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.

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.