TODAY'S NUGGET: Unfaithfully Yours (1948) - One Way to Visually Move From Reality to Fantasy

[Quick Summary: A conductor suspects his wife is unfaithful.]

Once upon a time, I heard a writer I admire say the mark of a pro is his/her transitions.

What the hell does that mean?!

I finally discovered transitions aren't just at the ends of scenes. 

They encompass the whole flow in a script:
- getting in and out
- moving in and out of closeups
- switching locations, etc.

In this script, let's examine 2 transitions:

[Note: I know these are long. Sturges wrote for himself to direct.]

ex. "Now after a pause the CAMERA PUSHES IN until his eyes, eyebrows and nose fill the screen. After this we PUSH IN still closer until one eye fills the screen and finally so close that the pupil of one eye, which is to say blackness, fills the screen. Now that we are in Sir Alfred's mind, a very, very slow FADE IN begins and we find ourselves in Sir Alfred's study on a CLOSEUP of the antique village orchestra clock."

ex. "TRICK SHOT ON SIR ALFRED. We go into his mind again...(it might be interesting at some point to see the whole orchestra from the conductor's viewpoint reflected on something black and shiny, then PULL BACK and see it is the pupil of the conductor's eye)."

Sturges move us from reality to fantasy with just visuals:

- Alfred's face is described in closer and closer detail.
- Then the next scene is at regular distance.
- The audience understands this close--> closer--> farther sequencing as going into a man's head for a fantasy or flashback.

WHAT I'VE LEARNED:  It's refreshing to see how clean the reality-to-fantasy visuals are here. 

Unfaithfully Yours (1948)
by Preston Sturges

TODAY'S NUGGET: The Great Moment (1944) - Breaking a Biopic Rule

[Quick Summary: The true story of the first dentist to successfully use ether, which results in both success and villification.]

Did you know Preston Sturges wrote a biopic?

Me either.

As always, Sturges doesn't follow the rule, he breaks them.

Notice the non-chronological sequencing to this biopic:*

A - Present day. Dr. Morton's destitute widow tells how her husband died with a broken heart.
B - In the recent past, Dr. Morton loses business to competitors.
C - In the further past, Dr. Morton loses a $100k award to red tape.
D - In the far past, Dr. and Mrs. Morton struggle in a young marriage.
E - Young Morton experiments with ether.
F - Morton coins the term "letheon" for his secret ingredient.
G - Morton convinces a medical professor to try his "letheon" in a live demonstration.
H - Letheon is extremely successful during surgery.
J - The medical community demands to know what letheon is. Morton finally admits it is simple ether.  They take his findings, but do not appreciate Morton's work.

Why does it work here?

Usually, biopics follow a chronological approach.

The purpose of this general rule is to help build momentum.

ex. Girl is young but brash --> Faces trouble --> She learns lesson at climax

Here, Sturges found another way to group together scenes that would still build momentum.

ex. #A-D gains our sympathy. 

#E-G shows Morton's uphill battle. 

Then #H-J punches us with success, then the sharp unfairness of it all.

WHAT I'VE LEARNED: 1) Know the purpose of the general rule; 2) Go ahead & break it; 3) See if the story still works.

The Great Moment (1944)
by Preston Sturges

* I find it fascinating that Sturges (and/or the studio at the time) breaks down every script into sequences A through J or K. 

TODAY'S NUGGET: Hail the Conquering Hero (1944) - Anti-Hero in a Farce

[Quick Summary: A discharged marine gets a rousing, but undeserved, homecoming.]

Some call this Sturges' finest work, and I agree.

The script is remarkable because it fools you at first.

On a first read, I thought that Woodrow should not be the protagonist:
- Woodrow is very, very, very reluctant to go home. (He's an anti-hero.)
- But he's dragged home by marine buddies.  (Does he have a goal?)
- He gets an undeserved hero's welcome. (Things happen to him.)

But I was wrong.

Why?

This script has an unusual and complex combination of an ANTI-HERO in a FARCE:

1 - As an anti-hero, Woodrow is very, very, very reluctant to take pro-active action.  He seems to react rather than act.

ex.  Woodrow befriends marines at a bar, far from home.
He wants to go home but can't. [Reluctance]
The marines learn he pretended to mom that he's still enlisted.
The marines insist he go home and accompany him. [Reacts]

2 -  But look closely -- He does take steps toward a goal (telling mom).

However, he is swimming against a tsunami of farce.

Farce requires extreme exaggeration.  

