Preston Sturges

Preston Sturges (born August 29, 1898, Chicago, Illinois, U.S.—died August 6, 1959, New York, New York) was an American motion-picture director, screenwriter, and playwright best known for a series of hugely popular satirical comedies that he made in the early 1940s. Sturges made his mark at a time when talk in large part had supplanted images as the driving force in filmmaking. Because strong dialogue and solid story structure were essential to a film’s success and because both were staples of the writer’s tool kit, the stature of the screenwriter skyrocketed during that era, and Sturges went from being one of Hollywood’s most-in-demand and best-paid scenarists to its first prominent writer-director. The best of the 13 films he directed are tours de force of comic invention and timing, characterized by rapid-fire dialogue, memorably drawn minor characters, and sophisticated irony underlain with pathos.

Early life and work

At age three Sturges was adopted by his gadabout mother’s second husband, Solomon Sturges, a wealthy Chicagoan. Until his parents divorced, when he was age eight, Sturges split his time between Chicago and Europe, where his mother, an intimate of dancer Isadora Duncan, exposed him to museums and the world of art and culture. He was educated primarily in European boarding schools, but his mother sent him back to the United States at the onset of World War I, during which he served in the U.S. Army Signal Corps. Following the war Sturges managed the New York City branch of his mother’s elegant Paris salon (and invented a smear-proof lipstick in the process) before becoming a playwright in the 1920s. After writing the Broadway hit Strictly Dishonorable (1929), he married a prominent New York socialite. However, when his subsequent plays failed to find an audience and his marriage fell apart, Sturges went to Hollywood, where he soon earned a reputation as a scriptwriter.

Sturges made his first impression as a screenwriter on William K. Howard’s The Power and the Glory (1933), employing a theme and an elaborate flashback structure that some critics have identified as influences on Orson Welles’s landmark film Citizen Kane (1941). Sturges then scripted We Live Again (1934), The Good Fairy (1935), and Easy Living (1937), the last a highly regarded screwball comedy with Jean Arthur and Ray Milland that was directed by Mitchell Leisen, whose handling of the script so disappointed Sturges that he became determined to direct himself.

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Films of the early 1940s

Sturges persuaded Paramount executives to let him direct his next screenplay. The result was The Great McGinty (1940), which came to be widely regarded as one of the most original comedies of the 1940s. Brian Donlevy portrayed a hobo-turned-rising politician who ultimately casts corruption aside. Sturges won an Academy Award for his script. The Great McGinty was the first in a series of distinctive films directed by him that satirized such established institutions as Tammany Hall politics, advertising, hero worship, small-town life, American success stories, and the Hollywood studio system.

After writing the snappy (if atypically sentimental) screenplay for Leisen’s Remember the Night (1940), Sturges directed Christmas in July (1940), a deftly crafted low-budget compendium of comic confusions about a lowly clerk (played by Dick Powell) who goes on a mad shopping spree after mistakenly thinking that he has won $25,000 in a contest. The Lady Eve (1941) was Sturges’s first true “A” production, and he was equal to the task, creating a tart romantic-comedy classic that starred Barbara Stanwyck as a con artist who first fleeces and then falls for a naive herpetologist (Henry Fonda).

Many film historians consider Sturges’s next film, Sullivan’s Travels (1941), to be his masterpiece. The first half of the film combines a merciless satire of the movie industry with a depiction of the prickly romance between a self-important director (Joel McCrea) who is determined to make a film of great social significance about the downtrodden and the struggling actress (Veronica Lake) he encounters while posing as a hobo to research his project. As the story veers into melodrama, the director becomes a victim of crime, violence, and amnesia on the way to being imprisoned for his own murder. In the end he realizes the important role that comedy plays in society. Sullivan’s Travels also featured performances by many of the skilled character actors who would become members of Sturges’s ensemble and play secondary but pivotal roles in his films, among them William Demarest, Jimmy Conlin, Eric Blore, and Franklin Pangborn.

Sturges turned to McCrea again for The Palm Beach Story (1942), pairing him with Claudette Colbert as a husband and wife whose pursuit of their dreams and each other leads them into misadventures in Florida. Unlike Sullivan’s Travels, this zany romantic comedy never takes itself seriously.

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Films of the mid-1940s to mid-1950s

The Miracle of Morgan’s Creek (1944) was filmed right after Palm Beach Story, but problems with the censors delayed its release. A boldly conceived farce, it depicted the problems faced by a woman (Betty Hutton) who gives birth to sextuplets exactly nine months after spending a drunken evening at a wild party populated by soldiers and who has no idea who the father might be. A frazzled suitor (Eddie Bracken) eventually steps up to make her “respectable,” but the moral and emotional landscape becomes increasingly cluttered before the film’s resolution.

Bracken was also at the centre of Hail the Conquering Hero (1944), Sturges’s incisive satire on America’s propensity for hero worship. This time Backen played a Marine who, having been discharged from the service because he suffered from hay fever, returns home to family and friends who not only believe that he has been in combat but who are convinced by the good-hearted veterans who accompany him home that he served heroically at the Battle of Guadalcanal. Sturges’s screenplays for The Miracle of Morgan’s Creek and Hail the Conquering Hero were both nominated for Academy Awards. Much less accomplished was The Great Moment (1944), the biography of the Boston dentist who discovered the benefits of ether as an anesthetic, which had been completed in 1942 but was taken out of Sturges’s hands for reediting.

Tired of battling with executives at Paramount, Sturges left the studio and in 1945 joined Howard Hughes in forming California Pictures Corporation. Sturges’s first project for the new company was the screwball comedy The Sin of Harold Diddlebock (1947), starring erstwhile silent star Harold Lloyd. It was given a limited release but then was shelved by Hughes, who edited and reedited the film until releasing it widely as Mad Wednesday in 1950, by which time Hughes had dissolved his partnership with Sturges. They had also clashed over Vendetta (1950), which Sturges had scripted with Hughes’s then love interest, actress Faith Domergue, in mind as the lead. French director Max Ophüls began directing the project before Hughes demanded his firing. Sturges took over but quit, and the film was eventually completed by several directors, including Hughes.

At Twentieth Century-Fox Sturges made Unfaithfully Yours (1948), a dark comedy that defied Hollywood conventions for the genre and failed commerically as a consequence. Rex Harrison starred as a symphony conductor who suspects his wife (Linda Darnell) of cheating on him, and as he is conducting, he imagines three scenarios in which he exacts his revenge upon her. Sturges’s next film, The Beautiful Blonde from Bashful Bend (1949), a western farce that was conceived as a vehicle for Betty Grable, also failed at the box office

In 1949 Sturges, no longer in favour in Hollywood, relocated to France. After some seven years of inactivity as a filmmaker, he simultaneously shot English- and French-language versions of Les Carnets du Major Thompson (The French, They Are a Funny Race; 1955), which met with audience indifference. He died in 1959 while living in New York’s Algonquin Hotel, where he was writing his memoirs.