The Palm Beach Story

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 a lopsided comedy (part of it's funny and part of it's not), but the movie is back-ended with all of the funniest bits, so it allows you to forget the slower parts and it sends you out on a high.

After a sensationally bizarre opening credits sequence, the movie settles down into a slightly less zingy version of "The Awful Truth." Claudette Colbert thinks her marriage to Joel McCrea isn't working, even though he doesn't think likewise. She thinks she's not a capable enough wife; he thinks he's a failure as a man and husband. She takes off for Palm Beach to get a divorce despite all of his attempts to stop her. On the train to Florida, she meets a wealthy tycoon who wants to marry her and give her everything she could possibly want, but she realizes that what she really wants is her husband.

This is all told with a lot of wit and flair. The early scenes with Colbert and McCrea drag, and an extended bit of nonsense on the train involving the Ale and Quail Hunting Club is superfluous and not very funny. But once everyone shows up in Palm Beach, the film becomes a delight, and a bonus is added in the person of Mary Astor, who plows on to the screen about half way through the film and decimates everyone in her path with her quick-tongued and hilarious performance as a rich society lady with a lot of time on her hands and her sights set on Colbert's husband.

What I liked about this film was that Colbert and McCrea don't seem to have a lot of chemistry in their early scenes together; he seems so stiff and bland, and you don't really blame her for wanting to get away. But after you've seen both of them with other people, they seem so much more right for each other when they get back together, and there's all this chemistry you didn't initially realize was there. I don't know if that's due to their performances, the writing, the directing, or whether it was just a happy accident, but it works beautifully.

Grade: A-

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.

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.

An inventor (Joel McCrea) needs cash to develop his big idea. His wife (Claudette Colbert), who loves him, decides to raise it for him by divorcing him and marrying a millionaire.

One of the more interesting things about this film is the trouble it had getting made thanks to the censorship office. Although there is no explicit sexuality or foul language, it does have some questionable themes. There is talk of prostitution, and apparently the censors did not like the way marriage and divorce were handled so lightly. Even after the necessary cuts, this remains a strong central part of the plot and humor.

Interestingly, the Bill Hader interview on the Criterion disc adds a lot. You might not think of Hader as a film historian or critic, and maybe he is not. But he really understands Sturges and how Sturges wrote his scripts. He connects the dots between Sturges and the Coen brothers, as well as explaining how each character, no matter how minor, is important to the story.