Film Review: Sullivan's Travels (1941)
Hollywood film makers are known for occasionally using the Hollywood itself as a theme for its films, using different approaches and doing it with different levels of success. One of such efforts from Hollywood’s golden age which is considered a classic is Sullivan’s Travels, 1941 comedy written and directed by Preston Sturges.
Film’s protagonist, played by Joel McCrea, is John J. Sullivan, film director who gained fame and wealth as the author of light-hearted escapist musicals and comedies. Sullivan is, however, unhappy with it and wants to try his hand with something much more serious – adaptation of Oh Brother, Where Art Thou, novel describing harsh life conditions of impoverished masses at the lower levels of American society. Problem for Sullivan is that he grew up in well off family and doesn’t have any personal experiences with poverty and similar hardships. He decides to correct that by leaving his luxurious mansion dressed as a homeless bum and trying to live on the streets with few cents in his pocket. His attempts lead to all kinds of misadventures but also to encounter with unnamed girl (played by Veronica Lake), former aspiring young actress who just gave up dreams of Hollywood career and just wants to go back home. Deeply impressed by her kindness, he reveals her true identity and calls her back to her mansion. She ultimately talks Sullivan to let her join his experiment by pretending to be another bum. Just as the adventure is about to end, things get suddenly unpleasant turn for Sullivan. He gets robbed by another bum, suffers amnesia and ultimately ends up in a chain gang on the prison farm, where nobody believes him that he is actually successful Hollywood director.
It could be argued that Sullivan’s Travels was, at least partially, autobiographical. Preston Sturges, playwright who became one of the first and one of the few writer-directors of Classic Hollywood, has gained success as author of screwball comedies. The plot was, however, allegedly inspired by the exploits of John Garfield, actor who had briefly lived as a hobo during Great Depression. But Sturges found proper inspiration in works of many of his colleagues whose comedies he had considered too “preachy” and sacrificing audience’s fun for the sake of strong political or social message. Sullivan’s Travels was supposed to serve as satire on such pretentiousness and, for the most part, it succeeded in it.
Sturges proved himself as a more than capable, with great feeling of tempo and ability to fit his content into easily digestible 90 minutes of running time. He also displayed talent for sharp dialogue, as well as working with different styles of comedy, ranging from screwball to slapstick. But in the last segment of the film Sullivan’s Travels suddenly turn very serious turn, becoming exactly the same pretentious social drama it was supposed to mock. This tonal shift, although somewhat tempered with the use of irony and gallows humour, looks like an afterthought and also makes some other problems with the script stand out. This particularly refers to the characterisation of the Girl and the unanswered question why she would accompany Sullivan and suffer all kinds of unimaginable unpleasantness and expose herself to risks in freight trains and homeless shelters. Sturges, however, manages to correct some of those mistakes with strong finale during which protagonist gets his epiphany. Released shortly after USA entering Second World War, Sullivan’s Travels was banned for export by US Office of Censorship under explanation that depiction of harsh prison condition might be used by enemy propaganda. From today’s perspective, however, Sturges’ film may catch attention with its enlightened treatment of African American characters who are, unlike many Hollywood films at the time, given dignity and respect.
Sturges had very good cast at his disposal. Joel McCrea, versatile actor who would in later years become specialised for western, is very good in the complex role of protagonist who transforms throughout the course of the story. Veronica Lake, who was at the time becoming new superstar and icon of Hollywood, looks the part and has good chemistry with McCrea and the scene in which she appears dressed like Chaplin’s Tramp are charming, despite not having much sense. Lake’s role looks even better considering that she was six months pregnant during the production, a fact that she hid from Sturges who would become very angered after learning it. To make things worse, McCrea and Lake didn’t get along well at the set either. Sturges, on the other hand, had much less problems with small army of capable character actors who had used as his stock company.,
Sullivan’s Travels received positive reviews after premiere, but the audience was somewhat less enthusiastic. It was only after Sturges’ death that the film was recognised by film historians and scholars as comedy classic. As such, it inspired future film makers, including Coen Brother whose 2000 film Oh, Brother, Where Art Thou? was originally envisioned as the sort of film Sullivan would have made following his fictional adventures.
RATING: 7/10 (+++)
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