LOVE CRAZY
US, 1941, 99 minutes. Black and white.
William Powell, Myrna Loy, Gail Patrick, Jack Carson, Florence Bates, Sidney Blackmer, Sig Ruman, Vladimir Sokoloff, Donald Mac Bride, Sarah Haden.
Directed by Jack Conway.
Love Crazy is a very entertaining screwball comedy, coming at the end of the 1930s and at the beginning of a new era of American-style comedy, especially during World War Two and after.
While the plot is fairly preposterous, the chemistry between William Powell and Myrna Loy (who appeared in so many films together at this period, including the Thin Man series) makes it almost convincing.
On the fourth anniversary of their wedding, a whole series of difficult situations occur leading to separation, divorce proceedings, Powell pretending to be mad so that the divorce proceedings will be delayed, even having to be in the care of his wife for five years.
Powell is very good as the suave husband, having to create situations to try to persuade his wife not to divorce him. There is a great deal of slapstick as well as subtle humour in his pretending to be mad and, especially, in his dressing up to pretend that he is his sister. This performance is one of the more convincing performances in drag (akin to Tootsie). Myrna Loy is her usual self as the assured wife, determined to go through the divorce because she has been hurt, equally sure that her husband isn’t mad.
The supporting cast is very good and includes Gail Patrick as a former flame who calmly and enjoying herself, complicates the issues with the couple as well as with her own husband (Donald MacBride). When the wife sets up a jealousy scene, she goes to the wrong room and encounters an artist, played by Jack Carson, who also joins in the spirit of things. Sidney Blackmer is the husband’s lawyer friend, Sig Ruman doing his Germanic style as a kind of Freudian psychiatrist with Vladimir Sokoloff as the prison psychologist. Sarah Haden, usually so demure in the Andy Hardy films, seems to be a nurse at the institution but then turns out to be a patient. However, capping it all is the presence of Florence Bates, always a strong personality, this time as the interfering and meddling mother-in-law.
The film was directed by Jack Conway who directed a number of high-profile MGM films in the 1940s including Boom Town, Honky Tonk and Dragon Seed.
1. The popularity of the screwball comedies of the 1930s? This film in that tradition? The transition from the comedies to the 1940s?
2. William Powell and Myrna Loy, their films together, the screwball comedy tradition?
3. The title, the emphasis on love between Steve and Susan, the craziness in terms of pretending to be mad? Yet madly in love?
4. The New York setting, the chic interiors, the hotels, the courts? The contrast with the countryside, the institution, the offices, the rooms? A typical screwball setting? The musical score?
5. The introduction to Steve, happy, in the elevator, getting stuck, the maid and his preparing the gift for his wife, the four years anniversary? The anniversary plan? His being the suave, sophisticated type? Myrna Loy as the affectionate wife, yet strong-minded type?
6. The mother-in-law, her arrival, domination, the gift of the rug – and the slapstick falls for so many of the characters? Her meddling? Not liking Steve? Giving him the letter to post, being the cause of the chain of events? Susan and her having to pick up Laura, leaving Steve alone? The mother-in-law and her fall, saying her ankle was hurt, having to stay? Seeing Steve talking with Isobel? Her gossip? Her interference in the proceedings, Susan’s leaving Steve? Her encounter with Ward Willoughby and liking him? Her support for her daughter in the separation? Coming back at the end, her being deceived by Steve masquerading as his sister? Her staying, the room, Steve one-upping her? Susan taking a firm stand with her mother?
7. The situation, Steve and his meeting Isobel, being trapped in the elevator, having to climb out, the shoe, the dog, the hat? Suspicions? Susan having to go out, Steve upset, going out with Isobel? His lying, the separation? Going to the office, meeting with George, George and his advice about divorce lawyers? Susan disappearing for two months? Her return, Steve and his intruding in the social? The dancing? The argument? The pool and the mother-in-law in the pool?
8. The legal issues, the thirty days’ delay, the five years’ custodial situation? His pretending to be mad? In the court? At the party, the encounter with the psychologist and the chat? Going to the institution, being trapped? His arguments? Doctor Wuthering and his insistence? Steve compounding the situation? Susan and her visit, her assertiveness? Ward, his mocking Steve, the issue with the fence, the escape plan, Ward tricking Steve and his staying inside? Steve and Ward’s second visit, indicating to the guards that he was an inmate? Steve turning the tables? His escape – with Doctor Wuthering and trying the same trick to get over the fence?
9. The escape, the police after him, his encounter with Isobel, her mannequin and the dress? Pretending to be his sister? Ward, the confrontation with Steve, his being arrested and taken back to the institution?
10. The comedy of the impersonation, voice, look, dress? The braces and the dress coming apart? William Powell’s comedy and timing? Susan and her going along with the situation?
11. Getting the truth from her mother – the fact that Steve was out and not in the apartment? Her being satisfied – and the happy ending?