In other words, our attention is on the ridiculous town folk with agendas (antagonists) rather than Woodrow:

ex. Woodrow tries to bolt from the train. The marines shove him into uniform and medals.

ex. Woodrow's mother wants him to wear his (borrowed) uniform to church. He balks and wears a suit.

ex. Political hacks put Woodrow up for mayor. He tries to decline. They call him modest. 

Note that all the action is ALWAYS around Woodrow, whether or not he is on screen (which is why he IS the protagonist.)

What great craftmanship!

WHAT I'VE LEARNED: Farce can emphasize the protagonist's journey (even an anti-hero).

Hail the Conquering Hero (1944)
by Preston Sturges

TODAY'S NUGGET: The Miracle of Morgan's Creek (1944) - When I Don't Like a Script

[Quick Summary: Unintended consequences results when a young woman persuades a milk toast friend to marry her.]

Between you, me, and the lamp post, I didn't like the last script.

Nor this one either.

I used to rush on to the next good script.

But over time, I've made it a rule to take the time to analyze:

1) Why the script didn't work for me
2) One good take-away for my writing tool box

Why this script didn't work for me:
- It's very talky, without enough movement. 
- Trudy always takes advantage of Norval, even to the point of a fake marriage.
- I didn't want this couple to be together. Where's the rooting interest?

One good writing tool: Reveal coverups in the last 25% of the scene.
 - ex.  Norval pretends to be Trudy's army fiancee before the justice of the peace (coverup).  They are married (75%), then Norval signs the wrong name (25%).
- The script takes its time to stretch the coverup.  The reveal isn't too soon.

WHAT I'VE LEARNED: When I don't like a script, I still need to push myself to figure out what does and does not work.

The Miracle of Morgan's Creek (1944)
by Preston Sturges

TODAY'S NUGGET: The Palm Beach Story (1942) - Funny Character Names

[Quick Summary: A wife runs away so her husband won't suffer financial ruin, but he chases after her.]

[NOTE: The next two chronological scripts are reviewed here: Lady Eve, Sullivan's Travels.]

Sturges uses funny names.

I can't stop thinking about:

- Mr. McKeewie
- The Weenie King
- John D. Hackensacker III
- Snoodles
- Captain McGlue

WHAT I'VE LEARNED: Weird names are memorable.

The Palm Beach Story (1942)
by Preston Sturges

TODAY'S NUGGET: Christmas in July (1940) - Ironic Hijinks

[Quick Summary: A man wins a slogan competition, which causes misunderstandings and havoc.]

Bad news: This is not my favorite Sturges script. 

Good news: Sturges does write better ironic hijinks than most.

ex. The protagonist gets a telegram at work announcing that he's won a $25,000 coffee slogan competition.

He calls his mother and promises the world. [Ups the personal ante.]

The whole office cheers the good news. [Ups the professional ante.]

His co-workers Tom, Dick, and Harry laugh because they have faked the telegram. [Ups tension.]

The boss comes in to scold.  [Uh-oh.]

Tom, Dick, and Harry sweat as they see their joke go out of control.. [What will happen?]

The boss is so impressed by the win that he offers protagonist a bigger job. [More tension.]

Tom, Dick, and Harry try to confess, and are unable to. [Cliffhanger]

WHAT I'VE LEARNED: You can see how Sturges is in control.

The hijinks serve his irony (rather than hey-what-story-can-we-fit-around-this-joke).

Christmas in July (1940)
by Preston Sturges

TODAY'S NUGGET: The Great McGinty (1940) - How to Convey a "Message" Using Irony

[Quick Summary: A bum who becomes a corrupt governor learns his lessons too late.]

The Great McGinty has a message about danger in politics.

Boring, right?

Actually, no. 

The script's irony is so entertaining that I hardly realized there was a message.

ex. McGinty votes for a candidate in exchange for $2/vote.

1 - A predictable setup = We think we know where it's going.

"THE POLITICIAN IN THE TOOL HOUSE

He stands, watch in hand, talking indignantly to the cop outside.

POLITICIAN: Well, I ain't goin' to wait here all night...I got a right to eat, ain't I? The guy's had time to vote ten times! I'm goin' to eat. If you see him, you tell him I got somethin' better to do than...

McGINTY'S VOICE: Than what? ...."

2 - The payoff is exaggerated. Who expected five tickets?

"McGinty comes in, reaches into his right pants pocket and chucks five tickets on the table.

POLITICIAN (counting them with his hand): From the time you took anybody's think...."

3 - The 2nd payoff is hugely exaggerated.  This results in the opposite of what we expected (irony).

