Final thoughts on It Happened One Night

I spent the past month watching It Happened One Night and re-watching it. Once again, focusing on different aspects during each viewing. And it's funny because I think one of my first reactions is that it could speed up a tiny bit, and after several viewings it no longer bothers me. I do think the pacing slowed down a bit when Peter and Ellie are falling for each other, but other than that, the pacing went fine. Even during the The Man on the Flying Trapeze scene, which at first I thought it went one verse too long. Some of the jokes weren't as funny, but I still loved the banter between Peter and Ellie, which never got old.

One thing that stands out about this film is the dialogue. I've mentioned before how much I enjoyed the banter between Peter and Ellie. Neither was afraid to tell the other what was on his or her mind, and it made watching them go on this trek to New York much more enjoyable. The film may not be heavy on the sexual innuendos as in other films, but the interaction between the two leads was enough. The idea that opposites attract is quite clear, and this became a staple of the screwball comedy. Two different people from opposite ends of the pole find that all the arguing and fighting is kind of a turn-on. And the dialogue just helps create the sexual tension between the two characters.

A strong female lead is another strong point of the film. I think for 1934, showing a female on screen who fights back against her father's wishes and actually goes after what she wants was something that not many were used to seeing. A female was always to be in a more submissive role in society, so to see a girl defying a man, it must've been quite refreshing for female audiences. It's quite refreshing nowadays to go back and watch this film and see a well-written female character who has a clear goal and throughout the film is set on achieving it. I think unfortunately a lot of times, either in literature or film or TV, we watch these characters, in particular female characters and they have quirks and they're cute, but then they do really stupid things, which can't be justified because it doesn't advance the plot or make a point, it just kind of makes the character stupid. And while everyone makes stupid mistakes, Ellie herself can't take care of herself as she loses her suitcase, almost loses her bus ticket, misses her bus, and spends al her money in under two days, there needs to be more going on with the character in order for the audience to like them. A good actor helps, but when you see someone who wants something, is clear about it, and won't take no for an answer and then jumps off the yacht she's in to go after what she wants, how can you not forgive her the stupid mistakes she will eventually make? Strong and likable characters are so important in all storytelling.

The pace is equally important in this film. Quick pacing is something screwball comedy became known for and it's funny that it's kind of a happy circumstance that occurred in this film simply because of time constraints setting the tone during filming. I think quick pacing always gives off the idea that things are going topsy-turvy. It's almost like things are building up only to be ready to just fall down all over the place. But in this film, the pace makes it so that time flies by. There is always something going on, another adventure or situation in which the two leads find themselves struggling to get to New York. The film doesn't drag on, and if anything, it adds to the humor of the film.

I think after reading the script and watching and re-watching the film, I was most blown away by Clark Gable and Claudette Colbert's performances. From what I've read there was a lot of drama going on behind the scenes, before and during the production, but those two gave excellent performances. I completely bought that they couldn't stand one another and then gradually fell hard for one another. And the script was great. I remember thinking once that you could tell it was written by a man just because of how Ellie was portrayed, but that thought only crossed my mind once, and I can't even remember when it was. I think it was also good to see that the draft I read was still a working draft, and while much of it was ready for shooting, it wasn't done. They still worked on it and omitted scenes to show just what was necessary in the final cut of the film.

It Happened One Night is a well-written film, showing how important a good script is to a successful film. The dialogue is funny and quick, only what is needed is ever said and shown. It had great acting by true professionals, and in the end, while it may not have been the first screwball comedy in my book, it certainly paved the way for more films of the genre to come.

A longer version of It Happened One Night

I had a draft of the screenplay to It Happened One Night and I kept putting it aside. I would read bits of it but then stop. Why? Because it was 173 pages long. And it's also written in that old style of screenwriting, which you don't see nowadays. So it's a bit hard to get through. But I did get through it so I wanted to jot down some notes on it.

The screenplay was written by Robert Riskin, adapted from a magazine article called Night Bus by Samuel Hopkins Adams that was published in Cosmopolitan. There are many things I've read about this screenplay. One being that the first drafts were horrible and not the finished product that is seen on screen--this was the reason given by Myrna Loy as to why she turned down the script. And from what I've read, of the other six actresses that turned down the role of Ellie, many gave the same reason although not all of them. It's been said that the characters were different, Ellie was a cranky heiress and Peter was a scientist, so these things were changed in the final draft. Riskin worked on the script, Frank Capra giving back notes--I believe Columbia also gave notes--until at last the shooting script came about.

