweet Heart," itself a standard of the 1930s. Vallee also sings a line of "Isn't It Romantic," a song introduced in the luminous 1932 film "Love Me Tonight," directed by Rouben Mamoulian. The music in the film itself hearkens back to those great romantic comedies of the 1930s.

It's nice to see Sturges's stock company of actors popping up here as well. I noticed William Demarest say his name was "Bill Docker," the same name his character had in Preston Sturges's "Christmas in July."

In short, "The Palm Beach Story" is a wonderful film, whose richness can really be appreciated when seen in context, in the context of those old 1930s Paramount films, both the melodramatic ones like "Up Pops the Devil," that it lampoons, and the comedic, romantic ones like "Love Me Tonight" and "One Hour with You," that it pays homage to.

THE PALM BEACH STORY is not to be confused with reality. It's a zany romantic comedy given full speed treatment by director Preston Sturges who brought screwball comedy to an art form.

His script, full of hilarious one-liners that fly by almost too fast to catch, is acted to perfection by CLAUDETTE COLBERT, RUDY VALLEE and MARY ASTOR--with a less enthusiastic turn by JOEL McCREA who gives the only so-so performance, perhaps because none of the wittiest lines come his way. I've always liked this actor but here is performance is almost muted and strangely remote.

Nevertheless, if screwball comedy is your dish, this is one you can relish. From the moment Colbert gets aboard a train carrying her to Palm Beach, the fun starts and gets into high gear, racing toward a conclusion that is not altogether satisfying nor even remotely hinted at until the final few minutes of film. It's a twist that somehow doesn't ring true--the only really false note in an otherwise perfect screwball comedy.

Rudy Vallee is outstanding as a nutty millionaire, a role written expressly for him (and he even gets to sing a little)--and Mary Astor, as his husband hunting sister, is hilariously over the top as a woman who can't stop talking while pursuing her man.

A good way to spend a pleasant 90 minutes.

The Palm Beach Story is one of the best examples of the wonderful nonsense that Hollywood used to turn out in its best comedies. It's only in the movies that circumstances like these happen and it's quite beyond my powers to describe them.

Joel McCrea and Claudette Colbert come to a dry patch in their marriage and decide to split. Colbert takes a train to Palm Springs and McCrea pursues her by plane. And they both wind up with a brother and sister pair of gazillionaires in the persons of Rudy Vallee and Mary Astor.

I will say that Preston Sturges did kind of reach into left field for his romantic ending, but that's half the fun of The Palm Beach Story.

Only half because the other half is the fun of the journey. Not much happens to Joel, but Claudette is on one wild ride when she's adopted by a gang of drunken millionaire sportsmen known as the Ale and Quail Club.

The proponents of gun control should get the right to The Palm Beach Story and run it at all opportunities. Seeing these louts, plastered out of their minds and shooting off their weapons is pretty funny and the best argument I know for gun control. Preston Sturges used some of his favorite players from his usual stock company for members of Ale and Quail.

Also look for a very funny performance by Robert Dudley as the 'wienie king' whose encounter with Colbert sets everything in motion.

Rudy Vallee gets to sing in this which is also nice. He sings a chorus of Isn't It Romantic and then sings his own hit, Goodnight Sweetheart which has the opposite effect from what he intended.

The Palm Beach Story is the object lesson in how to make screen comedy and make it to last.

Even more dementedly frantic than The Lady Eve, this film is Preston Sturges's most delirious screwball/slapstick romance, with one of the most amazing bits of comic combustion in the Ale and Quail Club train sequence. It's not as neatly structured as The Lady Eve, but it's filled with hilarious gags, lines, and performances. Claudette Colbert and Joel McCrea are remarkably composed and relaxed, but Rudy Vallee, Mary Astor, and all the other performers outdo themselves in energetic tomfoolery. When Vallee complains, plaintively, that the problem with the world is that the men most in need of a beating are usually enormous, or when Astor slyly suggests that she grows on people, like moss, you know you're hearing Preston Sturges's wit at its peak.