Bola de Cristal

Texan Paulette Goddard pursues rich lawyer Ray Milland, while working for fake fortune teller Gladys George in this funny romantic comedy.

It's a fine, cynical little late screwball comedy, starting off with Gladys George running a con on Milland's man-hungry client, Virginia Field, and Miss Goddard pursuing Milland using her fake psychic abilities. There are plenty of character-based gags for a supporting cast that includes William Bendix, Cecil Kellaway, Sig Arno, and Ernest Truex (who gets to pop Milland in the kisser). Some of the jokes refer to wartime conditions and haven't aged well, but the script keeps them coming, and Elliot Nugent directs it in a breezy manner.

Toni (Paulette Goddard) and Jo (Virginia Field) are both keen to pursue Brad (Ray Milland). While Brad and Jo are already acquainted, Toni sees her opportunity for an introduction with Brad by impersonating a fortune-teller Madame Zenobia (Gladys George) and telling him his fortune lies with someone else who he is about to meet who has red hair and is eating an apple (ie, herself out of her disguise). At the same time, she gives readings to Jo, encouraging her to go away! Its very funny in parts and the film follows Toni's attempts to wrestle Brad away from Jo. There is a good supporting cast including Pops (Cecil Kellaway) and Biff (William Bendix) as Brad's chauffeur. Its a comedy in which the women, in particular, are very funny.

My particular copy is taped from the TV and is too bright - I'm not sure if this is just how the film looks these days or if its something to do with the individual that I purchased it from. However, the quality of the film is a minor negative point. Its enjoyable, the cast are all likable and I'll be watching it again at a future date.

Shapely Paulette Goddard (dressed to the nines, but with only thirty-eight cents to her name) takes a job as decoy in a shooting gallery, but when the phony fortune teller she's bunking with throws her back out, Goddard subs for her at a fancy affair. Flimsy romantic fluff from Paramount studios (but acquired and released by United Artists). Though set mainly in 'ritzy' surroundings--with gowns by both Edith Head AND Adrian!--the picture appears to be a second-biller, though one given a pinch of star-power from Goddard and Ray Milland (even if the colorful supporting players tend to upstage them both). Elliott Nugent's direction has little feeling for slapstick pratfalls and comedic misunderstandings; coupled with the silly script, it isn't any wonder why the film builds no momentum. Two quirky highlights: the eccentric singing ladies on the tandem bicycle; also, Milland's sports car (a Crosley) that rocks back and forth like a toy auto. ** from ****

Paulette Goddard and Ray Milland did several films during the Forties enough they should qualify as a screen team. The Crystal Ball has them as a former beauty contest winner who is down to 38 cents to her name as she arrives in New York. She's befriended by Gladys George who is a fortune teller and also by Cecil Kellaway who runs a shooting gallery and she works for both at times.

Enter Ray Milland lawyer whose main client is Virginia Field, oil heiress and believer in the occult and various folks who make their living off the same. Goddard takes one look at Milland and decides he's the one.

Getting him away from Field will be a problem though. So in a series of Lucy like stunts she does everything she can to win Milland including accidentally giving him some inside information concerning his client's estate. And Field who has her hooks into Milland ain't giving up without a fight.

Always amusing and around is William Bendix playing Milland's chauffeur, butler, and general all around factotum. There isn't a movie or television show that he was in that something special wasn't added.

I think The Crystal Ball might have been a classic if someone like Mitchell Leisen or George Marshall had directed it. It's amusing enough, but lacks that classic spark.

"The Crystal Ball" is a screwball that's genuinely *hilarious* for much of its runtime. In fact, I'd venture to say this one's a good bit funnier than many critically acclaimed top-tier comedies of the period. I'm puzzled by the middling reception it's gotten over the years. Every single actor is cast perfectly and the script, courtesy of the ingenious Virginia Van Upp, remains whip-crack through its brief runtime.

In fairness to the movie's detractors, the plot really is ludicrous beyond words. Things kick off when a maid hides the emerald ring of her dizzy society dame employer, advising her to visit a fortune telling psychic who's aided in retrieving similar objects. Things just progressively wackier from there: we get to spend time at carnival shooting gallery manned by Cecil Kellaway (of all people) and watch Ray Milland get genuinely crushed in an avalanche of watermelons!

All the scenes with Gladys George in her fortune teller's tent are pure gold. I loved that she had a small arsenal of "Who's Who" books to assist in her hot readings of society matrons, somewhere near the side room where she keeps her ectoplasm handy! Paulette Goddard, who's been hired as George's assistant, affects a terrific Southern belle accent when she's in a spirit trance (her character's from Texas).

The best scene has Ray Milland bringing Goddard home to a random apartment because she doesn't want to reveal she's living with a fortune teller. It happens to be the home of a bitterly feuding alcoholic couple, with poor Paulette quickly getting caught in the fray. The wartime propaganda in this one is kept to a minimum, although there's a cute bit where Hitler, Mussolini and Tojo serve as targets at the shooting gallery. When hit in the right order, they trigger a musical number and kick each other in the rear!

I can't rave enough about this one. That "The Crystal Ball" is so good yet so comparatively unheralded is a reflection on how accomplished the Hollywood studio system was at this time. They were making so many great pictures at such a fast clip that gems like these get lost in the shuffle.