Sullivan's Travels

source: Sullivan's Travels

This movie is, simply, one of the best Hollywood ever made. From the marvelous collection of great actors, with one of the greatest of motion picture directors, to an intelligent script by the director, Preston Sturges, everything comes together to produce a wonderful story wonderfully told. Veronica Lake has probably never been more charming. Joel McCrea is and always has been one of my favorite actors and he is great in this, for him, somewhat unusual role. All the supporting players, including William Demarest, Eric Blore, Jimmy Conlin, Al Bridge, and Richard Webb, are ... well, perfect. I hope this is no spoiler, but the scene at the church is one of the most touching and moving I have ever viewed. I'm amazed that Hollywood could capture the pathos so well. It made Sullivan's eventual point and should make that same point to movie producers and audiences alike. As a film school student, I was taught that when people make lists of "greatest movies," seldom are comedies included. "Sullivan's Travels" helps dispel the notion a comedy can't be great. It is both significant and thoroughgoing entertainment.

In Hollywood, the spoiled director of humdrum movies, John Lloyd Sullivan (Joel McCrea), was born in silver spoon but is very successful with his superficial comedies. Out of the blue, he tells to his producer Mr. LeBrand (Robert Warwick) that he wants to make serious dramas, like "O Brother, Where Art Thou?" and he will live like a tramp on the streets to learn the sorrows of great part of the population. He wears cheap clothes and tries to blend with poor people but he always returns to Hollywood protected by the safety team hired by the studio. One day, he goes to a dinner with a coin and a blonde girl (Veronica Lake) offers bacon and eggs to him. Soon he learns that the girl is a failed actress that had never a chance in Hollywood and is returning home hitchhiking without any money. Sullivan decides to retribute her kindness giving a ride to her in his car but they are arrested by the police. When they are released, the girl decides to join Sullivan in his quest to learn about poverty. When Sullivan is satisfied, he is robbed and dumped unconscious in a train. He awakes in the countryside where there is an incident and he is arrested and sentenced to a labor camp, where he leans the importance of comedy in the miserable lives of destitute people. "Sullivan's Travels" is a delightful movie by Preston Sturges with a satire of Hollywood lifestyle and the importance of comedy in the life of people, a relief for a couple of minutes for those that do not have other sort of entertainment. Joel McCrea is very funny in the role of a naive director trying to find how the poor people live. His chemistry with the gorgeous Veronika Lake is perfect and this was the first time that I noted that this lovely actress was only 1.51 m height. My vote is eight. Title (Brazil): "Contrastes Humanos" ("Human Contrasts")

Spoilers herein. There are films that do a good job occupying your time and those that enrich your life. My comments here are part of an enterprise to build a fully enriched visual imagination. But there is a third category, it seems: films that in the modern context are powerless, but which were influential in changing the course of the world of film. This effectively means they changed the world. `Birth of a Nation' is one of these. Quite apart from the topic of the story, it turned the new unfettered medium of film into an extension of stage plays. This hampered film for decades. Many people - including filmmakers - still believe that films can be `about' something. That started to change in 1941 with the appearance of two films: `Kane' in which narrative folding was merged with the choreographed camera (already being played with by Hitchcock), and `Travels' which introduced irony into the notion of watching. Its tricky, what Sturges has done: the film is ostensibly `about' a film. One expects lots of blurring between the two, but he fools us. In the story proper, there is no such blurring. Instead, he blurs the style of the entire enterprise, where it is unclear whether we are IN the movie or watching it. (Look for the incongruous legs in the tree by the riverbank.) This notion of in/out, supplemented by the revolution in acting from Brando, is part of every film made today. It is not the grand tour, the loud obvious excess of ideas that is `Kane,' it is simple, single-minded, rather subtle. That he gives us the cue in the plot is something of a matter of genius. Having done this one clever thing that changed how we all think, even govern, he faded from the scene. Ted's Evaluation -- 4 of 4: Every visually literate person should experience this.

This is one of those real joys -- the film you always hope you were going to see when you take the act of faith of going to a theater. This is as good as it gets. McCrea is Sullivan, a successful director (of such films as "Ants in Your Pants of 1938") who decides that in order to make his "important" film -- "O Brother, Where Art Thou?" -- he must take to the road as a hobo and discover suffering. Bringing along lovely Veronica Lake would, of course, tend to defeat the purpose of his "experiment" -- but she is such a wonderful person in this role you could overlook even the extreme silliness of her posing as a boy! Very funny and still effective, while managing to avoid typical story elements (such as his fight with the girl) that infuse all these road trip/romance movies since "It Happened One Night." An exceptional example of its genre and an exceptional film in any estimation. Probably will be popular even with people who propose to not like "old movies".

