The Palm Beach Story (1942)

User Rating:

8.0/10   

Director:

Preston Sturges

Writer:

Preston Sturges (writer)

Release Date:

7 November 1942 (USA)

Genre:

Romance | Comedy

Plot:

An inventor needs cash to develop his big idea. His wife, who loves him, decides to raise it for him by divorcing him and marrying a millionaire.

Plot Keywords:

Money | Divorce | Florida | Train | Inventor

Cast

Claudette Colbert	...	Geraldine 'Gerry' Jeffers
Joel McCrea	...	Tom Jeffers ('Capt. McGlew')
Mary Astor	...	The Princess Centimillia
Rudy Vallee	...	John D. Hackensacker III
Sig Arno	...	Toto
Robert Warwick	...	Mr. Hinch, Ale and Quail Club
Arthur Stuart Hull	...	Mr. Osmond
Torben Meyer	...	Dr. Kluck
Jimmy Conlin	...	Mr. Asweld, Ale and Quail Club
Victor Potel	...	Mr. McKeewie
William Demarest	...	First Member Ale and Quail Club
Jack Norton	...	Second Member Ale and Quail Club
Robert Greig	...	Third Member Ale and Quail Club
Roscoe Ates	...	Fourth Member Ale and Quail Club
Dewey Robinson	...	Fifth Member Ale and Quail Club

Runtime:

88 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono | Mono (Western Electric Mirrophonic Recording)

Certification:

Finland:K-16 | Sweden:15 | UK:U

Filming Locations:

Penn Station, Manhattan, New York City, New York, USA

Company:

Paramount Pictures

Trivia:

One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since.

Goofs:

Continuity: The position of Tom's tie changes from when he first kneels at the wedding, and in the following cut.

Quotes:

John D. Hackensacker III: You know Maude, somebody meeting you for the first time, not knowing you were cracked, might get the wrong impression of you.

Movie Connections:

Featured in "American Masters: Preston Sturges: The Rise and Fall of an American Dreamer" (1989)

Soundtrack:

Isn't It Romantic

It's a slightly cynical screwball comedy about lust and greed.

The "Palm Beach Story" has a poor title but it's a hilarious movie by the sometimes cynical master of comedy, Preston Sturges. "Palm" comes a year after Sturges far lesser comedy, "The Lady Eve", staring Stanwyck and a dull Henry Fonda. The superior comedy, "Palm," rivals the greatest screwballs like "Bringing up Baby" and "The Awful Truth" for sustained insanity and strength of characterization.

In this screwball masterpiece, the characters' flakiness is shared by the rest of their absurd world. It climaxes in a fantastic scene set on a train where an "Ale and Quale" club goes on a drunken shooting spree, forming a posse that tramps from car to car singing "A hunting we will go".

As Anthony Lane argues, "Palm" presents a realist view of the prominence of sex and greed as motivating and blinding forces. In a key scene, Colbert gives a little speech about "the look", or the copulatory gaze, that she's been getting from every man since she was 14. This movie is slightly cynical and funnier for it's richness. Comedy is set off against discussions of lost opportunity and youth. "Topic A" is what runs the world of "The Palm Beech Story", but sometimes topic B, money, is temporarily more important. After leaving her struggling husband, Gerry gets prizes from any horny man she comes in contact with: rent money from the regretful wiener king, taxi rides, a train ticket from hunters, and dresses and rubies from a millionaire. Also, the Princess has a kept pet-man who tags along as she pursues new husbands.

Sturges shares with Wilder and Allen a slighlty cynical view of human "nature". As Lane points out, they don't have a conservative Catholic view of the inherent selfishness and sinfulness of human kind, but a liberal, more Deweyan, view of human potential, slightly jaded from their experience. They are not without hope, but aware of limitation. Sturges is beyond naivete, like many of his screwball compatriots, and frankly examines weaknesses that others avoid or deny, and he criticizes conventions that supposedly created a utopia in the 1950's.

This is one of the highlights of the screwball genre that illuminatingly explores, like no other group of films, life, love, gender, sexuality, and desire in 20th century America in an endearing and always fun manner.