The Great Moment

Everybody else seems to think there's a lot wrong with this film, but I rather liked it. THE GREAT MOMENT (1944) sees Preston Sturges doing something a little different from the screwy comedies that he's known for. The movie is not a comedy, first of all. It's a more serious Sturges film about a real historical figure. It's the story of the discovery of anesthesia, which would revolutionize medical practice by allowing for painless surgeries. I thought it was very interesting.

Joel McCrea plays W.T.G. Morton, the dentist and amateur scientist who experiments with the use of ether vapor to dull the senses. Ultimately he must share his discovery with the world for the benefit of all mankind, rather than exploit his secret for profit.

The flick breezes by at 81 minutes, so it doesn't delve into the protagonist's personal life as much as other biopics. Sturges puts his own spin on the Hollywood biopic with his flair for comedy still shining through, particularly in William Demarest's scenes. Under Sturges's direction, even the scenes of Morton reading a reference book manage to capture the thrill of scientific discovery and there's some interesting non-linear storytelling early on.

THE GREAT MOMENT may not be a signature Preston Sturges comedy, but that doesn't mean there's anything wrong with it.

For those who have enjoyed the brilliant farce comedies made in the early '40s by writer-director Preston Sturges this movie may come as a bewildering disappointment. It's a strangely downbeat biographical film about an obscure Boston dentist, William Morton, who, according to some historians, discovered the anesthetic use of ether for surgery in the mid-nineteenth century. It's said that Morton was falsely accused of plagiarizing his research, ruined his health defending his reputation, and died young, broke and forgotten. Right off the bat you know you're not in traditional Sturges territory.

In the period before this film was made the unexpected popularity of Warner Brothers' biographical dramas such as The Story of Louis Pasteur and Dr. Ehrlich's Magic Bullet inspired the other Hollywood studios to make similar dramas based on the lives of Thomas Edison, Madame Curie, Alexander Graham Bell, etc., but these tales of medical and scientific advance were also upbeat stories of successful and well rewarded endeavor. Sturges, for some reason, was drawn to a story in which the protagonist was wronged and the bad guys won; he also wanted to experiment with chronology and end the film on a high note by circling back in time to Morton's "great moment" of triumph, before his victory slipped away. The director fought pitched battles with his bosses at Paramount to make the film his way, despite the front office's concerns over what wartime audiences preferred to see (not unlike the battle between Orson Welles and RKO over The Magnificent Ambersons, waged at about the same time). Unfortunately, Paramount won. The movie was shelved for two years, and only released in a heavily-altered form after Sturges had quit the studio. The director's cut of the film no longer exists.

So, the movie known as The Great Moment is not the one Sturges made. For starters, he wanted to title his film after the book from which he derived the story, "Triumph Over Pain," and when the studio didn't like that he came up with "Great Without Glory," but eventually they gave it the nondescript title it now bears. Scenes were cut, and the sequence of events was rearranged to fit a more traditional pattern. Those interested in learning what the author actually intended can read his original screenplay in a published collection called Four More Screenplays by Preston Sturges, and you'll find a better piece of work than what's left on screen, but although it's an interesting read I have my doubts about whether the project could've ever been a satisfying film. Still, Sturges' version would have at least been the coherent expression of his vision, instead of fragments rearranged by studio functionaries. As it stands, what's left of The Great Moment is odd and erratic. Some of its problems are inherent in the concept while others rest in Sturges' curious casting choices, which were not imposed on him.

Dr. Morton, the protagonist, is never established as a dimensional character, and although Joel McCrea is as likable as ever he seems to be struggling to breathe life into his role. His (and Morton's) likability is put to a severe test in the scene when the doctor comes home tipsy late one night and attempts to experiment on his own dog. On the plus side, there's a sharp performance by character actor Julius Tannen as Morton's former professor, while veteran Harry Carey is memorable as a surgeon who comes to believe in Morton in a moving, climactic scene. But by that point the tone of the story has undergone several strange shifts: in the interest of lightening the mood, I suppose, Sturges inserted comic interludes with his familiar stock characters, notably William Demarest, but these scenes are more jarring than funny. Demarest offers a spirited turn as a patient named Eben Frost whom Morton uses as a human guinea pig, but when Frost repeats the anecdote again and again ("it was the night of September 30. I was in excruciating pain . . .") the running gag grows wearisome. The central concern here, after all, is the intense pain people experienced during surgery before anesthetics were introduced, and, for me anyway, contemplating this reality undercuts the attempts at humor.

It was bold of Sturges to tackle this project instead of playing it safe by making another crowd-pleasing comedy, but the battle with Paramount damaged his career and ultimately drove him from Hollywood entirely. The film available today is not the one he intended us to see, so he shouldn't be judged too harshly for The Great Moment, but one wishes that he'd been more self-protective, even allowing the front office to talk him out of making this film-- or at least postponing it --perhaps sustaining his winning streak as a master of eccentric, sophisticated comedy just a little longer.

