In his column “How About Now,” Mason Barrett ’28 reviews classic films through a modern lens.

This review contains spoilers. 

When I look back on the history of cinema, I find that many films continue to hold up with timeless themes and endearing characters, while others become aberrant or gross when illuminated by a modern light. And then there’s “Sullivan’s Travels,” which somehow manages both.

Released in 1941, Preston Sturges’ “Sullivan’s Travels” tells the tale of John Sullivan (Joel McCrea), a successful film director who wishes to make a film reflective of the suffering and hardship he sees in the world. Upon the realization that he’s lived too sheltered of a life to make such a film, Sullivan sets out on an experiment: to try his hand living as a tramp. Along the way he meets a gorgeous, struggling actress (Veronica Lake) who demands to be brought along. In the end, Sullivan realizes the importance of humor in times of hardship and decides to return to making comedies. 

“Sullivan’s Travels” is Hollywood’s gift to itself. The film was a tribute to the escapism it provided throughout the 1930s, when cheap admission prices made films a great means of escape for people during the Great Depression. “Sullivan’s Travels” gives thanks to such mirthful films while making fun of their most popular tropes, just before fulfilling them itself.

The film is occasionally insensitive and offensive, though it tries to showcase the tragic extent of poverty in the U.S. during the 1940s. For example, the character known as “Colored Chef” is an offensive portrayal of Black Americans. Not as egregious and insensitive, but still notable, is the lack of a name for Veronica Lake’s character, credited only as “The Girl.” Perhaps Sturges’ goal in doing so was to make her more mysterious; throughout the film one is never quite sure of what to make of her or where she’s from. Mystery or not, it’s ludicrous how much time she spends with Sullivan without him asking for her name.

Beyond these depressing issues, the film has problematic pacing. Certain stretches feel inexplicably dull and prolonged. For example, Sullivan and The Girl have the same discussion about 10 times over, where Sullivan threatens to send her home and end their partnership. It’s a threat that’s never realized: It’s only made-up, unbelievable drama. 

Inconsistencies in Lake’s acting and in the writing of her character make these discussions even more unbearable. In her first scene, she’s incredible; The Girl is able to match wits with Sullivan, and she has a fascinating power over him. Her tale of Hollywood woe is captivating and sets up a world of potential for her character. However, she loses her cool and powerful demeanor and becomes whiny when she discovers Sullivan’s true identity as a film director. An even power dynamic between the two could’ve made for a perfect buddy comedy. It’s a shame that her dialogue is speckled with babyish pouts and complaining that left me annoyed with the almost unnecessary inclusion of her character.

Despite these issues, the film is undeniably one of the funniest I’ve ever seen. Over 80 years past its release, “Sullivan’s Travels” still makes me chuckle with its wit and clever visual gags. 

The overall message of the film about the value of comedy to society is still relevant today. The jokes made at the film industry’s expense still hold up. It’s packed with an eclectic mix of comedic characters, each funny in their unique way. Actor Joel McCrea in particular is astounding as John Sullivan, perfectly balancing ridiculousness and seriousness with occasional bouts of expertly delivered wit.

Said balance is reflected in the progression of the film. While the first two-thirds of the film are strongly comedic and hit-or-miss with their pacing issues, the last third has the perfect tonal shift the movie needed. With a significant drop-off in comedy, the film takes a darker tone as Sullivan is placed in prison due to fantastical circumstances. This leaves the audience deprived of the comedy they’ve come to expect, amplifying the impact of the final climax when Sullivan rediscovers comedy as a prison inmate and enjoys his enlightenment. This scene provides not just an emotional catharsis but a humorous one as well, driving home the themes of the film. 

I’d be remiss if I didn’t mention the gorgeous production design of this portion of the movie as well: The outside of the church is beautifully haunting and ominous as the chain gang is marched through.

Despite pacing problems and a problematically written and performed female lead, “Sullivan’s Travels” is a spectacular comedy. It features great characters, wit, production design, physical comedy, action sequences and, above all, a wonderful and timeless message about the beauty and importance of comedy.

Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.