SYNOPSIS: "Nothing Sacred" (1937) is a satirical screwball comedy centered around Hazel Flagg, a small-town girl who is mistakenly diagnosed with radiation poisoning. She is brought to New York City by a reporter named Wally Cook, who turns her supposed plight into a sensational news story, making Hazel a media darling. As the truth about her health condition unravels, the film explores themes of media sensationalism and celebrity culture with sharp wit and humor.

The film was produced by David O. Selznick, an influential figure known for his meticulous and hands-on approach to filmmaking, ensuring high production standards. Directed by William A. Wellman, the film benefits from his adept handling of various genres, particularly his expertise in directing comedies. The screenplay, written by the prominent Ben Hecht, is based on James H. Street’s short story "Letter to the Editor." Hecht's script is known for its incisive dialogue and satirical edge, which are key elements of the film's appeal.

PLOT Spoiler Alert: "Nothing Sacred" opens in the small town of Warsaw, Vermont, where Hazel Flagg (Carole Lombard) works in a factory. Believing she is dying from radium poisoning, Hazel is despondent. When Dr. Enoch Downer (Charles Winninger) reveals his diagnosis was mistaken and she is perfectly healthy, Hazel is initially relieved but quickly becomes frustrated as her dreams of a grand send-off are shattered.

Meanwhile, in New York City, Wally Cook (Fredric March), a reporter for the Morning Star, is in trouble after a publicity stunt backfires. Desperate to redeem himself, Wally convinces his editor, Oliver Stone (Walter Connolly), to let him find a sensational story. Wally discovers Hazel’s story and, unaware that she is not actually dying, travels to Vermont to bring her to New York for an exclusive series of articles.

Hazel sees this as an opportunity to escape her mundane life and agrees to go along with the deception. Once in New York, she is given a hero’s welcome and is showered with gifts and attention. Wally and Hazel develop a romantic relationship, complicating the situation as Hazel becomes increasingly guilty about her lie.

As the charade continues, Dr. Downer arrives in New York and, to his horror, discovers Hazel's deception. He tries to reveal the truth but is dismissed as a crank. Hazel's growing affection for Wally and her guilt lead her to confess the truth to him, but Wally believes she is lying out of modesty or delirium.

The climax occurs during a lavish benefit event held in Hazel’s honor. Wally finally understands the truth when Hazel's healthy appearance and actions raise suspicion. However, instead of exposing her, he decides to help her escape the public eye. They plan a fake suicide, making it appear that Hazel has thrown herself into the river. The ruse is successful, and the couple flees, deciding to start anew.

The film concludes with Wally and Hazel married and living happily in Vermont, far from the media frenzy. Wally, despite the initial deception, admires Hazel's spirit and resilience, and they embrace a quieter, more genuine life together.

PRODUCTION: "Nothing Sacred" is a landmark film in American cinema, notable for its groundbreaking use of Technicolor in the screwball comedy genre. The film was produced by David O. Selznick, directed by William A. Wellman, and the screenplay was crafted by the prominent screenwriter Ben Hecht, known for its sharp wit and incisive dialogue, contributing to the film’s fast-paced, humorous, and satirical tone. Hecht's screenplay is based on James H. Street’s short story, "Letter to the Editor," which provides the foundation for the film’s plot about a small-town girl mistakenly believed to be dying of radium poisoning, leading to a media frenzy.

One of the film's most notable achievements is its vibrant color cinematography by W. Howard Greene. "Nothing Sacred" was one of the first screwball comedies shot in Technicolor, showcasing the potential of this new technology in enhancing the visual appeal of comedies. The use of Technicolor was technically challenging and required careful planning and execution, marking a significant milestone in the film industry and paving the way for more widespread use of color in Hollywood.

The cast features Carole Lombard as Hazel Flagg, delivering one of her most celebrated performances, and Fredric March as Wally Cook, a newspaper reporter caught up in the central comedic situation. Lombard’s comedic talent and screen presence, combined with March’s versatility, brought the characters to life with great charm and energy. The film was produced by Selznick International Pictures and distributed by United Artists, with the primary filming taking place on studio sets in Hollywood and some location shooting to capture the small-town ambiance central to the story. The production design, including sets and costumes, was tailored to take full advantage of Technicolor, utilizing bright and bold colors to enhance the comedic and satirical tone of the film.