The draft I read was not the final draft and it's lengthier than the film itself. I'm not sure which draft it was, but it was close enough to the finished product. The differences between the script and film are mostly extended dialogue. And what was cut out of the film was a wise choice. The finished film is a much tighter and shorter film than what would've ended up if they remained true to this version of the script.

I think one of the things that surprised me was how a chunk of scenes were marked as omitted on the script. This occurred when Ellie and Peter hitched a ride from the singing Danker, and I kept wondering what could they have possibly cut out? It obviously wasn't very important. In later scenes, there are other marks of scenes omitted as well, but not as large as this particular scene. Whatever that was cut, the scene as I read it in this draft was still just a tiny bit too long, which is probably why it was cut further in the film. Like much of the script, in this scene there are longer periods of focusing on particular objects to get the point across. For example, the driver, Danker, once he comes back out of the Lunch Wagon where they've stopped, takes the time to really look at Peter and Ellie and then back to his car and then to the suitcase and then around before he finally takes off. Now, most of this is done in the film in quick speed, but not the zoom in on the suitcase. There's no need to because the actions that follow, with Peter running after the car and the driver not stopping, show enough of the driver's motivation.

There was also extended dialogue throughout the script, and it's really well written that it's such a shame that it had to be cut out. But the truth of it is is that it was necessary. Some of it was exposition, and I appreciated the fact that instead, Capra allowed his actors to show these cut out dialogue bits of exposition through their actions. When Peter and Ellie find themselves in the haystack and have a moment of near intimacy, in the script Peter is going on ranting about how Ellie must've made guys go crazy and she's used to it. While this makes him sound whiny and a bit unlikable it's also telling too much. Instead, this bit of dialogue is cut out and all you see in the film is Peter going off to smoke a cigarette while he glances back at Ellie. With a great actor, you don't need to have your character say anything, and Clark Gable does a great job of showing exactly what Peter is feeling at that moment: nervous and fighting within himself against the feelings stirred up inside of him.

There's a final scene cut out right before the wedding is supposed to take place. King Westley and Andrews have a talk in which Andrews makes it quite clear that he's giving in to this marriage and how King Westley will probably take over his company one day, and how he doesn't necessarily like it but he's giving in. But he's worried about the huge responsibility King Westley is taking on with Ellie. King Westley doesn't seem bothered by this, to which Andrews tells him he should be. Then he makes a request of King Westley.

It seems to be the only thing that will win Andrews' respect, to which King Westley says he'll try to do. And you know, having seen the film several times already, I knew all the things that were coming when I read the screenplay, but this was a funny surprise. I wasn't sure if the request was meant to test King Westley or if it was meant to be funny, and I went with the latter, especially when I remembered the scene between Peter and Andrews that soon followed in which Peter says that any man who would marry Ellie needs to sock it to her at least once a day. So of course, you suddenly understand why Andrews was definitely won over by Peter after that statement. It was a funny scene I wouldn't have minded seeing in the film, but maybe the thought of confusion, which I initially thought when I read it, influenced the cutting of that scene.

This draft of It Happened One Night was funny, well-written, and with great dialogue. It was definitely a lot longer and it showed the importance on cutting down excessive, although funny, dialogue. There were other bits of dialogue that were sharpened between this draft and the film, which were much better in the end, and in all things, the film is much better, tighter than the script that I read. And I think this is what's important, the fact that the dialogue has to be on top, sharp, as well as the fact that the story can't be too long or drag along. It was a good read to see the process in between writing and re-writing, and the final draft that is seen on the screen.

Bored but Determined Heiress

One of the most lovable things about It Happened One Night is the characters. As I've mentioned before, you can't help but root for them. They are distinct and not necessarily the nicest people on Earth, but they're true to themselves and they fight for what they want. How can you not help but love that? Isn't that what we all want? Peter Warne is an out-of-luck newspaper reporter who goes after a story and won't take anything sitting back. When he realizes his fallen for Ellie, he won't propose to her unless he can support her honestly and so immediately he rushes off to write an article for his newspaper. Ellie's dad is a business man who cares so much for his daughter that he'll do anything to protect her, even kidnap her from her own wedding. And when she escapes and won't return to him, he gives in to her just so she'll return. But does that stop him from putting his two cents in? Not in the least. And then there's Ellie Andrews, a heroine that is sometimes seldom seen today in films and literature. She has fighting words for anyone who thinks contrary to her but most of all she's like the men in this film, she goes after what she wants. And even if you don't agree with her, as a viewer you gotta admire that.

