The Great Moment

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.

In an unusual move, Preston Sturges decided to film "The Great Moment," a movie that tells the story of Dr. Thomas Morton's struggle to be acknowledged for his work in discovering anesthesia. The Sturges 1944 film (shelved for two years) starring Joel McCrea takes the point of view that Morton was a wronged man. In reading up on it, it seems that he was, and that a good deal of "The Great Moment" is accurate, probably until the very end.

Morton is a dentist seeking a way to practice pain-free dentistry. With the help of his mentor, Dr. Jackson, he eventually tries a form of ether that works, and he gives a name to his product. It was successfully used at the Massachusetts General Hospital for the first time in 1846. The problem comes in that, as with many inventions, other people claimed credit. Dr. Horace Wells, with whom Morton had worked, indeed used anesthesia in the form of laughing gas, but had a colossal public failure and after that, continued experimenting. Jackson, who claimed credit for telling Morton about the ether, later claimed he had invented the telegraph and a form of ammunition and was clearly unbalanced. The man who made anesthesia a practical tool of surgery was Morton, but he was unable to obtain a patent, and the fight about who really invented it raged on for years.

Joel McCrea is very likable as Dr. Morton, and Betty Field is wonderful as his long-suffering wife. Harry Carey turns in one of the best performances as Dr. Warren, the doctor who lets Morton use anesthesia on his patient. William Demarest plays a dental patient who has a pain-free surgery and after that, aligns with Morton. He's actually there more for comic relief.

"The Great Moment" works backwards, starting at the end and working through until Dr. Morton "ruins himself for a servant girl" - you'll be wondering what that's about all through the film. Actually, from my research, that part is pure hooey, and that's not why Dr. Morton lost control of his invention. The film is an uneasy mix of comedy and drama and, unlike other Sturges films, is a downer. Apparently this version isn't his cut. Sturges fans will be disappointed. I have to say, I was intrigued.

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.

I can't add much to wmorrow59's excellent summary. It caught the strengths and weaknesses of this film and provided excellent historical background. Be sure to read it.

This film is only worth watching if you're a Preston Sturges fanatic (like me) and are willing to sit through his one failure as well as his many triumphs. I have a hunch that the studio meddling accounts for much of the trouble -- the movie's pace and structure are erratic at best -- but I also fear that our man Preston may have wandered too far from his natural path as a filmmaker. This is no buried treasure. Sturges's cut may have been an improvement, but I don't see the makings of a good movie here. The dialogue is weird when it isn't plain awful, the protagonist is a pigheaded dimwit, and the moments of slapstick are wildly misplaced.

If you buy Turner's incredible 7-film Sturges box set, do so for the other six titles -- all of them masterpieces.

Now this...This is a weird film. Preston Sturges, known very well and paid very well for his ability to write and direct comedies, takes on a biopic of Dr. W. T. Morton, the dentist who reportedly was the first to use ether as an anesthetic. Morton seems like a curious case study because of the rancor around whether he, Dr. Charles Jackson, or Dr. Horace Wells came up with it first combined with the fact that he didn't actually invent anything while also including all of the contradictory ideas about him protecting his practice banging up against his desire to be a humanitarian. It's a mix that could be a complex portrait of a man, the invention of a new application of an existing compound, and the historical period, but Sturges doesn't go for complex. He goes for hagiography, and it's just...weird.

The first thing that's off about this film is the structure. One common positive attribute of every film Sturges had made up to this point what his extreme command of structure. Three acts, each taking up almost exactly a third of the film, filled with character and action, feeding from one to the next towards a conclusion. The opening here, though, is a whiplash back and forth in time as the credits show Morton (Joel McCrea) at the height of his fame followed by scenes of Eben Frost (William Demarest) visiting the widowed Mrs. Morton (Betty Field) after Dr. Morton's death which leads to Mrs. Morton reminiscing about when she and Dr. Morton first met when he was a boarder at her mother's boarding house. It also jumps forward to after Morton's victory when he visits President Franklin Pierce Porter Hall) to ask him to sign a bill that would award him $100,000 for his contribution to medicine. It's honestly a weird way to start things, and it's so completely out of character for how Sturges wrote movies that I have to wonder what drove him to make it like this.

Anyway, the main thrust of the film is Dr. Morton dropping out of medical school because he doesn't have the funds and becoming a dentist. The historical side of things that I probably find most interesting (besides a dramatic appearance of President Pierce who...this has got to be pretty unique, huh?) is the view of dentists as almost the scum of the medical word in the early half of the 19th century. It doesn't get the most focus, but it's interesting nonetheless, just popping up from time to time as reason to dismiss Morton from more respected medical professionals.

That being said, Morton has the same problem as every other dentist: dental work is painful and there's no good way to prevent the pain. A fellow dental student, Dr. Wells (Louis Jean Heydt) tries to use nitrous oxide, much to the objection of Morton's old medical school teacher Dr. Jackson (Julius Tannen) because it will just suffocate the patient to knock them out. It's through Jackson's meandering thoughts about the use and properties of ether that Morton accidentally comes up with using sulfuric ether inhalations to knock people out safely.

Now, this isn't a straight drama from Sturges. He obviously can't ignore the impulse to deliver comedy where he can, and while it does provide some of the weird tonal imbalances in the film, these moments are probably the heights of the film. The biggest moment is Morton trying out the compound for the first time on Frost, having gotten an impure mixture from the chemist that caused a drunken and violent effect on his patient rather than a sleeping effect. It's a showcase for Demarest to just go nuts, and it's an entertaining little sequence.

The central conflict within Morton that the movie never really addresses is the idea that he's keeping the use of ether a secret (calling it letheon) in order to protect his business but he wants to give it to hospitals for free for the betterment of humanity. If he ends up giving away industrial sized amounts of letheon to hospitals across the world...will he be able to pay for that? And it's there because Sturges, adapting a book by René Fülöp-Miller, never even comes close to the idea that maybe Morton was less responsible for the use of ether than he ever said. This is where a more-serious minded approach to the material might have worked, using a critical eye to look at the amorphous nexus of invention around an existing compound and properties already described in medical textbooks. Instead, Sturges leans heavily into the idea of Morton being a secular saint free of critique other than he loved too much.

The ending is really weird, too. I mean, not just from the image which is all proto-religious of Morton essentially being a gift from God to help a girl about to go under the knife despite the medical community's rightful resistance to using an unknown compound during procedures, but also in terms of the actual movement of plotting. We don't get a whole lot of time with it, the film cutting to credits right as a door opens and Morton gets welcomed with open arms, but it doesn't make sense. He's been sent away because they won't use his compound, and he just shows up and they welcome him openly? It honestly just doesn't make sense.

So, this is the first real stumble of Sturges' directing career. It's a weird mix of heavy drama, biopic, hagiography, and comedy that never comes together. It works best in the comedic space, but that never holds for more than a few minutes at a time, forgotten for much longer in between moments. The historical angle is interesting, but far from the focus. The hagiography is a mess and is the focus, and it doesn't work.

I mean, it's helped by the fact that it's a grant 81 minutes long and has some chuckles along the way, but this is really just...weird.