If the message of this film can truly be summed up when McCrea's character says "There's a lot to be said for making people laugh." Then I can't say much for 'Sullivan's Travels'. I can see why someone might think this is a great movie. It attempts to mix comedy with social commentary. While attempting to make a comedy with some sense of purpose or message is a noble and bolder undertaking then most comedies (especially screwball comedies of the 30s/40s) were willing to attempt. That doesn't mean it automatically gets an 'A', on effort alone. The fact is that this "comedy" doesn't even attempt to be a comedy for the last half of the movie and instead veers sharply into melodramatic commentary on the inequities of depression age America, and the misguided way in which the upper-class views the lower. Oh and it also points out how ultimately Hollywood is a friend to the every man and provides a great social service, kind of like Clooney's Oscar speech. Anyway the point is that all of the comedy in this movie is confined to the first half and the second is an overwrought drama, which beats its message home. If this was truly a great comedy it would have integrated the two halves instead of lumping them one on after the other. Making a highly comedic satire that seamlessly blends comedy and drama while maintaining an interesting plot and effectively conveying the message can be done. 'Dr. Strangelove', or perhaps more to the point 'Network' and 'The Player' accomplish this task much more successfully then 'Sullivan's Travels' does. In any event I fail to see how AFI could rank this has the 39th funniest movie of all time. Was it the part where Veronica Lake pushes McCrea into the pool, and then she falls in, and the butler walks up and...well you know the rest. That bit has been done before… but only like a million times before, and sometimes it's a lake or pond instead of a swimming pool, and I've seen it done with a puddle of mud and a bath tub too, but I digress. Or okay, how about the part where McCrea gets in the car with the kid and it goes tearing down the street out of control with the van chasing after them. Hmmm, well OK how about the "witty dialogue", which for the period didn't come nearly as fast or furious as it does in other pictures. Now granted you may find the dialogue funny, and I can't say that you don't; maybe you honestly do. Maybe you were put in a maniacal uncontrollable fit of laughter, like some of those prisoners were watching Pluto chase his tale around; who knows? But what you can't tell me is that there are any jokes in the last 30 minutes of the film. And it is impossible for me to understand how a movie that half consists of routine slapstick in its first act, and doesn't even attempt comedy in its final act is the 39th funniest movie of all time. Oh wait, I know, it's a freaking "classic" first off, and not only that but one that champions the film industry itself. Give me a break. Oh by the way, the little joke I made in the first two lines of this review, is funnier then anything in 'Sullivan's Travels'. So at least if seeing the movie has lead you to read these reviews; you got to see at least one good joke. If you're looking for a classic screwball comedy (And after watching this I wouldn't even classify it as such, but that's what I heard going in.) go rent Arsenic and Old Lace or Bringing up Baby or something that isn't Sullivan's Travels.

After the opening credits, the film opens with the following statement. "To the memory of those who made us laugh: the motley mountebanks, the clowns, the buffoons, in all times and in all nations whose efforts have lightened our burden a little, this picture is affectionately dedicated." With this film, Preston Sturges made one of the smartest and most insightful comedies ever to come out of Hollywood, in which he especially held up the mirror to Tinseltown itself. A Hollywood variation on Gulliver's Travels, it's the tale of Hollywood director John Sullivan (Joel McCrea), tired of making Hollywood Fluff, who wants to branch out with a socially conscious epic, called "O Brother, Where Art Thou", and sets out to research the meaning of poverty. His studio bosses (very funny roles by Robert Warwick and Porter Hall) try to tell him it's a ridiculous idea but Sullivan insists, puts on some hobo clothes and sets out to see what it's like to experience poverty and suffering. The studio soon sees it as potential publicity stunt and sent an entire crew to follow him around during his trip. Some very enjoyable references to socially conscious movie-making, to Ernst Lubitch in particular, make this particularly fun with some knowledge of the period and the films mentioned, albeit not necessary. And almost worth seeing alone for Veronica Lake's memorable performance as a failed starlet. According to Sturges, the film did contain a little "message": "SULLIVAN'S TRAVELS is the result of an urge, an urge to tell some of my fellow filmwrights that they were getting a little too deep-dish and to leave the preaching to the preachers." By any means, he made a uniquely self-reflective comedy about Hollywood with wonderful characterizations and superlative performances. A brilliant satire with a "message" just as poignant as ever. Camera Obscura --- 9/10

