Sullivan's Travels (1941)

User Rating:

8.2/10   

Director:

Preston Sturges

Writer:

Preston Sturges (written by)

Release Date:

December 1941 (USA)

Genre:

Adventure | Comedy | Drama | Romance

Tagline:

A Happy-Go Lucky Hitch-Hiker on the Highway to happiness! He wanted to see the world . . . but wound up in Lover's Lane!

Plot:

A director of escapist films goes on the road as a hobo to learn about Life...which gives him a rude awakening.

Plot Keywords:

Director | On The Road | Poverty | Hobo | Tramp

Awards:

1 win

Cast

Joel McCrea	...	John L. Lloyd 'Sully' Sullivan
Veronica Lake	...	The Girl
Robert Warwick	...	Mr. Lebrand
William Demarest	...	Mr. Jones
Franklin Pangborn	...	Mr. Casalsis
Porter Hall	...	Mr. Hadrian
Byron Foulger	...	Mr. Johnny Valdelle
Margaret Hayes	...	Secretary
Robert Greig	...	Burroughs (Sullivan's butler)
Eric Blore	...	Sullivan's valet
Torben Meyer	...	The doctor
Victor Potel	...	Cameraman
Richard Webb	...	Radio man
Charles R. Moore	...	Colored chef (as Charles Moore)
Almira Sessions	...	Ursula Kornheiser
Esther Howard	...	Miz Zeffie Kornheiser
Frank Moran	...	Tough chauffeur
Georges Renavent	...	Old tramp
Harry Rosenthal	...	The Trombenick
Al Bridge	...	Jake, 'The Mister' (as Alan Bridge)
Jimmy Conlin	...	Trusty
Jan Buckingham	...	Mrs. Sullivan aka The Panther Woman
Robert Winkler	...	Bud
Chick Collins	...	Tramp on Train - Capital
Jimmie Dundee	...	Tramp on Train - Labor
rest of cast listed alphabetically:
George Anderson	...	Sullivan's ex-manager (uncredited)
Myrtle Anderson	...	Churchgoer (uncredited)
Elizabeth Ashley	...	Churchgoer (uncredited)
Roscoe Ates	...	Counterman at Hollywood diner (uncredited)
Ruth Bias	...	Churchgoer (uncredited)
Ted Billings	...	Tramp in Soup Kitchen (uncredited)
Billy Bletcher	...	Entertainer in hospital (uncredited)
Monte Blue	...	Policeman in slums (uncredited)
Grace Boone	...	Churchgoer (uncredited)
Ed Brady	...	Hobo Hopping Train (uncredited)
Arie Lee Branche	...	Churchgoer (uncredited)
William Broadus	...	Churchgoer (uncredited)
Jess Lee Brooks	...	Preacher at church showing movies (uncredited)
Anita Brown	...	Churchgoer (uncredited)
Ruth Byers	...	Churchgoer (uncredited)
Matilda Caldwell	...	Churchgoer (uncredited)
Mark Carnahan	...	Churchgoer (uncredited)
Chester Conklin	...	Old bum (uncredited)
Laurence Criner	...	Churchgoer (uncredited)
Gladys Davis	...	Churchgoer (uncredited)
James Davis	...	Churchgoer (uncredited)
Edgar Dearing	...	Motorcycle cop in mud gag (uncredited)
Joan Douglas	...	Churchgoer (uncredited)
A. Downs	...	Churchgoer (uncredited)
Frances Driver	...	Churchgoer (uncredited)
Robert Dudley	...	One-legged hobo (uncredited)
LeRoy Edwards	...	Churchgoer (uncredited)
Fay Fifer	...	Churchgoer (uncredited)
Elizabeth Gray	...	Churchgoer (uncredited)
Kit Guard	...	Convict (uncredited)
Jester Hairston	...	Charlie - Church Projectionist (uncredited)
Chuck Hamilton	...	Reporter (uncredited)
Inez Hatchett	...	Churchgoer (uncredited)
Edward Hearn	...	Policeman at Beverly Hills station (uncredited)
Arthur Hoyt	...	Preacher at revival mission (uncredited)
Sheldon Jett	...	Man in Bathhouse / Studio Executive (uncredited)
Paul Jones	...	Photographs of Dear Joseph (uncredited)
Bob Kortman	...	Convict Watching Movie in Church (uncredited)
Pearl Lancaster	...	Churchgoer (uncredited)
Cora Lang	...	Churchgoer (uncredited)
Perc Launders	...	Railyard bull (uncredited)
J. Farrell MacDonald	...	Desk sergeant (uncredited)
Pat McKee	...	Tramp at Revival Meeting (uncredited)
Esther Michelson	...	Woman on 'Poor Street' (uncredited)
Frank Mills	...	Drunk eating in theater (uncredited)
Howard M. Mitchell	...	Railroad clerk (uncredited)
Bert Moorhouse	...	Reporter (uncredited)
Paul Newlan	...	Truck driver (uncredited)
Artie Overstreet	...	Churchgoer (uncredited)
Emory Parnell	...	Railroad yard bull (uncredited)
War Perkins	...	Churchgoer (uncredited)
Lon Poff	...	Chain Gang Convict Watching Movie in Church (uncredited)
Gus Reed	...	Mission cook (uncredited)
Mary Reed	...	Churchgoer (uncredited)
Cyril Ring	...	Reporter (uncredited)
Willard Robertson	...	Judge (uncredited)
Dewey Robinson	...	Charlie (sheriff at work camp) (uncredited)
Sheila Sheldon	...	Child on 'Poor Street' (uncredited)
Irving Smith	...	Churchgoer (uncredited)
Preston Sturges	...	Studio director (uncredited)
Madame Sul-Te-Wan	...	Church harmonium payer (uncredited)
Julius Tannen	...	Public Defender (uncredited)
Lillian Taylor	...	Churchgoer (uncredited)
Henry 'Hot Shot' Thomas	...	Churchgoer (uncredited)
Maggie Thomas	...	Churchgoer (uncredited)
Harry Tyler	...	Railroad information clerk (uncredited)
Notable Vines	...	Churchgoer (uncredited)
Cheryl Walker	...	Veronica Lake's Double (uncredited)
Pat West	...	Counterman at Las Vegas diner (uncredited)
Jack Winslow	...	Churchgoer (uncredited)
Bill Wolfe	...	Toothless man at revival meeting (uncredited)