Every book or play or movie based on history is bound to give only part of the story, and THE GREAT MOMENT is no exception. Preston Sturgis was one of the masters of sound film comedy in the 1940s, which sharp satires like THE GREAT McGINTY, SULLIVAN'S TRAVELS, and THE MIRACLE OF MORGAN'S CREEK. But he wanted to try something more serious - a biography of Dr. William Morton, the dentist who popularized the use of anesthesia (nitrous oxide) in operations. The film was shot in 1942, when Sturgis was reaching the height of his rocket-like career. But the management of Paramount was not satisfied with the film as Sturgis cut it, for he ended the story on a tragic note (that Morton never did benefit by his great discovery, and died impoverished and in disgrace). It was not an up-beat ending, and as Sturgis was known for comedies his film had to be up-beat. They re-cut the film as it remains today, and it ends (illogically) in the middle, with Morton's first triumphant use of nitrous oxide in an operation in 1846. To add to the film's tribulations there was a two year backlog of Hollywood films in 1942, so it was not released until 1944. It did moderate business, and did not aid Sturgis's faltering career at that point.

As it is, the film is not uninteresting, and shows that Sturgis would have had funny sections in the film (William Demerest's reaction to ether, for example). But it is based on a book that paints Morton as the hero of the "Conquest of Pain", relegating Drs. Horace Wells and Charles Jackson to background/villain roles. It's more complex than the surviving film suggests. Nitrous oxide had been known as a gas with odd properties for some time. In 1800 Sir Humphrey Davy, the famous British Chemist, suggested (somewhat inadvertently) it might be used by surgeons. But it was the drug of choice for decades in Europe and American, for a quick, pleasant (but dangerous) high. In THE CIDER HOUSE RULES, Michael Caine's character uses ether to get high when depressed, and it eventually kills him.

Dr. Horace Wells, a dentist from Connecticut, first got the idea of using ether for surgery in the U.S. However, he was not an effective demonstrator, and his attempt to show it before doctors only ended in dismissal and ridicule because the subject (although totally oblivious to pain) moaned while asleep. The audience thought he was hurting. Morton had worked as a dentist with Wells. He continued studying ether, and finally perfected a method of demonstrating it. He was better at demonstrations. But he had to share the secret with Dr. Charles Jackson, who helped him get the supplies of nitrous oxide. An agreement with Jackson was to allow them to share the credit. But Morton (who had an unscrupulous side, not shown in the movie) tried to patent nitrous oxide as "Letheon". It seems that legally one cannot patent natural gases, but Morton added another gas to the nitrous oxide to make the odor less unpleasant. He thought this would create a binding patent. It didn't, and his many attempts to get it patented never succeeded. The film makes it look like Morton did get it finally, when President Franklin Pierce (played by Porter Hall here - who does not look like that handsome weakling) signed a law recognizing Morton's claim. That did not settle the issue in Morton's favor.

None of the three men did well by their joint discovery. Wells became (like Michael Caine in CIDER HOUSE RULES) an addict, and committed suicide in a New York City jail in 1847. Morton actually did have a better career than Wells (in 1849 he gave testimony at the trial of Dr. John Webster for the murder of Dr. George Parkman at Harvard - testimony identifying a jaw as Dr. Parkman's which helped convict Webster). He died in 1868 (also in New York City) still trying to prove title to "Letheon". Jackson made a career of distinction in geology circles, but he kept claiming credit for inventions by other people (Samuel Morse's telegraph, some devices of Professor Joseph Henry of the Smithsonian Institute). He finally died in a madhouse in 1880.

Given the savage results of their fates, one wishes the "downer" version of the film still existed to see how Sturgis might have handled the story. But he still would have made Morton look better than his character fully deserved.

By the way, while Wells, Morton, and Jackson fought for credit for "letheon" in Massachusetts, in Athens, Georgia Dr. Crawford Long had done occasional minor surgery on patients using nitrous oxide. Long, a quiet, honorable country practitioner, wrote about it in some local journals. He never blew his horn about his "great moment". Instead, he lived and died a respected doctor and neighbor. Mark Twain mentioned how "a Northern slicker" (Morton, probably) had stolen the credit from Dr. Long. Oddly enough, the U.S. Postal Service agreed. In 1942, as part of their "Great American Issue" of stamps, among the five scientists was Dr. Long, as the inventor/discover of anesthesia. Apparently no comments by Sturgis about this stamp have ever turned up. One wonders what he thought about it.

