Vie facile

Unlikely to ever happen in the 21st century but if History is your game, it's plausible on the 1930s. The premise is simple in that a series of mishaps all fall into the lap of an innocent woman. A MUST if you're a Jean Arthur fan...it takes someone of her comedic skill to pull it off. The resulting chaos is again, pure Preston Sturges.

One of the best film moments of the 1930s occurs just after the beginning of the film when wealthy J. B. Ball, exasperated by his spoiled family's spending habits, tosses the wife's new sable coat from a window high in their 5th Avenue mansion. As if with a mind set on its own destiny, the falling coat spreads out on the air and lands like an enchanted parachute on the head of the Mary Smith, the working girl who will be our main character (Jean Arthur), and who is riding on the upper deck of a double-decker bus. What is a double-decker doing in New York City? No one asks; the coat just does its magic and the enchanted plot is underway. Best of all, screenwriter Sturges balances the magic and sentimentality with his usual crisp, witty, no-nonsense approach to dialogue and character. This "yin / yang" harmony is similar to what he achieved in directing "Sullivan's Travels."

According to a recent biography of Jean Arthur, Easy Living only got a so-so reception from the movie-going public of 1937. Today it is rightly regarded as a screwball comedy classic from the era that invented and defined that genre. The miracle was that it got made at all.

Jean Arthur was obligated to Columbia Pictures and the dictatorial Harry Cohn and she was allowed to make outside films. But Cohn determined when and where. So Easy Living may have been a great fit for her, but it didn't fit into his plans. Jean had to go to court before the film was made and a settlement was reached.

Easy Living also gave an outlet for some unknown comic talents of Edward Arnold who usually played some serious villains in films. Arnold is a Wall Street investment tycoon whose every bit of noise be it wisdom or flatulence is recorded for posterity. One day in fit of pique against his spendthrift wife Mary Nash and wastrel son Ray Milland, Arnold throws a most expensive mink coat from out the townhouse window and on to a passing working woman in Jean Arthur. He tells her to keep the thing and count her good fortune. But folks are in the habit of recording Arnold's every move, including one bestowing an expensive gift on a mystery woman.

That starts about 90 minutes of non-stop hilarity in which the very foundations of our financial institutions are rocked due ultimately everyone misconstruing a relationship between Arnold and Arthur. One does get going however with Arthur and Milland when she finds him working at an automat because Arnold's dared him to get a job. That ends in an incredible burst of hilarity, you think Animal House had a great food fight, check the one in Easy Living out.

Directed by Mitchell Leisen and written by Preston Sturges, Easy Living has all the earmarks of a Preston Sturges directed movie, in fact Sturges's stock company was somewhat assembled here if you look down the supporting players. My favorite is Luis Alberni whose white elephant of a hotel finally gets going due to some accidental rumors.

We're the richer for Easy Living being made even if Jean Arthur had to take Harry Cohn to court to do it.

Although EASY LIVING makes no claim to realism it does somehow capture the flavor of New York in the thirties.

Directed by Mitchell Leisen from a screenplay by Preston Sturges it has all the hallmarks of Leisen's style, the gleaming, high style sets, the magnificent cathedral ceilinged apartments and also, unfortunately the tendency to allow scenes to run on just a little too long. The slapstick scene in the automat is a prime example, just a few pratfalls too many. If Sturges directed as well as written the film might not have been as sumptuous looking bit I think it would have been tighter.

Minor details however, the film is a delight, especially Jean Arthur and a very capable supporting cast giving it their professional all.

Highly recommended.

I generally do not care for average screwball comedies; they are too much like slapstick comedy; a little bit is fine, but an hour and a half of it becomes a bit tedious. This film, however, holds up for the hour and change because of the wonderful performances of Jean Arthur, Edward Arnold, and Ray Milland. When that trio is at the top of their game, you are bound to have a good film. The only weakness in the film is the direction, which is a bit heavy-handed and unnecessarily over the top. The pace of the film is about 100 mph, which is fine if you are short on time. However, there are so many good moments in the film that should have been stretched out, and some opportunities for genuine character exploration were lost. Arthur's character, however, is wonderfully developed, thanks to screenwriter Sturges, who is one of the best. He does have trouble, however, trying to gain sympathy for the rich and spoiled. We are really happier when Arnolds' character, Mr. Ball, is losing his shirt. We have almost zero empathy for Arnold;s spoiled wife, and only a tad more empathy for his son, whom Milland plays to the hilt. The rich and snooty are amusing only for a few moments at a time, and then their wealth becomes a point of annoyance. Fortunately, Arthur is there to pull us back into the world of the everyday man, and the film succeeds despite its ridiculous pacing.