From his left pants pocket McGinty throws ten more tickets on the table. This stops the Politician right in the middle of his sentence. He watches goggle-eyed as McGinty throws ten more from his right coat pocket. He watches stupefied as McGinty extracts another ten from his left coat pocket.

POLITICIAN (in an awe-struck voice): Is that all?

McGINTY: Wait a minute. (He pulls two more tickets from his breast pocket) That's it.

POLITICIAN (muttering to himself as he counts the tickets): Thirty-five, thirty-six, thirty-seven...sixty-four bucks!

McGINTY: Seventy-four bucks."

4 - The message? People will find ways around the system. 

WHAT I'VE LEARNED: For an ironic twist, exaggerate, then exaggerate even bigger. 

The Great McGinty (1940)
by Preston Sturges

TODAY'S NUGGET: Remember the Night (1940) - Minor Characters Aren't Small Parts

[Quick Summary: A prosecutor takes a female defendant to his hometown during Christmas break.]

You should know (if you didn't already):

1) Sturges writes brilliant minor characters. 
2) He doesn't waste any of them.

 ex. After the prosecutor (Sargent) sleeps in a field, he's brought to a judge for trespassing.

"SARGENT (very amiably): Good morning, Your Honor, I'm afraid there's been a little misunderstanding here all around. This gentleman... (He indicates the owner).....found my car parked in his field and naturally came to the conclusion.....

THE JUSTICE (interrupting): What's the charge, Hank?

THE OWNER: Trespass on posted property, wanton destruction of fence and petty larceny.

SARGENT (indignantly): That's a ga....

THE JUSTICE (interrupting): What'd they steal?

THE OWNER: They were milking one of my cows when I caught them."

Note how funny and well-rounded they are:
- The judge interrupts with confidence. He's in charge here.
- The owner isn't afraid to speak up. He's a complaining comic relief.

Also note how they move the story forward:
-  The judge treats Sargent (who is a lawyer) as a potential criminal.  He turns Sargent's world upside down.
-  The owner's accusations push Sargent and the defendant closer and work as a team.

WHAT I'VE LEARNED: I often forget to fully flesh out minor characters.  No more.

Remember the Night (1940)
by Preston Sturges

TODAY'S NUGGET: Easy Living (1937) - Screwball Speed Lies in Cause-Effect

[Quick Summary: A fur coat hits young woman, which begins her romance comedy.]

I love screwball comedies for their speed and slapstick.

But how do writers also keep it funny?

Sturges used this cause-effect combination in this script:

Fast actions in one room ----> Leads to unexpected, funny effects in the another room

ex. Mary can't afford a meat pie from the Automat, a vending machine.

The busboy Johnny sneaks her one, but is caught by the house detective:

"JOHNNY AND THE DICK - ON THE FLOOR . They are nearly buried in knives, forks, coffee pots, and crockery, fighting vigorously. The dick tries to get to his feet and in grasping for something, his hand pulls a lever.  [Cause: A fight in the kitchen]

A COUPLE OF BUMS STANDING AT THE TOOTHPICK TABLE. Behind them stretches a long vista of food compartments. With a loud click all the doors in view fly open and remain open, vibrating slightly. The first bum turns his head, then clutches the second bum and points excitedly.

THE FIRST BUM: Horace!  [Effect: Free food in the dining room]

THE DICK AND JOHNNY WRESTLING - IN THE DEBRIS. The dick's feet tangle up in a couple more levers. [Cause: More fighting]

THE BEVERAGE PANEL. Simultaneously, tea, steaming coffee, milk, grape juice and orange juice start hissing their way into the world. From a large spigot next to them blobs of ice cream come plunking out." [Effect: Geyser of drinks and dessert]

WHAT I'VE LEARNED: The strong cause-effect makes the slapstick read faster. 

[I imagine Sturges started building the cause-effect first, then laid over the slapstick.]

Easy Living (1937)
by Preston Sturges
Adapted from the story by Vera Caspary

TODAY'S NUGGET: The Power & the Glory (1933) - Getting What You (Don't) Want, i.e., Irony

[Quick summary: A railroad baron's happiest and saddest moments are told in flashback.]

I feel dumb.  When I feel dumb, I read.
 
I felt dumb recently when someone praised writer/director Preston Sturges (1898-1959).  I knew so little.  Exactly why was he so great?

So begins my education of Sturges with this early script.

It is impressive.*

I particularly liked how Sturges uses irony to punch home a point.