Directed by
Preston Sturges

Writing credits
Preston Sturges		(written by)

Produced by
Paul Jones	....	associate producer
Buddy G. DeSylva	....	executive producer (uncredited)
Preston Sturges	....	producer (uncredited)

Original Music by
Charles Bradshaw
Leo Shuken

Cinematography by
John F. Seitz		(as John Seitz)

Film Editing by
Stuart Gilmore

Casting by
Robert Mayo		(uncredited)

Art Direction by
Hans Dreier
A. Earl Hedrick		(as Earl Hedrick)

Costume Design by
Edith Head

Makeup Department
Wally Westmore	....	makeup artist
Hal Lierley	....	makeup artist (uncredited)
Merle Reeves	....	hair stylist (uncredited)
Leonora Sabine	....	hair stylist supervisor (uncredited)

Production Management
Joseph C. Youngerman	....	unit manager (uncredited)

Second Unit Director or Assistant Director
Barton Adams	....	second assistant director (uncredited)
Anthony Mann	....	assistant director (uncredited)
Hollingsworth Morse	....	first assistant director (uncredited)

Art Department
Robert Goodstein	....	second props (uncredited)
Oscar Law	....	first props (uncredited)
Ray Moyer	....	set dresser (uncredited)

Sound Department
Harry D. Mills	....	sound recordist (as Harry Mills)
Walter Oberst	....	sound recordist
Wallace Nogle	....	stage engineer (uncredited)
Grant Rymal	....	sound recordist (uncredited)
George Ziegler	....	boom operator (uncredited)

Stunts
Wesley Hopper	....	stunt double: Joel McCrea (uncredited)
Allen Pomeroy	....	stunt double (uncredited)
John Sinclair	....	stunt double (uncredited)

