Made in 1941, Sullivan's Travels is amazingly fresh and amusing even 74 years later. It is a classic Hollywood comedy, full of snappy dialogue and with an incident-packed plot. The casting is excellent, especially Joel McCrea as the idealistic star who knows little of the real world, but also in terms of all the commercially-minded Hollywood executives that Sullivan/McCrea is up against. He wants to engage the film industry in a campaign against poverty. The execs only agree when they begin to see PR opportunities in the research expeditions that he embarks on. Hence the ludicrous scenes when he tries to go out and meet the poor with an army of execs and the studio catering van on his heels.
There is a timeless quality to the story. Literature has many idealistic young men whose intentions are admirable but who lack the worldly wisdom that is needed to realise them. Fortunately the idealist meets a young woman who has slightly more of a clue (Veronica Lake) and they start to make progress together, both in terms of his quest and in terms of romance, of course. It is to the great credit of the film-makers that this delightful comedy also has the decency to show some scenes of real Depression-era poverty - homeless people sleeping in communal shelters and relying on the soup kitchens to survive. Acknowledging that reality gives the film an extra dimension and shows that great comedy can have a sense of moral commitment and still be deliriously funny. The idealistic young reformer may be shown to be laughably naive, but he is right about the existence of poverty and the need for political action to remedy it. We may laugh at his mistakes, but we recognise his worth as a decent, compassionate person. Likewise we recognise the film as a hilarious comedy, but we feel also the decency and compassion which give it substance.
One of the great Hollywood classics, comedy with heart and social commentary. Veronica Lake’s hair is one of the unsung wonders of the world.
There's an irony in Preston Sturges directing such a preachy and didactic story to protest that comedies had become... too preachy and didactic. Joel McCrea plays Sullivan, a director of light entertainment who goes off the map to research social realism set among the victims of the depression. He is a tourist who travels through the despair of the poor.
His conclusion is that the destitute need more laughs. Which is facile and patronising. We are encouraged to sympathise with the human cost of this vast wave of hardship, but then the super-rich Sullivan cracks a joke lamenting his income tax. We are asked to recognise the dignity in poverty of black communities, but then Sturges writes in an abhorrent racist character.
Some of the problem is McCrea and Veronica Lake- as a failed actor- aren't great comedy actors, and she is too glamorous for a never-was. But, this does work as insider's account of the real Hollywood. While there are the director's usual abundance of pratfalls there is a dusting of decent verbal comedy, though plenty of editorialising too.
Screwball comedy was over by '41, for the reasons Sullivan gives: war in Europe; the rise of fascism; global economic decline. And because its motifs were worn out. Sullivan/Sturges' theory that people need to laugh in the shadow of crisis wasn't true. Over the next decade, comedy got darker, more diverse, and (arguably) less funny. The golden age was over.