page_title: Preston Sturges
section_title: Studio battles
hierarchical_section_title: Preston Sturges / Career / Studio battles
caption_attribution_description: Cropped screenshot of Veronica Lake and Joel McCrea from Sullivan's Travels.
context_page_description: Preston Sturges was an American playwright, screenwriter, and film director. In 1941, he won the Oscar for Best Original Screenplay for the film The Great McGinty, his first of three nominations in the category.
  Sturges took the screwball comedy format of the 1930s to another level, writing dialogue that, heard today, is often surprisingly naturalistic, mature, and ahead of its time, despite the farcical situations. It is not uncommon for a Sturges character to deliver an exquisitely turned phrase and take an elaborate pratfall within the same scene.
  Prior to Sturges, other figures in Hollywood had directed films from their own scripts, however Sturges is often regarded as the first Hollywood figure to establish success as a screenwriter and then move into directing his own scripts, at a time when those roles were separate. Sturges famously sold the story for The Great McGinty to Paramount Pictures for $1, in return for being allowed to direct the film.
context_section_description: Production on these films did not always go smoothly. The Miracle of Morgan's Creek was literally being written by Sturges at night even as the production was being filmed in the daytime, and Sturges the screenwriter was rarely more than 10 pages ahead of the cast and crew.
  Despite box office success for The Lady Eve and The Miracle of Morgan's Creek, conflict with Paramount's studio bosses increased. In particular, executive producer Buddy DeSylva never really trusted his star writer-director and was wary (and arguably jealous) of the independence Sturges enjoyed on his projects. One of the sources of conflict was that Sturges liked to reuse many of the same character actors in his films, thus creating what amounted to a regular troupe he could call upon within the studio system.  Paramount feared that the audience would tire of repeatedly seeing the same faces in Sturges productions. But the director was adamant, stating, "[T]hese little players who had contributed so much to my first hits had a moral right to work in my subsequent pictures."  The way Sturges wrote and directed these actors created a succession of what film critic Andrew Sarris later called "self-expressive cameos of aggressive individualism."
  Members of Sturges' unofficial "stock company" included: George Anderson, Al Bridge, Georgia Caine, Chester Conklin, Jimmy Conlin, William Demarest, Robert Dudley, Byron Foulger, Robert Greig, Harry Hayden, Esther Howard, Arthur Hoyt, J. Farrell MacDonald, George Melford, Torben Meyer, Charles R. Moore, Frank Moran, Jack Norton, Franklin Pangborn, Emory Parnell, Victor Potel, Dewey Robinson, Harry Rosenthal, Julius Tannen, Max Wagner and Robert Warwick. In addition, Sturges re-used other actors, such as Sig Arno, Luis Alberni, Eric Blore, Porter Hall and Raymond Walburn, and even stars such as Joel McCrea and Rudy Vallee, who both made three films with Sturges, and Eddie Bracken, who did two.
  The prolonged clashes between Sturges and Paramount came to a head as the end of his contract approached. He had filmed The Great Moment and The Miracle of Morgan's Creek in 1942 and Hail the Conquering Hero in 1943, but Paramount was suffering from a surfeit of films.  Indeed, some of the studio's finished movies were sold off to United Artists, which needed films to distribute. The studio held onto Sturges' three films, since he was their star filmmaker at the time, but did not immediately release them.
  Internally, studio heads expressed serious reservations about them, as did the censors at the Breen Office. Sturges managed to get The Miracle of Morgan's Creek released with only minor changes, but The Great Moment and Hail the Conquering Hero were taken out of his control and tinkered with by DeSylva. When the revamped Hail the Conquering Hero had a disastrous preview, Paramount allowed Sturges – who by that time had left the studio – to come back and fix the film.  Sturges did some rewriting, shot some new scenes, and re-edited the film back to his original vision, all without pay. He was unable to similarly rescue The Great Moment, however. The historical biography about the dentist who discovered the use of ether for anesthesia ended up being Sturges' only flop during this period. More significantly, it marked the onset of a downturn from which Sturges did not fully recover.
caption: Veronica Lake and Joel McCrea in Sullivan's Travels (1941)
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