Ellie is the kind of heroine that helped define the comedic leading lady in future films. She isn't one to take things lightly. She is bored, and determined to live her life. I've already mentioned that I loved Ellie from the beginning of the film. I love how as soon as she was introduced she was in the midst of a problem, you know her character right away, and then when given the opportunity she takes off and goes after the freedom she craves, to live her life how she wants to. Most people at the sight of being in the middle of the sea with the only escape being to jump overboard--and not just swim but not get caught as well--can get intimidated. But not Ellie, which makes her all the more likable. When she jumps off the yacht you want to follow her wherever she goes and you hope she gets what she wants in the end. When Peter tells her at one point in the movie to phone her father for money so they can eat and get a place to stay, she refuses. She's determined to make it to New York on her own. So to speak anyway.

But going after what she wants isn't just what makes Ellie such a great heroine. It's her dialogue as well. For someone who's led a sheltered life, Ellie can give you such a mouthful that'll make you chuckle. Her first interactions with Peter are always to refer to him as young man and then dismiss him almost as if he were the help. And the interactions that continue between them are funny. During the hitchhiking scene when he's telling her the art of using the thumb, she feeds him on with feigned interest. When he gets a room for them the first night, she responds to him with sarcasm, asking if she's supposed to be grateful for his help. In fact, Ellie has a response to many things that Peter throws at her that he has to tell her to shut up. And she does, which is interesting to note. But the interactions aren't just with Peter. When she encounters Shapeley on the bus and he never shuts up enough to even let her talk if she wanted to, she tells him that he seems to be doing all the talking for he both of them and that he bores her to death. And no matter what happens on the road, Ellie never really loses her fighting spirit.

But where I feel Ellie fails as a heroine is that forasmuch as she's independent she still depends on a man. It seems that in order for Ellie to get away from her dad successfully, she needs the help of a man. She loses her suitcase, almost loses her ticket, and is out of money all by the second day. If Peter doesn't help her for his own selfish reasons, Ellie would have been stranded, and what would she have done then? Ellie tells Peter she won't ask for any help from her father, but later on the same evening, after she tells Peter that he could leave her alone and she'd be fine, that she wouldn't need him, she gets desperate when she can't find him. When he returns, she grasps on to him as if for dear life. The girl's grown attached to the man. Not that no girl in her shoes would've done the same, but it seems she's not so independent. With that being said, I did like that she was full of contradictions. She said one thing but acted in another way. It made her even more interesting and fun to watch. What I didn't like though was when she thinks Peter has abandoned her after she declares her love for him, she calls her father to come rescue her. It would've been nicer to see her trying to do things on her own terms, but I suppose the story had to move along.

With all this being said, I think Ellie is a fine character that shows spunk and determination from the start. She won't take things lying down. Even if she does shut up whenever Peter has told her to, it's normally after a lengthy argument in which Peter just doesn't want to hear it. And the truth of it is, Ellie could just walk away if she didn't want to shut up, but she doesn't because she's falling for Peter Warne.

DVD commentary with Frank Capra Jr.

I watched It Happened One Night with the DVD commentary provided by Frank Capra Jr., and I wish it had provided a bit more insight into the film. Most of what he stated has already been talked about or printed, but even still the fact that it came from Frank Capra's son means a bit more. It's like you're hearing the story directly from Capra the father, but of course, once removed. So the stories behind the film had a bit more familiarity, a bit more authenticity to them. And many of the things talked about were elaborations of what helped to understand the film as well as what defined the genre.

A lot is made about how this is the film that wasn't supposed to get made, that nobody wanted to get made, etc. Clark Gable was loaned out by MGM to Columbia as a punishment because he had refused to take on a role at MGM. Seven actresses had turned down the role of Ellie, and Claudette Colbert only took on the role if she could finish it in four weeks with double her usual salary. And the interesting bit made here is that Colbert was quite displeased throughout the film, while Gable ended up enjoying himself. This explains a lot about the chemistry between them. Throughout most of the film, Gable can be seen laid-back and just having a laugh at Colbert, while she is just fussy and annoyed. But forasmuch as it's been said that Colbert didn't enjoy making the film, she hid it well in the scenes that mattered.

Somewhere I read that the actresses who turned down the role all said that the script they had read was not the film that ended up on the screen. Capra Jr. here talks a bit about some changes made to the characters before filming took place. At first Ellie was a cranky heiress, so she was changed to a bored heiress. This logic fits because the audience could and would want to relate better to someone being bored rather than cranky. The leading man role had been changed to a newspaper reporter from what I read somewhere was a scientist originally. These changes to more accessible and familiar jobs or traits made them more appealing and likable, and it turned out to be a wise move.

