utgard14 Prosecuting attorney Fred MacMurray arranges bail for shoplifter Barbara Stanwyck, then takes her home to meet his family at Christmas. Along the way they fall in love. This is a real gem. It pairs MacMurray and Stanwyck together for the first time. They would, of course, appear together again a few years later in a certain little movie called Double Indemnity. Perhaps you've heard of it. Both stars are in top form here. Backing them up is a fine supporting cast that includes Beulah Bondi, Elizabeth Patterson, and Sterling Holloway. A charming Christmas romantic comedy with a great script from Preston Sturges. It's a wonderful blend of the sentimental and the cynical. Despite some complaints I've read, I found the ending to be appropriate and gutsy for a romantic comedy. My favorite scene is probably the one early on where Stanwyck's lawyer (Willard Robertson) appeals to the jury. "Hypnotism!" Classic Sturges. Give this one a shot and I'm sure you won't be disappointed. It's a terrific Christmas film but also sure to please most romantic comedy fans.

marylois-788-910304 REMEMBER THE NIGHT is one of my favorite Christmas movies, and maybe one of my favorite movies of any genre. The characters, quirky and sympathetic, endowed by writer Preston Sturges with his own unique brand of offbeat wit and wiliness, ring true from the opening sequence to the wrenching last scene.Barbara Stanwyck is at the peak of her beauty, but here she plays a hardboiled shoplifter, cynical and icy. Her foil is the savvy D.A., played by Fred MacMurray at his most beguiling best. We learn early on that, although working the tough New York streets, they are both from Indiana, giving them the corn-fed, all-American heartland background, and making them somehow, in spite of being on the opposite sides of the law, perfectly right for each other.A road trip to Indiana (with "Back Home in Indiana" woven into the sound track) brings them to Barbara's home, where Fred intends to drop her off for a Christmas visit. What ensues is one of the most effectively chilling scenes I've ever seen in a movie--a convincing picture of a mother with a hard heart and the total devastation of her daughter as a result. Stanwyck melts before our eyes. The brief performance of Georgia Caine, an actress unknown to me before this film, is one of the subtlest yet most powerful I've ever seen.The bleak atmosphere is soon contrasted with the genuine warmth and tenderness--and Christmas spirit--of the home Fred grew up in. Beulah Bondi, Elizabeth Patterson, and Sterling Holloway create a totally convincing family, and Barbara's reaction to them, reflected in the sparkle in her eyes that seems to come from nowhere, is a hallmark of great film acting. I'm a sucker for families singing around the piano, and this scene is one of the most touching in any holiday movie. Sterling Holloway suddenly volunteers that he can "sing 'The End of a Perfect Day'" and Bondi retorts, "So can everybody," but soon he is singing it with full conviction and Stanwyck is accompanying him at the piano.This is a complex little movie, full of lights and shadows, and ending on a slightly unsatisfying dark note. But you leave it pondering exactly what will happen next, and you can't help but think it will all work out well somehow. You have met some complete human beings, of another time and place, and they have stolen your heart.

MARIO GAUCI Like Christmas EVE (1947) that I watched the day before, this is a vintage Yuletide Hollywood film that should be better known in view of the talents involved; however, unlike the later film – which, given its undeserving *½ rating on Leonard Maltin's Film Guide, I was not expecting much from and was somewhat pleasantly surprised by the outcome – this turned out to be something of a disappointment. Not that it is in any way bad but, having a stylish director like Leisen, a peerless screenwriter like Preston Sturges and the sure-fire teaming of Barbara Stanwyck and Fred MacMurray, it should have been a comedy classic. Rather tellingly, it seems to me, the film proved Sturges' last screenplay assignment before embarking on his meteoric directorial career that redefined the screwball genre; needless to say, the two leads would subsequently be iconically reteamed in Billy Wilder's seminal noir, DOUBLE INDEMNITY (1944) and twice more thereafter in the following decade which I am not familiar with.Anyway, the narrative revolves around an attractive chronic shoplifter (Stanwyck) who gets away with an expensive bracelet from one shop but is apprehended when trying to pawn it in another; MacMurray is the prosecuting D.A. who, after suffering through the would-be heart-rending histrionics of her has-been thespian attorney, secures a recess until after the festive season but gets a change of heart upon watching Stanwyck make her way to spending Christmas in police custody. Therefore he arranges to pay her $5,000 bail but the bondsman misconstrues his interest and dumps her on his doorstep – to the bemusement of MacMurray's "dumb" colored butler! Given the situation and the time of year, he takes her out to a dinner dance (where he embarrassingly comes face-to-face with the presiding judge) but, upon discovering that they both hail from Indiana and that she had not been home for the holidays in years, they are soon en route together to their old hometown. Unfortunately, since MacMurray only makes this trek once a year, they get lost and spend the night in a farm and wake up surrounded by a herd of cows and their irate owner who, once again misinterpreting the situation, rides them off to the Justice of the Peace at gunpoint. Thankfully, Stanwyck's quick wits – that had seen her slid out of many a jam with the law in the past – come to their rescue as she almost sets the latter's office on fire.So far, so humorous...even if it never quite reaches the zany heights of Leisen's earlier classics EASY LIVING (1937; from another Sturges script) and MIDNIGHT (1939; from a Billy Wilder-Charles Brackett screenplay). However, when the couple hit Indiana, the laughs mostly subside and are unfortunately supplanted by grim domestic melodrama (Stanwyck's confrontation with her unforgiving mother who has since remarried) and corny sentimentality (MacMurray's family includes concerned mother Beulah Bondi and future Sturges stalwart Sterling Holloway as an annoying simpleton of a farmhand). The expected local color (for those who like this sort of thing) comes courtesy of home-made sweet cooking, a philanthropic bazaar, a barnyard New Year's Eve dance and a series of individual piano renditions/sing-a-longs by the two stars and Holloway. The return trip to New York takes them to a romantic stroll along Niagara Falls (to avoid meeting up again with the proprietor of the arsoned "Justice of the Peace" office) but, as they reach the Court in the same taxicab, each decides to "throw" the case in favor of the other party…but since Stanwyck admits her guilt (following MacMurray's overzealous grilling intended to win the defendant the jury's sympathy), there is little else for them to do except for a concluding teary-eyed reconciliation in the court's elevator in which they swear each other eternal love. For the record, this was MacMurray's fourth of 9 films he made with director Leisen and he was also the nominal star of one of the most notorious of all Christmas movies, THE MIRACLE OF THE BELLS (1948; co-starring Frank Sinatra as a priest)!

cstotlar-1 Preston Sturges' movies have seldom interested me. A few he directed at the beginning of his career I did enjoy however. The Eddie Bracken films to me were ugly, obvious and completely unsubtle. When I realized that this film was scripted by him, only Mitchell Leisen's name induced me to see it through and was I ever happy I did. This is not a plot-driven nor a gimmick-driven movie at all but rather a character study and a beautiful one at that. MacMurray and Stanwyck made perfect sense her and the absence of humor in general was welcome and gentle. Nothing artificial stands in the way of this love story which casts a spell entirely of its own from beginning to end. I highly recommend it as a welcome antidote to those Chrastmas films good and bad that invade our screens every year.Curtis Stotlar