The Palm Beach Story (1942)
Where do I start? The Palm Beach Story is absolutely hilarious. From the opening sequence set to “William Tell Overture” that doesn’t get explained until the very end, to Mary Astor and Sig Arno’s “yitz” and “nitz”, to Claudette Colbert hiding from “the Weenie King” in the bathtub, it’s a nearly constant laugh fest.
Preston Sturges’ signature leading man, Joel McCrea, plays an architect whose dreams are never realized. His wife, the beautiful Claudette Colbert, knows the best way she can help her husband get ahead is by using her physical assets, so she plans to divorce him, marry a wealthy man, and get her new husband to invest in her old husband’s business ideas. She travels to Palm Beach to find a millionaire, and on the train ride down, she meets tycoon Rudy Vallee. Rudy is smitten, but when Joel follows Claudette to Palm Beach, he’s forced into pretending to be her brother—and is subsequently pursued by Rudy’s sister Mary Astor, a flamboyant flirt not yet divorced from her latest husband and trying to shake off her latest boyfriend, the non-English speaking Sig Arno. Sound complicated? Sound hilarious? When you’re watching it, it’s not that complicated, and it is that hilarious.
Included in Preston Sturges’ hilarious screenplay—have I used that adjective often enough?—are enough sexual innuendos to choke Will Hays. In fact, the Hays Code rejected the script a number of times before finally allowing it to be made. Joel threatens to take Mary up on her flirting and make her say, “Papa”; it’s incredibly clear that the bedroom keeps Joel and Claudette’s marriage afloat; Joel holds a comforter around his bare bottom half at his apartment’s elevator, making it evident he’d slept without anything on the night before, and Claudette actually gets to say the line, “Sex always has something to do with it,” without being censored. I have no idea why The Palm Beach Story isn’t the most famous sex comedy of the silver screen, since it’s so adorable, witty, and for the most part stands the test of time.
Preston Sturges’ signature leading man, Joel McCrea, plays an architect whose dreams are never realized. His wife, the beautiful Claudette Colbert, knows the best way she can help her husband get ahead is by using her physical assets, so she plans to divorce him, marry a wealthy man, and get her new husband to invest in her old husband’s business ideas. She travels to Palm Beach to find a millionaire, and on the train ride down, she meets tycoon Rudy Vallee. Rudy is smitten, but when Joel follows Claudette to Palm Beach, he’s forced into pretending to be her brother—and is subsequently pursued by Rudy’s sister Mary Astor, a flamboyant flirt not yet divorced from her latest husband and trying to shake off her latest boyfriend, the non-English speaking Sig Arno. Sound complicated? Sound hilarious? When you’re watching it, it’s not that complicated, and it is that hilarious.
Included in Preston Sturges’ hilarious screenplay—have I used that adjective often enough?—are enough sexual innuendos to choke Will Hays. In fact, the Hays Code rejected the script a number of times before finally allowing it to be made. Joel threatens to take Mary up on her flirting and make her say, “Papa”; it’s incredibly clear that the bedroom keeps Joel and Claudette’s marriage afloat; Joel holds a comforter around his bare bottom half at his apartment’s elevator, making it evident he’d slept without anything on the night before, and Claudette actually gets to say the line, “Sex always has something to do with it,” without being censored. I have no idea why The Palm Beach Story isn’t the most famous sex comedy of the silver screen, since it’s so adorable, witty, and for the most part stands the test of time.
A proper analysis of this wonderful film wouldn’t be complete without a huge compliment to Irene’s costumes. Included in this film is one of the most beautiful dresses I’ve ever seen in my life. Claudette wears a backless black lace gown with shoulder epaulets and a fanned-out, semi-bustle, and until you’ve seen it, you haven’t fully experienced screen fashion. Also, Mary Astor gets pampered in a breath-taking bathrobe, splayed out all around her without a single wrinkle.
Where else can you see such gorgeous clothes? Where else can money and marriage be thrown around lightly, and Rudy Vallee serenading out someone’s window prompt the compliment, “Oh, you have a nice little voice.” And where else can Mary Astor manage to make the line, “I grow on people like moss” seductive? Watch this movie and find your answer.
Want to watch it? Click here to watch it on ok.ru. And thanks "Classic Cinema Central Seleus B" for posting!
More Mary Astor movies here!
Where else can you see such gorgeous clothes? Where else can money and marriage be thrown around lightly, and Rudy Vallee serenading out someone’s window prompt the compliment, “Oh, you have a nice little voice.” And where else can Mary Astor manage to make the line, “I grow on people like moss” seductive? Watch this movie and find your answer.
Want to watch it? Click here to watch it on ok.ru. And thanks "Classic Cinema Central Seleus B" for posting!
More Mary Astor movies here!