One of the things, though, that was pointed out was how much this birth of a new genre turned out to be a happy mistake if you will. It wasn't made setting itself out to be a classic film, it was just something they were doing because it had a good story, a good premise, but nothing more than what it turned out to be. And part of the charm, part of the things that helped establish the screwball comedy came as a result of the time constraints due to Colbert's terms upon agreeing to do the film. The fact that the film had to be done in four weeks set the tone while making the film from the get-go. It's hurried pace soon became a staple in all screwball comedies. Capra Jr. also noted how his father in past films had noticed his films to seem really slow even though that wasn't what appeared to him while shooting the film. For this film, Capra directed his actors to say their lines quickly and what resulted on screen added to the pacing of the film. I agree with this simply because when a scene has no dialogue, it is quite noticeable how much slower the scene goes.

Another point made in the commentary was the ad-libbing that went on in the film. Capra allowed his actors to ad-lib and this is most true in the bus scenes. The night time scene in the bus with the passengers singing along to The Man on the Flying Trapeze is one which had originally been planned to be sung by the musicians alone. Because the extras had gotten comfortable with one another and started humming along during the song, Capra decided to film the scene with multiple cameras and asked the cast to sing along if so inclined, this went for Colbert and Gable as well. What turned out was a long scene that has actually grown on me over the recent repeated viewings. A couple of the extras took on different verses and everyone seemed to, genuinely, enjoy themselves.

There have been a couple of things I've read about the Walls of Jericho scene. It wasn't originally in the script but Colbert refused to undress on screen. I've read that Capra wrote the scene on the spot, but on the commentary Colbert is the one given the credit for coming up with the idea because she didn't want to undress. It turned out to be symbolic throughout the film and funny. It's one of those classic scenes in a film that is so original you almost wish you would've thought of it first. And this scene set a standard for future films to create visual tropes, especially as films entered the Hays Code era. Part of the charm and brilliance of this scene comes from knowing that it was made up on the go. To think that if Colbert hadn't minded to undress in front of the camera we would never have seen the Walls of Jericho. All of these little details gleaned from the commentary show a mixture of happy coincidences that made a gem of a film.

Not much that was revealed in the commentary to It Happened One Night turned out to be new, but even still I think sitting down and gathering my thoughts here have shown me that this film wouldn't have been the film it was if any other actors had been in it. Colbert's stipulation of shooting for four weeks set the pace of the film from the start and helped form a new genre, although I wouldn't say it was the birth of the screwball comedy. It's interesting to note that had Colbert not been in this film, it may not have turned out to be the film everyone loves today. The general plot would've been there, but perhaps some of the details that stick out about it may not have made it. But to think of what might have been is irrelevant. What this films shows is that circumstances and improvisations help to make a terrific screwball comedy.

A yacht in the middle of the sea

Earlier this week I rewatched It Happened One Night and took a closer look. I can't get over how much I enjoy the banter and I believe this is mostly because, for the most part, Ellie is such a strong female character. Peter talks down to her and treats her like a brat, but she shrugs it off and just gives it back to him, which makes it enjoyable to watch. But when the film opens, we haven't even been introduced to Peter yet. Instead, the first scene establishes Ellie and her predicament.

The first shot after the credits show a yacht idling by in the middle of the sea. You know from there this is may deal with the rich. Upon closer look inside the yacht, the conflict is given right away. Ellie is introduced and she's refusing to eat. What follows is an interaction between Ellie and her father in which they discuss the elopement her father kidnapped her from, yet apparently he was too late because they had already been pronounced husband and wife.

Claudette Colbert plays Ellie exactly as she should be, as a spoiled heiress who is suffocating under the blanket of restrictions her father places over her. She fights back with words of a daughter who isn't allowed to live. The only problem that distracted me here was when Ellie said she was over 21 and that King Westley was certainly over 21. At first I understood it to be she was saying she was 21 and there's no way Colbert could pass for a 21-year-old. In fact she was about 29 or 30 during filming. But then I started thinking of the implausibility of Colbert playing someone younger than what she really was. Surely Ellie is younger than Colbert, and you see, this is all going through my head while the scene plays out. The age factor, though, doesn't deter Colbert. This is especially true when Andrews slaps Ellie across the face. Colbert is brilliant; her reaction is dead-on how Ellie should react and then storms out. And throughout the film Colbert is really good at playing Ellie the right age, but the fact that she looks older distracts me. But not enough. In fact I appreciated her performance more so. I found it genuine.