Here's how he built one scene:

1 - The stakes are set up clearly.

Eve, the mistress, gives lovesick Tom an ultimatum.

[To have Eve, Tom must discard Sally.]

2 - The protagonist faces a decision, and a complication.

Sally, the wife, tells Tom that she wants to reconnect with a trip to Europe together. Tom confesses he's in love with Eve.

Guilty, he foreswears Eve, and agrees to go to Europe.

Sally abruptly tells him to go with Eve, have fun, and live it up.

She says, "I hope she makes you happier than I did," and walks out.

[Sally is a roadblock for Tom.  We expect her to fight for their marriage, but she does the unexpected and makes it so easy for him.]

3 - The protagonist "got what he wished for"...but the grass isn't as green as he thought.  

Sally commits suicide.

[It is ironic because Tom got what he wanted (Eve) and not what he wanted (guilt). The irony in #3 underscores his bad decision in #1. ]

WHAT I'VE LEARNED: Tom chose Eve, confident that she was the better outcome, but she wasn't.  That's irony.

The Power & the Glory (1933)
by Preston Sturges

*A few striking facts about this script:

- It was Preston Sturges' first original spec.
- It was shot without changes.
- It launched him as a serious screenwriter (despite poor box office).
- It convinced him to become a director (he didn't direct this one).
- Its "fractured narrative" and constant voice over was revolutionary.
- It heavily influenced Citizen Kane.

TODAY'S NUGGET: #52 WGA Script of All Time - Lady Eve (1941)

[Quick Summary: After a con woman and a rich, gullible ophiologist (a snake scientist) fall in love and split up, she disguises herself as English aristocracy to dupe him once more.]

Farce is a tough genre.  It's just too easy to go too far with the satirical comedy or improbable plots.

So why does it work here? 

According to Roger Ebert, this story avoids the mistake of many films and gives a "baseline of sanity to measure the characters against....Henry Fonda is the rock."

Fonda is the gullible (but not stupid) snake scientist.  He doesn't want to use Barbara Stanwyck for his career.  He's sincere and earnest as he pursues her. He's puzzled by the "coincidences" but chalks it up to feeling more alive just by being with her.  He's truly, madly, crazy in love.

So when he doesn't realize Barbara's dad is blatantly hustling him at cards, we believe him.

When he "happens" to get a photo showing Barbara is a con, we're crushed along with him.

When Barbara creates an English persona and Fonda does not recognize her AT ALL, it all makes sense.

We believe in Fonda, even if everything else is truly preposterous.

WHAT I'VE LEARNED: Farce can be way, way over the top - but only if there's at least one person who makes it feel real.

Lady Eve (1941)
by Preston Sturges

TODAY'S 2nd NUGGET: #29 WGA Script of All Time - Sullivan's Travels (1941)

[Quick Summary: John Sullivan, a privileged, successful comedy director, wants to make depressing films for the poor.  Despite the studio's protests, he becomes a hobo to try to experience being poor. 

Sullivan always gets rescued from true poverty... until an old bum ambushes him far from home.  Sullivan goes to jail, & is truly depressed, & poor for the first time.  Then he sees a comedy film & nothing is the same.]

I'm embarrassed to say I didn't know a thing about this Preston Sturges film until today. 

Zilch. Zero. Nada.

I cracked it open & was glad that it was a comedy right off the bat ...then slowly I noticed there was a message.

But it wasn't preachy and it wasn't a "message film."

I scratched my head. How the heck did Sturges sneak that in?

This is a satire, which is defined as using wit to ridicule a political, societal, or moral vice or folly in order to cause change.

Apparently Sturges was fed up with comedies of his day giving up fun for "messages."  So he crafted a script that mocks seriousness. 

ex.  Sullivan, who has never wanted for anything, WANTS TO BE POOR, but there are obstacles to being poor (the girl keeps rescuing him). Now how ridiculous is that? 

For 90% of the script, Sullivan really, really tries hard to be poor.  He's very serious about being seriously poor...then he's in jail & the horrors of being poor are real.

He's alone.  He's scared & doing hard labor.  He's got nothing.

Then the punch-in-the-gut moment:  The warden takes the prisoners to see a comedy.  Sullivan is morose & doesn't want to laugh.  But the film makes the audience laugh...

And he can't help but laugh too.

SHAZAM!  He gets that he was wrong.   

WHAT I'VE LEARNED: Sturges' genius is that he makes the journey so enjoyable that you didn't realize you were learning.

Sullivan's Travels (1941)
by Preston Sturges