Camera and Electrical Department
Farciot Edouart	....	process photographer
Francis Burgess	....	assistant camera (uncredited)
Earl Crowell	....	gaffer (uncredited)
Walter McCloud	....	company grip (uncredited)
Talmadge Morrison	....	still photographer (uncredited)
Otto Pierce	....	second camera operator (uncredited)
James Tait	....	electrician (uncredited)
George Ziegler	....	mike grip (uncredited)

Animation Department
Norman Ferguson	....	animator: "Playful Pluto" (uncredited)
Dick Lundy	....	animator: "Playful Pluto" (uncredited)

Casting Department
Bill Greenwald	....	casting assistant (uncredited)
Bert McKay	....	casting assistant (uncredited)
Alice Thomas	....	casting assistant (uncredited)

Costume and Wardrobe Department
Clayton Brackett	....	wardrobe: men (uncredited)
Hazel Hegarty	....	wardrobe: women (uncredited)

Editorial Department
Chandler House	....	assistant cutter (uncredited)

Music Department
Sigmund Krumgold	....	musical director
Gerard Carbonara	....	composer: stock music (uncredited)
John Leipold	....	composer: stock music (uncredited)
Joseph J. Lilley	....	composer: stock music (uncredited)
Albert Hay Malotte	....	composer: stock music (uncredited)
Ernst Toch	....	composer: stock music (uncredited)
Victor Young	....	composer: stock music (uncredited)

Other crew
Ernst Laemmle	....	assistant writer
Teet Carle	....	publicist (uncredited)
Nesta Charles	....	script clerk (uncredited)
Walt Disney	....	producer: "Playful Pluto" (uncredited)
Burt Gillett	....	director: "Playful Pluto" (uncredited)
Edwin Gillette	....	secretary: Mr. Sturges (uncredited)
Norman Lacey	....	location manager (uncredited)
Marie Morris	....	secretary (uncredited)
Isabelle Sullivan	....	script assistant (uncredited)
Cheryl Walker	....	double: Veronica Lake (uncredited)

Production Companies

• Paramount Pictures

Distributors

• Paramount Pictures (1941) (USA) (theatrical)
• MCA/Universal Pictures (1958) (USA) (TV)
• Criterion Collection, The (2001) (USA) (DVD)
• Universal Home Entertainment (2006) (USA) (DVD)
• Criterion Collection, The (2004) (USA) (DVD)
• Universum Film (UFA) (2008) (Germany) (DVD)

Runtime:

90 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Mirrophonic Recording)

Certification:

Australia:PG | South Korea:12 (2004) | Finland:K-16 | Sweden:11 (re-release) | Sweden:15 | UK:A (original rating) | UK:PG (re-rating) (2000) | USA:Approved (PCA #7382)

Filming Locations:

Bob Hope Airport - 2627 Hollywood Way, Burbank, California, USA

Company:

Paramount Pictures

Trivia:

Veronica Lake made this movie while pregnant.

Goofs:

Plot holes: When the identification card in the dead man's boots was used to confirm Sullivan's death, the girl knew that his boots had previously been stolen.

Quotes:

Burrows: Good morning, sir.
Burrows: I don't like it at all, sir. Fancy dress, I take it?
John L. Sullivan: What's the matter with it?
Burrows: I have never been sympathetic to the caricaturing of the poor and needy, sir.
John L. Sullivan: Who's caricaturing?
John L. Sullivan: I'm going out on the road to find out what it's like to be poor and needy and then I'm going to make a picture about it.
Burrows: If you'll permit me to say so, sir, the subject is not an interesting one. The poor know all about poverty and only the morbid rich would find the topic glamorous.
John L. Sullivan: But I'm doing it for the poor. Don't you understand?
[...]

Movie Connections:

Featured in "Due South: The Witness (#2.3)" (1995)

Soundtrack:

Spring Song

Reckless, tightrope masterpiece.

Sturges' most daringly double-edged film, laced with bitter ironies. It is also arguably the most audacious film in Hollywood's (mainstream) history, audacious because it takes the kinds of risks that can so easily fall flat on their face, and right until the final image, as Sturges becomes increasingly ambitious and multi-layered, you wonder how long he can keep it up without getting ridiculous. It never does, but the film is so full of contradictions, tensions, suppressions, clanging lurches in tone - 'Travels' is ostensibly a comedy, and one of Hollywood's best, but the last twenty minutes are truly painful to watch, harrowing and not at all funny.