One thing I found great about this scene is how quickly the conflict is presented. There's no beating around the bush. The opening credits are over and straight to matter at hand: Ellie won't eat, Ellie's married, Ellie's been "kidnapped" so she can change her mind. Ellie isn't your typical heroine either. She has a feisty nature about her and when her dad slaps her across the face for being so ungrateful and throwing a tray of food on the floor, Ellie dashes out of the room, past all the crew and up to the deck. She positions herself at the edge of the yacht and with one final look back she jumps off and into the sea. She swims away and her father is frantic. But this is unexpected. It's like a slap in your face. A heroine who won't take anything standing still? A girl who fights back? Goes after what she wants? Who would've thunk it? Well this has you captivated and wanting to follow Ellie wherever she goes because this is someone you can root for.

Another important thing established in this scene is not just Andrews' overbearing overprotectiveness, but also his love for Ellie. Sure he grabbed her out of her elopement and took her against her will out at sea, but he was concerned over her hunger strike, and when he slaps her across the face, he flashes a look of instant regret when Ellie gives him a resentful look. When she jumps off, his face is terrified, and when the crew can't keep up with her, his response is that of course they can't, she's too smart for them, too quick. She's his daughter and he loves her and no amount of money will stop him. Walter Connolly played Andrews well, stern when he needs to be but lovable at the same time.

I think this scene established in a few minutes exactly what was the issue at hand, as well as the pace. This isn't going to be a slow drama, but a quick one filled with sharp dialogue and a strong heroine you can cheer on. It draws you in and hooks you for what turns out to be a truly great film.

It Happened One Night (1934)

It's been a while since I last saw It Happened One Night. If I've seen it in the past three years at all it's been snippets here and there. First time I saw this must've been about seven years ago or so, at least in its entirety. When I sat down to watch it now there were a couple of things I had forgotten about it and there were other things that I found just weren't as amusing as I remember.

I remember finding this really funny the first time I saw it. By now I think the walls of Jericho gag has grown old on me. It's still funny, just not as funny as it was the first time I heard it. Although I did smile when the walls did finally tumble. I still smile at the hitchhiking scene and I still smile at the banter between Ellie and Peter. What's not as amusing are the quieter scenes. I appreciate that we're watching players acting but I almost wish that, yes, they'd speed up a bit more. I think the fact that they are too quiet bothers me. I'd have to watch again to be sure but I'm almost sure there's barely no soundtrack if there's even any. The wedding march doesn't count. In any case, let me get into something I do love about this film.

Clark Gable and Claudette Colbert are great in this film. I don't know if it's because neither of them wanted to be in the movie, or if they got along really well, but they gave great performances. Their banter moves along so well, back and forth, each of them giving it back to the other. It's great watching them fight and see who ends up on top. And this kind of relationship is fun to watch, two people who are so opposite and cannot stand one another end up falling in love. And you root for them, you want them to end up together in the end.

Another great thing I loved was the complications. It was never easy for them, from being stuck on a later bus to running off on the road, hitchhiking to having no money or food. And Ellie never wants to crawl back to her dad for help. She is determined to reach New York on her own, more or less of course with the help of Peter. But then she thinks he doesn't reciprocate her feelings for him so she takes off, but he does love her and thinks she's gone back to her dad and King Westly. Oh the misunderstandings! It keeps you involved.

Some of the things I forgot? What a drunk Peter is. He looks downright buffoonish when he sits next to Ellie in the bus. Then there's the band sing-along going on in the bus. It went on for three verses before the bus veers off into a creek. I had also forgotten how slimy King Westly looks. And again, I had forgotten how serious some scenes turn when Ellie pleads with Peter to take her with him. Or when she cries in his arms that she thought he had taken off and left her in the haystack. Perhaps sticking a bit more comedy in some of these scenes may have helped, or maybe not. It's still something I'm trying to figure out, the balance between the serious and the funny.

Another thing I like is Ellie. She is a strong character who jumps into the water from her father's yacht and swims away. She runs off and is determined to get to her destination without her father's help. And when she meets her match in Peter, she never backs down. She fights back. She teases him and eventually falls for him. And although she does plead with him, when she thinks that he has left her she doesn't stick around and mope. She leaves too even if it is to go back with her dad and King Westly. And at the altar, when she realizes Peter loves her as well, she--the original Runaway Bride--takes off across the field and gets into a car and takes off. Like every good protagonist, Ellie goes after what she wants and in the end she gets Peter.

It Happened One Night is truly a classic with some great characters and dialogue as well as a great story. It was the first film out of three in the history of the Oscars to win the big five for best actress, actor, screenplay, director, and picture. And upon seeing this film again I was reminded at how deserving the film is of the five Oscars. Frank Capra had his work cut out for him considering his two leads weren't too thrilled to be doing the film, but Capra was able to make a wonderful film about two completely opposite people--and both kinda screwy--falling in love.