Read e-book online The Art of the Screwball Comedy: Madcap Entertainment from PDF

By Doris Milberg

ISBN-10: 0786467819

ISBN-13: 9780786467815

Half one in all this exploration of screwball comedies and their later offspring starts midcentury discussing the careers and love of renowned great stars. Writers and administrators are given their due. half , takes a detailed examine the flicks, from the genre's inception and the celebs that seem in them, finishing with a few strategies concerning the destiny -- through WorldCat.

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Extra resources for The Art of the Screwball Comedy: Madcap Entertainment from the 1930s to Today

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In between are the many producers, directors and writers who gave of their talent and, in some cases, their genius to the art of the screwball comedy. It is time now to take a look at the finished products of these collaborations. PART II. THE SUB-GENRES OF SCREWBALL Chapter Five Screwball Guys and Gals: Heirs and Heiresses Young, attractive, spoiled, very rich, and prone to get into all sorts of zany situations—these are the screwball heirs and heiresses of the 1930s and early 1940s. These high-toned ladies and gentlemen populate some of the most hilarious motion pictures ever made.

This leads to several humorous complications. Anthony Travis ( Joel McCrea) makes no secret of the fact that he would like to be the richest guy in the world. He makes a play for Sylvia (Fay Wray, famous for her blood-curdling King Kong scream), the phony Dorothy, but is attracted to the real one. The latter pushes him away, but soon realizes that she’s fallen for him—and now she is sorry that she started the whole thing. By film’s end, when Travis tells the phony Dorothy that he loves her secretary, the masquerade is revealed.

This leads to several humorous complications. Anthony Travis ( Joel McCrea) makes no secret of the fact that he would like to be the richest guy in the world. He makes a play for Sylvia (Fay Wray, famous for her blood-curdling King Kong scream), the phony Dorothy, but is attracted to the real one. The latter pushes him away, but soon realizes that she’s fallen for him—and now she is sorry that she started the whole thing. By film’s end, when Travis tells the phony Dorothy that he loves her secretary, the masquerade is revealed.

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The Art of the Screwball Comedy: Madcap Entertainment from the 1930s to Today by Doris Milberg


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