In this offbeat comedy/drama, a young Hollywood director decides to take to the road as a tramp in order to get some "real-life" experience about human suffering. Why? So he can more effectively direct his next film about the tragic human condition. Lots of crazy, zany things happen along the way -- most of which prohibits Sullivan (McCrea) from truly gaining any insight into the life of the less fortunate. Finally, however, something unexpected occurs which truly gives him a new perspective on the poor class and as his role as an entertainer. While many (if not most) consider this film to be a comedy classic, I'm afraid I must disagree. Although there are some humorous parts, the film (in my perspective) fails in it's most lofty ambition -- that is to poignantly express the condition of the less fortunate while wrapping a screwball comedy around it which would be just the kind of entertainment those same unfortunate soles would enjoy -- an ironic movie about movies. Charlie Chaplin was much more effective in expressing both the sadness of the poor class while mixing in effective and genuinely funny humor. Perhaps his films (and others with similar themes) succeeded where this one failed because we were drawn into the life of someone in the poor class and routed for the underdog as our protagonist in the midst of the humorous circumstances. In this case, I found the protagonist to be shallow, selfish and ultimately hypocritical. Here we have a rich, well-to-do Hollywood type pretending to be a tramp and being at a disconnect with their way of life for almost the entire film. As such, we never develop a fondness for his character, even though the circumstances he finds himself in may be interesting. In addition, the whole character of Veronica Lake was entirely out of place in this film. The love interest distracted from the message the film tried to convey, and she couldn't come across as looking even remotely the part of a poor, disadvantaged young girl. She looked much more out of place in the tramp suit than did McCrea. In the final vignette where Sullivan supposedly sees the real plight of the "less fortunate", it is via rubbing shoulders with hardened criminals (!), not just the poor, unemployed, trampled-upon, everyday man. And then he uses his position of status to its fullest (unethical) extent in order to weasel his way out of his undesired condition. Then we're asked to turn around and cheer for our liberated hero and his supposed "enlightened viewpoint". I don't find such a plot that funny or poignant. Not a classic by any means in my eyes.

This is one of those films I keep rating higher each time I watch it. At first I thought it was just "fair" and, frankly, overrated, but I don't think so now. I especially would recommend seeing this on the Criterion DVD version to get the best picture available. I'm not plugging that company because I think their discs are overpriced, but they do a great job giving you the best transfer of these classics you'll ever find and it made this film even better. The story is very different: one that suddenly turns 180 degrees in the last segment. After a more lighthearted combination of drama and humor through much of the story, the film gets surprisingly rough in the last 20 minutes and is not always fun to watch and the leading man, Joel McCrea, goes through some very, very tough times. This is one of Veronica Lake's more appealing roles and, although not a beautiful women, she's intriguing enough - especially with her fabulous long blonde hair - to make me glad I have at least one sharp-looking film of her. Overall, this Preston Sturges-directed movie is good stuff and a classic film that deservedly still has a solid reputation.

As a TV Producer of "entertainment" shows, I make a point of watching this film at least once a year and giving DVDs of it to all who may disparage what I do. Preston Sturges achieves the impossible in this movie: he has his cake and eats it too. He makes a perfect film - he manages to make a socially significant statement while wrapping it up in a comedy confection. His hero, John L. Sullivan (Joel McCrea - a very underestimated actor) is a succcessful director of frivolous musicals and comedies who, one day, decides he needs to make a Capra-esque "serious"film. His studio chiefs and immediate staff are against it and point out that he is rich and privileged, what does he know about the less fortunate? Sullivan retorts with an ingenious plan: Sullivan: "You're perfectly right...but I'll tell you what I'm going to do first: I'm going to get some old clothes and some old shoes from wardrobe and start out with ten cents in my pocket...and I'm not coming back till I know what trouble it..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(his butler): 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. Nevertheless, Sullivan does it and unwittingly (and hilariously) discovers the true value comedy has in the lives of those with little else to laugh about... It's genius. Exquisitely written, directed and acted (Sturges uses his usual ensemble plus the ever watchable Veronica Lake, even here in her most improbable disguises [I met her, professionally, in England in the 70s, she was still a class act and her "rider" demanded her drink of choice - vodka and cranberry juice). Sullivan's Travels is a true gem of American Cinema. Ten out of ten.