Taken from a charming, not quite satisfying Ferenc Molnár comedy (a big success on B’way with Helen Hayes, Walter Connolly & a tacked-on ten-years-later epilogue to straighten out unresolved problems), Preston Sturges’ reworked script legitimately shows a very free hand, not just opening up the one-set play, but also in finessing Production Code objections. It doesn’t all come off, some of the physical farce now seems labored, but thanks to William Wyler’s command of mise-en-scène, it gains traction as it goes along, building character sympathy and really coming together in a stunningly well-constructed comic chase climax. Margaret Sullavan is the eponymous ‘fairy,’ a naïve orphan (in Sturges’ revision) chosen to work as a movie theatre usherette where she meets-cute with Reginald Owen, an eruptive waiter who opens her to a world of luxurious possibilities and wealthy ‘sponsors.’ That’d be Frank Morgan as the hopeful sponsor, put off when Sullavan slows down his advances with an imaginary husband. No problem, Morgan’s happy to sponsor this ‘husband.’ Problem solved, affair on. And the husband is . . . ? Enter struggling lawyer Hebert Marshall, a name plucked out of the phone book, but set for sparks to fly when Sullavan awkwardly enters his office & life. As mentioned, a bit of tolerance needed here & there (Sturges working out ideas he’d tackle again in CHRISTMAS IN JULY/’40 and THE PALM BEACH STORY/’42*), but even as it stands, pretty charming, pretty adorable, pretty darn funny. And check out that stellar supporting cast!
DOUBLE-BILL: Sturges still working out kinks in the plot when he tried this as MAKE A WISH, a semi-flop 1951 B’way musical for Nanette Fabray. Even with a score by Hugh Martin, it’s all but vanished; instead try the two Sturges classics mentioned above.
ATTENTION MUST BE PAID: By MAKSQUIBS as this got written up 12 years back. At least it’s 'new & improved!' The coronavirus quarantine is eating my memory!
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