The Good Fairy

The story of a naif who goes out into the world, skirts calamity (i.e. seduction, in the guise of Frank Morgan, no less), and finds true love (Herbert Marshall, who likewise should be better remembered--he'd a been a bigger star if he would have been five years younger when the talkies started in earnest). Of course, Sullavan the naif is the one who instructs the world weary cosmopolitans rather than vice-versi.

The script, being by Preston Sturges, is funny and witty and artfully plotted. Sullavan was a great actress/star of the '30's early '40's who unfortunately is mostly forgotten now. She has a quality, a sly subtle acidity that makes her different from other screwball heroines. She also had the knack of bringing out the tenderness in her male leads (James Stewart was never more suave, articulate, and keenly perceptive than opposite the funny cruel little egomaniac Sullavan in The Shop Around the Corner, which is a masterpiece, and she brought out the early best in her former husband, Henry Fonda, in The Moon's Our Home, which is another forgotten little gem). It's not so much she's vicious a la Bette Davis or the divine Barbara Stanwyck: she's too minutely picky, petty really in getting what she wants, too self-centeredly rational in getting her way for that. But, anyway, The Good Fairy has a younger softer Sullavan. The supporting cast is superior, too.

I am always amazed with the talent of Preston Sturgis. He is a true painter of WORDS, a tunesmith of dialog and staging. In this early William Wyler Universal film using Preston Sturgis screen play we have scene after scene of people acting and reacting off each other's follies which is a true documentation of this race we call Human. This film depicts the constant struggle to make sense of human interaction.

The nice thing is there is no murders, explosions, mayhem or outright evil. All these things get in the way of DIALOG. I watch this film in awe, there is musical rhythm in the first third of the film combining dialog, action and music. You will really like all these people at the end of the film.

Time Well Spent., No Noise

Circumstances afford a young woman an opportunity to enrich the life of a poor person that she picks randomly out of a telephone book. Sturges delightfully adapts a Hungarian play, incorporating the kind of snappy dialog that would mark his later directorial efforts. In one of three great films he directed in the mid 1930s (Counsellor at Law, Dodsworth), Wyler displays a touch comparable to Lubitsch. Sullavan, an actress whose career and life were both sadly short, is charming as a good-hearted orphan. Marshall is perfectly cast as a dignified lawyer. Laughs are provided by Owen as a waiter who wants to protect Sullavan and by Morgan as a tycoon who wants to be Sullavan's Sugar Daddy.

A very fine director (William Wyler), an excellent cast, and prestigious source material (a play by Ferenc Molnar), but this delightful screwball comedy has screenwriter Preston Sturges' fingerprints all over it, and Wyler's casual, unfussy direction feels like Sturges' when directing his own later masterpieces. Margaret Sullavan is the well-meaning orphan set out into the world who wants to do good deeds, and one such deed spirals out of control and brings dizzying repercussions. What Sturges does, as he often did, is set up an absurd situation and keep juggling, each ball just about to come crashing down but never quite hitting the floor. He invents funny lines for expert supporting farceurs and keeps the tempers high, and sends the dialog careening down unexpected alleyways. The contemporary Times critic didn't think Sullavan was a natural comedienne, but I beg to differ, and her whimsical quality is just right. Herbert Marshall, often annoying, is charming here, and Frank Morgan gets perhaps his best shot ever at a character he practically patented--the dithering dilettante, all false bravado and doubling-back-on-himself retractions. Its inconsequentiality is part of its appeal, and if you think it feels like a musical, you're not far off: Sturges later adapted his own screenplay as a Broadway vehicle for Nanette Fabray (good casting), but he botched the adaptation, and "Make a Wish" was an expensive flop. This one doesn't turn up too often, so catch it when you can, and revel in the early Sturges finding and perfecting his unique voice.

I'm a fan of Preston Sturges, and I was brought to this movie by his screenplay credit, not knowing if that would be enough to make this a movie I was going to enjoy. GOOD NEWS! This movie is a real joy from start to finish.

From the outset the humour was quite subtle, and the sophisticated dialogue sounded very modern. Clearly, although this Sturges script isn't served by Sturges direction, this is still a Preston Sturges movie. And the script is backed up by sympathetic direction from William Wyler and the performances of the lead players. In particular Margaret Sullavan is fresh and funny as the fish-out-of-water naive young girl leaving her orphanage to join the outside world, determined to do a good deed every day... to be a Good Fairy to somebody.

Unfortunately the lies she feels she has to tell, and the resulting problems she's willing to face, lead her into digging a deeper and deeper hole for herself, and into dragging other characters into the hole with her. Those other characters are the Sturges eccentrics we know from his acclaimed movies of later years. The scenes with Frank Morgan and Reginald Owen shouting at each other with Sullavan between them are fabulous. Herbert Marshall is also good, but he or his character can not match the same level of lunacy.

Now I've seen this, I just hope it won't be long before I can get to see "Easy Living", the next comedy that Preston Sturges was able to write and exert the same level of influence over.