Nothing Sacred

Nothing Sacred, released in 1937, is a dynamic blend of comedy and drama that made a mark in the history of American cinema. Starring glamorous Carole Lombard and the compelling Fredric March, the film was one of the earliest Technicolor productions and a seminal work in the screwball comedy genre. Also featuring talent such as Charles Winninger, Walter Connolly, and Sig Ruman, the film boasts an impeccable star cast that enhances its ability to entertain.

The cinematic gem was directed by William A. Wellman, a director renowned for his adept handling of a variety of genres. The film owes its Technicolor brilliance to Wellman's visionary direction and W. Howard Greene's exceptional cinematography. The film's script – a sublime blend of satire and romance penned by Ben Hecht – kept audiences engaged while also making pertinent comments on society.

As the movie begins, we are introduced to the bustling city life of New York, where our male protagonist, Wally Cook (played by Fredric March), is engaged as a hard-nosed reporter for a popular newspaper. Cook is a charmingly cantankerous character, always looking out for the next big scoop. When he ends up in hot water with his editor for a rather inaccurate report, he is relegated to the obituary section, a post considered lowly in the high-pressure world of journalism.

Desperate to regain his position, Cook seizes upon a story that seems to offer him a chance at redemption. Hazel Flagg (played by Carole Lombard), a woman from rural Vermont, is reported to be suffering from radium poisoning. Seeing an opportunity to exploit this tragedy, he convinces his editor to let him interview the 'dying woman,' hoping that her story will touch the hearts of their readers.

Carole Lombard's portrayal of Hazel is immensely enjoyable. Her sassy demeanor combined with an underlining layer of vulnerability gives depth to her character. Lombard impresses with her stunningly modern performance, a highlight of the film which demonstrates why she was one of the leading ladies of her time.

As the plot twists and turns in a series of hilariously convoluted events, the city folks are pitted against the country bumpkins, creating ripples of laughter. The cast members play off each other brilliantly, portraying their exaggerated characters with aplomb while satirizing the sensationalism in the newspaper industry and the urban culture's gullibility.

The dialogue is sharp, the comedic timing impeccable, and the performance of Lombard and March, complemented by the supporting cast, is spot on. The elements of comedy, satire, and romance are balanced delicately, which makes Nothing Sacred a delightful watch.

In line with the screwball comedies of that era, Nothing Sacred marries humor with social criticism. While the film is filled with rib-tickling sequences, it uses its comedic lens to critique aspects such as journalistic ethics, fame, and social manipulation. Beneath its lighthearted exterior, the movie is packed with clever satire, illuminating the downside of the powerful media industry and the people's fascination with tragedy.

By using Technicolor, the film not only tickled the audience's funny bone but also delighted their eyes. The bright, vivid colors aligned perfectly with the vibrant energy of the film, making the viewing experience more dynamic.

Ultimately, Nothing Sacred is a top-notch screwball comedy that must be celebrated for its early use of Technicolor, superior performances, and a robust script. The film's impression did not end at its release but continues to resonate with several film lovers for its biting social commentary and unforgettably uproarious sequences.