The overriding source of tension, of course, is the film itself, the plot, and the emotions that are supposed to be elicited. It is very difficult, and frequently impossible to gauge the tone of any one scene. Sometimes this is straightforward, as when information is deliberately withheld from the audience, it is asked to make a judgement, and then shown to be wrong, as in the scenes where the studio moguls claim a background of deprivation (which is historically plausible). This kind of comedy is familiar enough.

But what about the later montage of Sullivan and the Girl experiencing the 'reality' of poverty - are these scenes supposed to be genuine representation of poverty? Are they part of a wider satire on pious films like 'Grapes of Wrath', which dubiously aestheticise poverty - there are a lot of Expressionistic flourishes in this sequence? Are they a kind of abstract purgatory through which Sullivan finds spiritual understanding?

There is a big difference between the representation of poverty in this sequence and the one where Sullivan is attacked and sent to prison. But is one more 'authentic' than the other - the second one bravely rejects the view of 'noble' poverty, shows how it dehumanises people, turns them instinctual and brutal; but it also provides a neat moral, which suggests that if you do somebody wrong, you will be (horribly) punished for it. This realism, therefore, is as contrived as the first. Is this Sturges' point, that the good intentions of realism are always tainted by ideological assumptions, patronising good-will, or motives of elevation. This sense of artifice, of a film comprised of varying self-reflexive modes rather than a plausible narrative, runs through 'Travels', with characters talking about the film they're in as a plot - in direst danger, Sullivan acknowledges the need for a helluva twist which duly arrives, filmed in silent slapstick with barely concealed Sturges contempt (and did his friends seem terribly put out by his death?).

This would seem to uphold 'Travels'' ostensible theme, its celebration of comedy as a sugar with which to sweeten the harshness of reality. This is a very cynical view of comedy, and a highly manipulative, conservative one - distract an unhappy populace from the injustice of their lives. The best comedies - from 'Sherlock Jr' and 'Modern Times' to 'Playtime' and 'The Discreet Charm of the Bourgeoisie' have always been about real life, encouraging their viewers to think harder about the society they live in, much more effectively than so-called naturalism.

'Travels' is no exception. It might be a celebration of comedy, but this is comedy a million miles from 'Ants in your Pants'. What other 40s film still manages to show the brutality of poverty, of the prison system, of race relations, the fate of young women in sexually voracious Hollywood (the Girl's ease with her body in the swimming pool scene speaks volumes), however we choose to read them? When Sullivan's determination at the end to continue making populist comedies is endorsed by the ringing laughter of the world's meek and suffering, the disjunction is grotesque. This is a man, on an airplane, completely removed from reality, surrounded by wealthy toadies. Those happy laughs could so easily be contemptuous guffaws, because what Sullivan wants to do, and Sturges hasn't, is hide the inequalities of capitalism, the system on which Hollywood thrives, and the flaws in which they would be only too happy to cover up with inanity. But to even suggest this is to fall into the 'Capra' trap mocked at the beginning.

This difficulty is what makes 'Travels' such a stunningly modern film - its shifts from sophisticated verbal wit to elaborate slapstick to blatant Carry On-like innuendo (the matronly sister dusting the bedpost after seeing a sweating, shirtless Sullivan work) to tragedy to hallucination and dream to satire foreshadows Melville and the New Wave, while the privileged rich man who cannot escape Hollywood would transmute into the guests who can't leave the house, or can't get dinner in later Bunuel films; or the film that begins with an end. The opening sequence takes off 'Citizen Kane'. The deadpan genderplay is quietly gobsmacking, and Veronica Lake as a (gorgeous) tramp would be alluded to by Jeanne Moreau in 'Jules et JIm'. But the joys are all Sturges', as he democratises comedy (see again that swimming pool sequence); I love in particular those glorious supporting actors: my favourite being the immortal Eric Blore and Robert Greig as Sullivan's servants.