During its production, "Nothing Sacred" had to navigate the constraints of the Production Code (Hays Code) to ensure it met the standards of decency required for release. The film’s score, composed by Oscar Levant, further contributed to its overall comedic and lively atmosphere. 

RELEASE: "Nothing Sacred" premiered on November 26, 1937, and was distributed by United Artists, a major studio known for supporting innovative and high-quality films. The film's premiere took place at the Radio City Music Hall in New York City, a prestigious venue that underscored its importance. The event was attended by many notable figures in the film industry, generating significant media coverage. Upon its release, "Nothing Sacred" received widespread acclaim from critics for its witty script, vibrant Technicolor cinematography, and strong performances, particularly those of Carole Lombard and Fredric March. Critics praised the film’s sharp satire on media sensationalism and its fast-paced, humorous narrative.

The film performed well at the box office, attracting large audiences who were eager to see one of the first screwball comedies in Technicolor. Its financial success further established David O. Selznick as a leading producer in Hollywood. The combination of star power, innovative use of color, and a compelling story contributed to the film's strong box office performance. It was especially popular in urban areas where audiences were more familiar with the stars and the Technicolor novelty. Although "Nothing Sacred" did not win major awards, it has since been celebrated as a significant film in American cinema history. Over the years, the film has been included in various lists and retrospectives highlighting classic screwball comedies and important Technicolor films.

The film’s release had a lasting impact on the screwball comedy genre, setting a precedent for future comedies that blended humor with social commentary, influencing the style and tone of many films that followed. The film's success helped solidify Carole Lombard's status as a leading actress in Hollywood and showcased Fredric March’s versatility as an actor. 

In the years following its initial release, "Nothing Sacred" has undergone critical reappraisal, with contemporary critics and film historians acknowledging its importance in the history of American cinema. The film is frequently studied and discussed in academic settings for its innovative use of Technicolor, its satirical take on media culture, and its place within the screwball comedy genre. Its themes of media sensationalism and celebrity culture remain relevant, and its style and humor have been echoed in various works over the years. The film’s dialogue, characters, and scenarios have been referenced and parodied in other films and TV shows, demonstrating its enduring impact on popular culture. Overall, the release of "Nothing Sacred" marked a significant moment in film history, showcasing the potential of Technicolor in comedies and setting a high standard for the genre with its sharp wit and satirical edge. Its continued popularity and influence underscore its status as a classic of American cinema.

CAST:

• Carole Lombard as Hazel Flagg

• Fredric March as Wally Cook

• Charles Winninger as Dr. Enoch Downer

• Walter Connolly as Oliver Stone

• Sig Ruman as Dr. Emil Eggelhoffer

• Frank Fay as Master of Ceremonies

• Troy Brown Sr. as Ernest Walker

• Maxie Rosenbloom as Max Levinsky

• Margaret Hamilton as Vermont Drugstore Lady

• Hattie McDaniel as Mrs. Walker

• Olin Howland as Vermont Baggage Man

• Raymond Scott as Musical leader
  

CREW:

• Director: William A. Wellman

• Producer: David O. Selznick

• Writer: Ben Hecht

• Cinematographer: W. Howard Greene

• Editor: James E. Newcom

• Music: Oscar Levant

• Art Director: Lyle R. Wheeler
  

Production Company: Selznick International Pictures
Distributor: United Artists

Release Date: November 26, 1937
Country of Origin: United States
Running Time: 77 minutes
Budget: $1.8 million
Box Office Return: $2 million

IMDB Rating =  6.8 / 10

TRIVIA:

• Ben Hecht wrote a role for his friend John Barrymore, but David O. Selznick refused to hire Barrymore due to his alcohol abuse. Hecht refused to work on any more drafts and quit the film.

• Carole Lombard said that this was one of her favorites of the films she made.