This film is notorious for having been butchered by the studio and shelved for two years (the trailer awkwardly tries to pass it off as another Sturges comedy); atypically for him, it’s a medical biopic on the lines of Warner Bros,’ similar films of a few years earlier – and, therefore, more serious than usual (in fact, the few comedy elements here seem like a distraction to the unfolding drama).

I own a volume of Sturges’ scripts – including the original version of this one, called TRIUMPH OVER PAIN (the book from which it derived also inspired the latter-day Boris Karloff vehicle CORRIDORS OF BLOOD [1958]!), which is certainly his most ambitious project; I had read it some years ago and recall it being quite complexly structured: what remains of the film is pretty straightforward, other than adopting a flashback framework (to which it doesn’t even return at the end!). Still, as it stands, it’s hardly a disaster (if undeniably choppy and rushed): fascinating as much for its plot about the inception of anesthesia by a forgotten small-town doctor, W.T.G. Morton, which many a fellow doctor tried to claim as their own invention, as for its handsome and meticulous recreation of an era (recalling Orson Welles’ equally compromised THE MAGNIFICENT AMBERSONS [1942]).

The cast includes a few of Sturges’ renowned stock company: star Joel McCrea (in their third consecutive collaboration) is well-cast in the lead; William Demarest appears as his comic sidekick (the doctor’s first painless client – repeatedly, he starts to recount his experience but each time succeeding in going no further than the first couple of phrases!); Porter Hall (as the somewhat patronizing American President); Franklin Pangborn (in a brief role as secretary to an esteemed doctor whom McCrea wants to test his formula); Jimmy Conlin (the chemist who sells McCrea the ‘miraculous’ ether); Torben Meyer (an irascible doctor who is urgently called in to treat a patient administered an overdose of laughing gas – more on this later).

The remaining actors include: Betty Field as Morton’s long-suffering wife (whose limited role is often relegated to the sidelines, at least in this version); Harry Carey (dignified as the surgeon who regrets the barbaric methods he’s forced to use while operating on his patients); Louis Jean Heydt (as an arrogant young student who uses laughing gas for desensitization, but whose experiment goes comically awry); Grady Sutton (this W.C. Fields regular appears in one of only two overtly slapsticky scenes as the recipient of the laughing gas – the other involves McCrea’s first attempt to extract Demarest’s tooth, which renders him temporarily crazed and sends him crashing through the window into the street below!); Edwin Maxwell (the usual authoritarian role, in this case a colleague of Carey’s who indirectly stoops to blackmail in order to force McCrea to reveal the secret ingredient of his formula – which the latter was concealing, as a means of protection, only so long as the “Letheon” invention was officially patented).

Sturges, obviously, is all for the hero who has to face up to a general wave of both ignorance and prejudice, not to mention centuries of savage medical tradition; in fact, as depicted in the film, the students seem to treat daily grueling operations almost as another form of entertainment! The film rises to a number of good dramatic moments (usually seeing McCrea in confrontation with someone or other) – especially powerful, however, are Carey’s first successful operation with an anesthetized patient (and his surprised but enthusiastic approval of the procedure) and the ending, complete with moody lighting and religious music, as Morton compassionately approaches the next ‘victim’ of established science…when the doors of reason, as it were, are suddenly flung open and the painless method is accepted into its fold.

The Great Moment, as I'm sure you know, is not a typical Preston Sturges movie. It is a historical drama with a few comic moments, all of which are clunky (although a couple of the stranger ones are so bizarre they're entertaining in a way, especially when Morton tries to knock out his dog with ether). The film might actually have been quite great if the comedy were subtracted completely. Yeah, I know, we're talking Sturges here. But Sturges was a great dramatic director, too. See The Great McGinty if you don't believe me - the comedy there is less than in many of his other films, and the drama is more pronounced. Most often, Sturges was a master of mixing both dramatic and comedic moments. All of his films were like that. The Great Moment has an excellent story at its core. A dentist - he was in medical school, but he ran out of money and had to earn his living as a dentist - wants to find a way to knock out his patients before he pulls teeth. He does so with ether. He also has aspirations to introduce the use of ether into the medical profession. These intentions are noble, but his patent hasn't come through and he feels the guilt of every painful operation. You see, the AMA will not allow doctors to use Letheon (his name for it) unless they know exactly what it is. But as soon as he tells, everyone will know, and his discovery will go unrecognized.

The film actually has a very good structure. It begins in medias res, with Morton (Joel McCrea, who is very good in the film) being advised on how to proceed legally to attain a patent. In taking these steps, he ruins his career and reputation. The rest of the film is the buildup to the loss of his secret. The final scene is very powerful. 7/10.

One other small reason you should see this: Franklin Pangborn has the funniest facial hair in this film! Grady Sutton also has a really funny scene.