Miracle au village

In the middle of WWII comes this film that is full of references to that war yet manages to undermine the usual image of the valiant warrior marching off to battle, suggesting that along the way one of them took advantage of a tipsy girl, maybe even drugged her drink from her lack of recollection of the evening that was supposed to be an innocent farewell dance for the soldiers, and left her pregnant from a one night stand, never to inquire about her again. In the 21st century date rape comes to mind. If it was even a date.

Now of course this soldier is never found or named. And instead a sanitized version of the story appears. What I wrote in the first paragraph is strictly between the lines. Trudy Kockenlocker (Betty Hutton) is an underaged girl, probably late teens, back when legal age was 21, who is told by her widowed father, the town constable (William Demarest), that she is not to go to the farewell party because he rightly fears the rowdiness of the event. So Trudy says instead she will go to the movies with Norval Jones (Eddie Bracken). She knows he loves her and she is accustomed to using him, although she would probably never admit that to herself. So she borrows Norval's car, tells him she will pick him up after the last feature, but does not appear again until the next morning at 8AM, with a big blank where the latter part of the evening should be. As they drive away a "Just Married" sign falls off of the car's rear bumper, and when Trudy gets home she notices she is wearing a ring. Slowly, through the haze of memory, a "maybe" wedding comes back to her, but not the who or where. The trouble appears later when Trudy realizes she is pregnant by her anonymous husband, and she has no marriage license to prove her story.

As in any Sturges film, there is a veritable cornucopia of wonderful one liners, which can come from any and every member of the large comic ensemble cast, at any time. No scene is too sacred, including a wedding, or a father's viewing of his newborn children. As for the cast, Hutton plays it sweet and somewhat dizzy, showing that she could prevail in other genres besides musicals, Eddie Bracken plays it nervous and a bit over the top as the only man in Morgan's Creek between 18 and 40 who is not in the military because of his 4F status, and the always funny William Demarest is full of pratfalls and one liners and even compassion when it is called for as Trudy's exasperated dad.

Why does this remain in Paramount's possession when they sold off just about every other talking picture made between 1929 and 1949 to Universal? It is because, at the time, nobody believed anyone would ever allow this to be shown on TV.

Highly recommended.

I first saw "Miracle" during WW2, sitting on an emptied bomb crate in a field where Special Services had set up a screen. We soldiers howled with laughter. Since then I have seen it a few more times and I enjoy it more than ever.

From the very start they're off and running. Even under the opening credits cast members are seen frantically gesticulating and flailing. And the movie has hardly begun.

So what's to be done with the next 98 minutes, if one begins climatically sweating and pulsating? Ease up the pace a bit to allow viewer to catch his breath?

Not Director Sturges: he continues to plow through this comedy at breakneck speed, as though any repose might prove fatal.

We get two super energetic starts--Bracken and Hutton--and a cast of obedient supports obeying the eager director's every frenetic command. We end with one of the screwiest screwball comedies of the forties.

This film has acquired a devoted following of supporters who find "Morgan's Creek" very funny, along with a goodly number of detractors, who see it as an essentially strained and bloated one-joke yarn.

As usual, Sturges makes sharp social comments along the way and handles large groups with Capraesque skill. But that he manages to maintain his unrelentingly breathless pace throughout the shoot may be the real miracle of Morgan's Creek.

This is an amusing farce guaranteed to bring some good hearted laughter as it recounts the story of a small town girl's indiscretion that has to be covered up with a series of lies. Betty Hutton is terrific as the partyloving gal who can't remember the man she married during a drunken joyride. Eddie Bracken as her nerdy but loyal boyfriend has the kind of role he was born to play--as does William Demarest as her outraged father who always has his shotgun ready and complains about having two rambunctious daughters. Diana Lynn shines as Betty's younger sister. Her scenes with William Demarest are among the funniest in the entire film--even though her 14 year-old seems a bit too sensible at such a tender age.

All of the main cast are perfect. Demarest never had a funnier role in his life. His pratfalls are performed as naturally as the great silent comics.

The technique of long takes with lots of dialogue going on must have been very demanding for Hutton and Bracken--but they handle it brilliantly. Many of their scenes are done in one long take and it's amazing how much material and physical comedy they had to memorize for such extended takes.

Some of the storyline seems a bit dated by today's standards but on the whole the film holds up well in the laugh department. I liked it much better than HAIL THE CONQUERING HERO with Bracken in a similar role.

Preston Sturges deserved his nomination for Best Original Screenplay but lost the award to Lamar Trotti for WILSON. Sturges was also nominated the same year for HAIL THE CONQUERING HERO.

Writer-director Preston Sturges is generally regarded as one of the greatest comic talents ever, and his impeccable track record--including The Lady Eve and Sullivan's Travels--is more than worthy of the praise. Often overlooked, The Miracle Of Morgan's Creek ranks with Sturges' absolute best work.

Sturges takes an almost Capra-esque WWII America and turns it on its pointy little head, with Betty Hutton as a girl who's more than willing to give "the boys" departing for the war the utmost reason to fight for our country. Stripped of her usual production numbers, Hutton cranks up her comic acting skills and creates a surprisingly rich characterization of a young woman straining against the restrictive social attitudes of the time. Eddie Bracken is his usual self-effacing self, and his sad-sack Norval Jones is an earnest, often moving portrayal of the kind of understanding, devotion and love almost never seen in American movies of the era.

A "screwball comedy" only on paper, the often frenetic pacing and physical humor was sufficient to distract censors (and often audiences) from Morgan Creek's almost brutally derisive satire about the hypocrisy of small town "values" and military behavior during wartime, satire that still resonates given the current political climate. No target is safe, from "the troops" and bucolic Anywhere USA to state governors, the Dionne quints, and Adolf Hitler. Sturges pushed hard against the production code and probably earned a few ulcers slipping racy plot twists and subversive dialogue past the censors, but the results were well worth the Maalox. One of the funniest and most pointed satirical comedies ever produced.