Betty Hutton and Eddie Bracken Ascend in Preston Sturges' Miracle

 

Possibly the 1940’s wildest, sauciest and most inventive comedy, ace writer-director Preston Sturges’ uninhibited The Miracle of Morgan’s Creek provides a riotous ride for viewers during its 99 minutes, while artfully dodging Hays Code edicts throughout. Concerning the exploits of Trudy Kockenlocker, a lively young woman who sends the boys off to WWII with flair but later regrets her avidness, as she can’t remember who she might have married during an eventful night on the town, Sturges concocts an original screenplay that remains surprising and bold eighty years later. A top cast, led by Betty Hutton as Trudy, Eddie Bracken as her nervously nebbish suitor Norville, William Demarest as continually perplexed father, Diana Lynn as one of cinema’s sagest and snappiest little sisters, and a slew of Sturges regulars, dive into their roles with aplomb, skill and great comic dexterity, aiding in making this 1944 classic one of the era’s most enjoyable and memorable films.

At the height of his powers after a string of hits, the multi-talented Sturges’ creative juices were in full flow while devising Miracle in late 1942-early 1943 (the film’s release was delayed about a year). A true renaissance man after a fascinating childhood which included traveling with Isadora Duncan’s dance troupe, Sturges dabbled as an inventor and in the U.S. Army among other interests before starting his successful career as a writer for stage and films, breaking through with 1929’s Strictly Dishonorable on Broadway and as a writer-for-hire in movies and, starting with 1933’s The Power and the Glory, creating solo screenplays, with The Good Fairy, Easy Living and Remember the Night among his best script. Looking to gain more control of his work, starting in 1940 Sturges entered a golden period as writer/director at Paramount Studios with The Great McGinty, which brought him an Oscar for Original Screenplay, followed by (in short order) classics such as The Lady Eve, Sullivans Travels and The Palm Beach Story prior to helming Miracle. Clearly understanding his craft, it’s been stated Sturges would have to stuff a handkerchief in his mouth during takes to stifle his laughter, and his skill in setting up scenes for maximum hilarity is in full evidence in Miracle, with slapstick sequences and deft twists in the plot keeping the story moving in a consistently mesmerizing and amusing manner. Sturges would follow up Miracle with another classic WWII-themed comedy in 1944, Hail the Conquering Hero, before his fortunes onscreen would take a drastic downturn, with 1948’s Unfaithfully Yours, a flop in its day but now largely considered among Sturges’ best work, a late-career highlight for one of the cinema’s the most imposing talents.

The irrepressible Betty Hutton, a recent Paramount contract player after achieving success on Broadway, found her ticket to top stardom as the livewire-ish Trudy. Often explosive onscreen to the delight of many and regret of some, the buoyant Hutton’s talents prove an ideal fit for the free-spirited, extroverted and jovial Trudy. Working in terrific tandem with Sturges, Hutton reigns in her expansive emoting style enough to find a believable emotional balance in the character, illustrating both Trudy’s gregarious attitude while whooping it up with the G.I.’s while also adding dramatic complexity to the heroine when faced with conflict before and after her night of frivolity, managing to keep Trudy rooted in Sturges’ realm of boisterous comedy throughout. It’s a rich, entertaining portrayal that shows how appealing and effective Hutton could be onscreen with the right material and direction. Hutton would go on to resounding success during the next ten years, highlighted by her moving, vibrant work in the smash 1950 film adaptation of Annie Get Your Gun and a lead role in 1952’s Nest Picture Oscar winner, The Greatest Show on Earth, in addition to a string of 1940’s pop hits as a star Capital Records’ recording artist, including a #1 hit, “Doctor, Lawyer and Indian Chief.” However, after the blockbuster success of Greatest Show and starring in a Blossom Seeley biopic, Somebody Loves Me, the temperamental Hutton had a falling out with Paramount and quickly found her fortunes ebbing. Several comeback attempts reaped scant results in regard to rebuilding her career, but shortly before her death she gave a touching interview with Robert Osborne on TCM whereupon she reflected on her life (including an admirable, successful return to college during her later years) and amazing career.

Eddie Bracken was also on a sharp rise career-wise in 1944. As the earnest, nervous Norval Jone, who bears a lifelong endearment towards Trudy and proves his devotion in unorthodox ways, often to uproarious effect, Bracken holds the screen with energetic comic brio as Norval chaotically attempts to handle a series of mishaps with an increasingly jittery demeanor. He teams perfectly with Hutton in some of these scenes, with the dynamic duo creating a level of vibrancy rarely seen on the screen. With one of the greatest onscreen one-two punches ever in a single year, Bracken would follow-up Miracle with possible even more impactful work as a similarly hapless but identifiable and humane protagonist in Sturges’ supreme Conquering Hero follow-up. After this incredible year, Bracken would work in films and television to lesser effect, with a welcome late-career return to the spotlight alongside the Griswolds near the end of 1983’s hit National Lampoon’s Vacation.

Diane Lynn, after gaining much attention as the precocious teenage sidekick to Ginger Rogers in 1942’s The Major and the Minor, scores even more resoundingly in her distinct mature-beyond-her-years mode as Emmy, Trudy’s, wise-cracking, ultra-sage sister, who offers her befuddled sibling pertinent advice regarding her predicament, while trading barbs with her constantly exasperated father. As Constable Kockenlocker, Sturges’ regular William Demarest has perhaps his finest screen role, emphasizing both the Constable’s frequently irascible state, and his more caring, protective nature towards his daughters (Demarest would also score heavily opposite Bracken in Conquering Hero). Other key players, including several from Sturges’ “stock company,” include Porter Hall, Al Bridge, Emory Parrell, Esther Howard, Almira Sessions and, zestfully reprising their roles from McGinty to open Miracle and set the tone for the madcap antics to come, Brian Donlevy and Akim Tamiroff.

An outstanding success upon release in February of 1944, The Miracle of Morgan’s Creek became one of Paramount’s leading money makers for the year, as well as scoring with awed critics who marveled at the latest example of Sturges’ mastery with the comedy genre. The film would go on to place among the top ten films of the year on both The New York Times and The National Board of Review lists, with the Board also singling out Hutton among the best actors of the year. At the Oscars, in a rare occurrence Sturges found himself cited twice in the Original Screenplay category, for both Miracle and Conquering Hero. Time has validated the movie’s place among Sturges’ greatest work (and therefore among the best comedies ever), with its position at #54 on the AFI’s 100 Years. . .100 Laughs list in 2000 and inclusion on the 2001 National Film Registry preservation list. Viewers searching for one of the zaniest, cleverest film classics will have an easy time rolling along with this true cinematic Miracle.