El asombro del siglo

Preston Sturges was one of the most interesting directors and screen writers working in the Hollywood of the thirties and forties. His incredible look at a small town USA during WWII is the basis for this delightful comedy. Mr. Sturges was a man ahead of his times. It's incredible how he was able to get this film approved for release by the Hays Code. Mr. Sturges direction was impeccable. It is easy to see how in most of his films he keeps showing a lot of the same faces, as it's evident the actors loved the quick tempo he gives to the movie.

Betty Hutton was an incredible appealing Trudy. She shows us a young woman, who in spite of what happens to her, keeps trying to make her situation right by drawing the nerdy Norval into her side to correct what she has done. Ms. Hutton projected such a luminous presence as she demonstrates with her take of Trudy, the girl next door type, who finds out how a reckless moment of pleasure comes to haunt her. After all, Trudy only wanted to do the best for the boys going to a war where most of them wouldn't come back alive.

Eddie Bracken was given one of the best opportunities of his career to play the kind hearted Norval. He is willing to break the law in order to make Trudy happy, after realizing she clearly doesn't care for him. This actor was an accomplished comedian with a great sense of timing, as he shows, for our amusement, in this picture.

The supporting cast is great. William Demarest, who played in a lot of Mr. Sturges' films, is seen as Trudy's father, the nutty Constable Kockenlocker. Diana Lynn is immensely appealing as the young sister Emmy, an intelligent girl who is more mature than the happy go lucky Trudy. Brian Donlevy is seen briefly as the governor and Akim Tamiroff plays a minor part.

Preston Sturges was a man that had an understanding about the times in which he lived. This comedy, as well as most of his other films, is a testament to his vision of America during those years. His films were a way of commenting about what was wrong with the American society during those years. Mr. Sturges' films made him the toast of Hollywood. That is why it's ironic how soon the same industry he helped elevate artistically, forgot him after his comedies fell out of favor with the public.

This movie is a classic and the proof is in the way audiences are still moved and amused watching them after more than sixty years since they made their debut.

Great movies are movies you can't bear to see end, no matter how many times you've seen 'em. They play new the second, third, tenth time around; catching the light at angles you'd never seen them in before, gaining richness and profundity in familiar details while throwing never-noticed subtleties into sudden high relief. They awaken you to reserves of emotion inside yourself that are plumbed so rarely, you'd almost forgotten you had them in you all along. They are one-to-one experiences - even if you see a film like Preston Sturges' MIRACLE OF MORGAN'S CREEK in a packed revival house laughing uproariously en masse, you can only share a surface pleasure with those strangers: the deeper joys of this movie are yours and yours alone, shocking you into an awareness of how potent the alchemy of a great film can be, no matter how often you've felt that seismic shift with other great films. Even when you encounter an idiotic review that completely, callously, misses the whole point, you can't even get angry - how could you? A STAR WARS or Tarantino fan clucking terms like 'dated' or 'foolish' at a Preston Sturges movie is too pitiable a wretch to deserve actual scorn: maybe one day they'll figure it out, if they're lucky. MIRACLE turns out to be aptly titled, as this heady, unduplicable blend of slapstick, sitcom, surrealism and sharply observed slice-of-life manages to embody WW2-era popular entertainment while standing as far apart and above all its contemporaries as is humanly possible. The genius of Sturges was not that he ran end-runs around the censors but that he subverted them from the safest place to do so, deep within the fortress of the Production Code. The story of a small-town girl who finds herself both married and unmarried at the same time - but DEFINITELY pregnant in either case - is deliriously funny and brimming with great heart and honest sentiment, yet it's never less than a devastating indictment of the kind of mean-spirited provincialism that brought the Code into being in the first place. Rather than single out exemplary performances, I direct you instead to the complete cast-list (for the mark of a Preston Sturges movie is a wealth of expert actors, each blessed with scenes and dialogue devised to play to their respective strengths). Thus, the Esther Howards and Porter Halls shine as indelibly in small roles as the leads do - here, Bracken, Hutton, Lynn & Demarest, all inspired. If you haven't yet seen this unforgettable jewel, beat a path to wherever it is you have to beat a path to, and rectify the situation immediately: you should be ready for your second viewing about three minutes after the end credits run.

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.

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.

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.