obscuring the truth
by Douglas Messerli
Ben Hecht
(screenplay, based on a story by James H. Street), Robert Carson, Moss Hart,
Sidney Howard, George S. Kaufman, Ring Lardner, Jr., George Oppenheimer,
Dorothy Parker, Budd Schulbert, David O. Selznick and William A. Wellman
(uncredited writers), William A. Wellman (director) Nothing Sacred / 1937
Willliam Wellman's
1937 screwball comedy Nothing Sacred is
arguably one of the most popular of the genre. And overall, it is wonderfully
entertaining. Yet I have always felt there is something a bit off-kilter about
this work, while its humor is almost Capraesque in tone, by which I mean
outright corny. There are moments of Hecht sophistication, but one has to
endure some of the most silly of skits to get there. Perhaps the fact that
Hecht left the production after Selznick refused to use Hecht's friend, the
alcoholic John Barrymore, for the role of Wally Cook, and ten other writers are
said to have contributed to the work accounts for its sense of occasionally
losing its way. Yet something tells me that the great director Wellman wanted the film, at various moments, "to get lost," to hide the very story it was pretending to tell.
The film begins with a totally meaningless
and somewhat racist scene wherein an ordinary black American (Troy Brown) is
deceiving a charity celebrity crowd, hosted by The Morning Star newspaper, by playing a wealthy African nobleman,
the Sultan of Marzipan, identified mid-event, by his wife, Mrs. Walker (Hattie
McDaniel) and two children. The deceit gets reporter Wally Cook (Fredric March)
demoted to the obituary editor in an office location where everyone on staff
must push, punch, walk over, and pour files upon him. Only his discovery of a
story-in-making about a young Maine woman, Hazel Flagg (Carole Lombard), who is
dying of radium poisoning, frees him from this silly purgatory.
Why Hazel is suffering from radium
poisoning in the small town of Warsaw is never explained, and Wally must endure
a whole village of "Yep and Nope"-sayers before the film can truly
begin. Hazel has returned to her local doctor only to discover that he has made
a mistake, and she is as strong as an ox. But the news that she must now give
up her trip to New York—leaving the uncommunicative folk of Warsaw—brings tears
to her eyes. Asked by Wally, "You've lived here all your life?" Hazel
answers, "Twice that long."
On behalf of the Morning Star Wally invites Hazel to fly to New York on the paper's
expense account, where he plans to use her as lure to sell copies of the paper.
She readily agrees, but, again unexplainably, insists they bring along the
reporter-hating doctor, probably so the director might use Dr. Enoch Downer
(Charles Winninger) as a comic figure throughout.
The plot is almost ridiculously simple, and we have already had almost everything revealed. Hazel is not really sick, and so, even though she has entered a world of con-men (as the doctor has previously described reporters: "The hand of God, reaching down into the mire, couldn't elevate one of them to the depths of degradation!"), she is, herself, a fraud. And so, too, is the doctor!
Even though Hazel and the doctor dupe
Wally, so does Wally, through his newspaper, pretend great admiration to gain
sales. The city hands Hazel its key, organizations alter their activities, the
whole of Manhattan, so it seems, opens its heart to the dying woman. But behind
it all, as Wally suggests, is hypocrisy and sentimentality. Wellman's New York
is a cynical world where everyone does what is best for himself.
The couple attend a wrestling match, where
Wally explains to Hazel that the wrestlers are simply performing, playing a
sham. They attend a nightclub, taking in a hammy performance of the great women
of history: Lady Godiva, Helen of Troy, Pocahontas, and Katinka, the Dutch girl
who put her thumb in the dyke among them:
Master of Ceremonies: [introducing on stage performer on horseback] Katinka who saved Holland by putting her finger in the dyke. Show them the finger babe.
Katrinka: [extends bandaged middle finger to audience]
By the time Hazel is invited on the stage, she, feeling more and more
guilty for her deceit, is drunk.
Again the director interrupts his story with more extraneous events: the
doctor dropping by to feed the hung-over patient raw eggs, a children's chorus
performing in her doorway while a squirrel, escaping from one of the boy's
pocket, terrorizes Hazel by crawling across her pillow. Like the scenes before
it, they are not as funny as they are distracting. They obscure our vision, so
to speak. They hide the "awful" truth.
