Daily Archives: June 25, 2020

The Palm Beach Story

From the Chicago Reader (February 10, 1989). — J.R.

Ale&Quail

The all-time best Rudy Vallee performance is as a gentle, puny millionaire named Hackensacker in this brilliant, simultaneously tender and scalding 1942 screwball comedy by Preston Sturges — one of the real gems in Sturges’s hyperproductive period at Paramount. Claudette Colbert, married to an ambitious but penniless architectural engineer (Joel McCrea), takes off for Florida and winds up getting wooed by Hackensacker. When McCrea shows up she persuades him to pose as her brother. Also on hand are such indelible Sturges creations as the Weenie King (Robert Dudley), the madly destructive Ale and Quail Club, Hackensacker’s acerbic sister (Mary Astor), her European boyfriend of obscure national origins (Sig Arno), and many others. Hackensacker may be the closest thing to a self-parody in the Sturges canon, but it’s informed with such wry wisdom and humor that it transcends its personal nature (as well as its reference to such tycoons as the Rockefellers). With William Demarest, Jack Norton, Franklin Pangborn, and Jimmy Conlin; not to be missed. This screening will be accompanied by a lecture by Virginia Keller. (Film Center, Art Institute, Columbus Drive at Jackson, Tuesday, February 14, 6:00, 443-3737)

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Funny Face

From the Chicago Reader (March 1, 1989). — J.R.

funny-face-c
FunnyFace

Writer Leonard Gershe, director Stanley Donen, and producer Roger Edens take on French existentialism in this colorful and sumptuous 1957 musical, set largely in Paris and starring Fred Astaire and Audrey Hepburn, with a dreamy Gershwin score. Although the anti-intellectualism gets thick in spots, the visuals are consistently stylish. Astaire is a fashion photographer (Richard Avedon supervised his photo sessions), Hepburn a Greenwich Village bookworm transformed into a model (clothes by Givenchy), and Kay Thompson plays their fashion editor. The film’s sophistication is compromised by the rather dumb plot, but some of the numbers — especially “Think Pink” and “Bonjour Paris” — are standouts. 103 min. (JR)

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