• When this film was re-released in 1945 by Film Classics, it was not deemed important enough to be reprinted in Technicolor. Prints were struck in the less expensive--and far inferior--Cinecolor process, and this was the only way it was to be seen for the next 40 years, until its Technicolor restoration in the 1980s.

• Boxer Maxie Rosenbloom, who also acted in this film, gave boxing lessons to Carole Lombard before her "bout" with Fredric March in this film.

• Carole Lombard's only Technicolor film.

• Apparently because her usually pale blonde tresses did not photograph well in Technicolor, Carole Lombard's hair is a reddish blonde. Her "normal" look can be seen in the newspaper clipping that Fredric March shows to several residents of Warsaw, VT, when he first tries to track her down.

• The first "screwball comedy" shot in color.

• After one fight scene with Fredric March, Carole Lombard had to take the following day off to recuperate from her scratches and bruises.

• The snooty society matron who berates Hazel and Wally for "besmirching the memory of that gallant girl Hazel Flagg" is played by a well-known character actress whose acting career was on the skids when she accepted this role. The following year she would take up the assignment for which she became famous--"Hedda Hopper's Hollywood" debuted in the "Los Angeles Times" in 1938 and eventually would be syndicated in hundreds of newspapers across America, making Hopper the rival (and equal) of William Randolph Hearst's popular gossip maven Louella Parsons.

• The failure of the original copyright holder to renew the film's copyright resulted in its falling into public domain. The Walt Disney Company, which owns the negatives through its purchase of the Selznick collection.

• The role of Hazel Flagg was originally intended for Janet Gaynor after the huge success of A Star Is Born (1937).

• Sig Ruman plays the same character, Dr. Emil Eggelhoffer, in the 1953 Dean Martin and Jerry Lewis remake of this same material, Living It Up (1954).

• This film and one of David O. Selznick's biggest hits, the original version of A Star Is Born (1937), were made in the same year. Both were made in Technicolor, both starred Fredric March, and both were directed by William A. Wellman. The main difference is that 'A Star is Born' was a huge hit which spawned multiple remakes, while this film, though highly regarded by critics and film historians, failed to turn a profit.

• The fourth bearded doctor from Vienna who inspects Carole Lombard to determine if she's faking her "radium poisoning" is played by Monty Woolley. Though he appears without credit here, Wooley later would come to fame playing the title role in both the Broadway and movie versions of The Man Who Came to Dinner (1941).

• Remade as the Dean Martin / Jerry Lewis comedy Living It Up (1954), with Lewis playing the Carole Lombard character, Martin playing the doctor and Janet Leigh replacing Fredric March.

• Included among the American Film Institute's 2000 list of the 500 movies nominated for the Top 100 Funniest American Movies.

• The "little boy" who rushes out from a picket fence to bite Fredric March's leg in Warsaw is actually midget actor Billy Barty.

• Top-billed Carole Lombard doesn't appear until 16 minutes into the picture.

• Included among the American Film Institute's 2002 list of 400 movies nominated for the top 100 top 100 America's Greatest Love Stories movies.

• "Nothing Sacred" was one of the first screwball comedies filmed in Technicolor, which added to its visual appeal and comedic impact.

• Carole Lombard's performance as Hazel Flagg is considered one of her best, showcasing her comedic timing and charm.

• The film's biting satire of the media and public gullibility remains relevant, with its commentary on sensationalism and fame.

• Fredric March and Carole Lombard's on-screen chemistry added depth to the film's romantic subplot, balancing the satirical elements with genuine emotion.

• The screenplay by Ben Hecht is renowned for its sharp wit and clever dialogue, making "Nothing Sacred" a standout in the screwball comedy genre.

• The film's production was marked by behind-the-scenes challenges, including conflicts between Selznick and Wellman over creative control, but these did not detract from the final product's quality.

• "Nothing Sacred" has been preserved in the United States National Film Registry by the Library of Congress for being "culturally, historically, or aesthetically significant."

"Nothing Sacred" remains a beloved classic, celebrated for its humor, innovative use of color, and astute social commentary. Its enduring appeal lies in its ability to entertain while delivering a poignant message about the nature of fame and media sensationalism.