So dispirited is Hazel, particularly since she has tricked Wally, a man she
now loves, she concocts yet another fraud: she will drown herself, leaving a
suicide note, and escape with the doctor waiting in a small boat.
Once more, Wellman throws out a bit of extraneous fluff before he
proceeds. As Hazel sneaks away to throw herself into the river, the Black man
of the first scene sneaks into her room to gather up some flowers for his wife,
discovering the suicide letter in the act.
Hearing of Hazel's intentions, Wally rushes to the river just as Hazel
is about to dive in, propelling her and himself into the dark waters. Hazel
must come to his rescue, since he cannot swim.
This time, however, we can hear them, as Wally proposes marriage and
she, compliantly accepts. A firefighter observes them and speaking in a kind of
Swedish or Norwegian accent, laden with words beginning with J and spoken with
Y's, brings them out of hiding, allowing them to ride back to safety in the
fire truck.
The entire story has now almost been played out. All we need is to see
the couple married off.
But before that occurs, she is visited by three comic doctors of international renown, who ascertain that she is not suffering from radium poisoning, reporting the fact to the newspaper editor.
Wally, called into the editor's office, is kept under house arrest,
while another tough watches over Hazel. The editor, Oliver Stone, is about to
take revenge:
Oliver Stone: I am sitting
here, Mr. Cook, toying with the idea of
cutting out your heart, and
stuffing it, like an olive!
A call from Hazel's room, however,
saves the day. She has pneumonia, and is running a high fever. Stone prays for
her death.
Wally rushes to her room, soon perceiving that she has again deceived
everyone by heating up her thermometer. To bring up her blood pressure and a
sweat in order to convince others of her illness, Wally mocks a fight, finally
slugging her out.
Wally Cook: Listen, my dying
swan, this is no time for faking! You're
going to have pneumonia and
you're gonna have it good!
But Stone has been behind him to
observe the entire scene:
Wally Cook: You mean to say
you stood there and let me beat
a defenseless woman?
Oliver Stone: I did, Mr.
Cook.
Wally Cook: Where's your
sense of chivalry?
Oliver Stone: My chivalry?
Aren't you a trifle confused, Mr.
Cook. You hit her!
Wally Cook: That's entirely
different! I love her!
What to do with Hazel? Her desire to just go away is rewarded, as the
couple are seen kissing—again with objects obscuring their faces—aboard a ship
on their way to their honeymoon.
Through both story and images Wellman does his best to obscure their
happy fate, showing us only the ugly lies of their lives head on. It is almost
as if the director and his writers behind this cynical satire, were trying to
block out everything that brings these two beings together: mutual attraction.
In the end we have to ask ourselves, which is the truth, the fraud and deceit
or love that binds them?
Awakening from his alcoholic stupor, the doctor peers through the
porthole, confusing the facts one more time:
Dr. Enoch Downer: Hazel!
Hazel!! Run for your life! Run for your Life!
The hotel room is flooded!
It is ironic that in this film shot by the director who of the previous decade was so open about his male characters' homosexual desires, almost purposely, after the Code restrictions, hides nearly all of the occasions in this movie that might portray heterosexual attraction and love. He has, in fact, coded and cross-out what Joseph Breen and his board would have surely approved of, heterosexual romance. One can only ask if this possibly represents a thumbing of his nose of the Film Production Code's restrictions? When you can slug a woman openly on the screen, but refuse to the reveal a heterosexual kiss between a soon-to-be-married couple, something is occurring that, as I have long sensed, is certainly odd.
It's also fascinating that the next screen appearance of Hazel Flagg was with Jerry Lewis playing the role as Homer Flagg across from Janet Leigh as reporter Wally Cook who marries the accompanying doctor, Dean Martin. To allow the marriage and keep his close friendship with Martin's character, Lewis' Homer dives even further into the mendacity of the plot by successfully pretending to drown.
Los Angeles, March 8, 2012
Reprinted from International
Cinema Review (March 2012).
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