Before he came to Hollywood, Billy Wilder had written this story concept years earlier in German, “From A to Z.” He said Thomas Monroe helped him “Americanize it”. Here, his story fully evolves into a screwball comedy with a twist on SNOW WHITE and the SEVEN DWARVES (1937). We see many references to the Disney animated version of the classic fairytale. But this is not the only theme that comes to light. Look for Billy Wilder’s frequent theme of insider jokes on Hollywood, not to mention his own joys of exploring language. In this case, word play becomes a fun game via street-wise slang. I can’t help but think what fun Billy had in researching and writing this one.
In order to nail down the vernacular authentically, Charlie and Billy visited the drug store across the street, a race track, and even a burlesque house. This is not dissimilar from a scene when Potts (Gary Cooper’s character) researches in the field, as he collects slang from a myriad of locals.
Director of Photography Gregg Toland was one of the best cinematographers in the early golden years of Hollywood, whose career was cut short at the young age of 44. Born in Illinois in 1904, his early death in 1948 was the result of coronary thrombosis. As a child his mother was a housekeeper for stars, and Gregg was an errand boy on the Fox lot by age 12. He soon became an assistant cameraman who was innovative in solving tech issues as early talkies gained popularity yet brought clunky, new problems.
According to imdb, “Toland helped devise a tool which silenced the camera’s noise and which allowed the camera to move about more freely. In 1931, Toland received his first solo credit for the Eddie Cantor comedy, PALMY DAYS. In 1939, he earned his first Oscar for his work on William Wyler’s WUTHERING HEIGHTS. In the following year he sought out Orson Welles who then hired him to photograph CITIZEN KANE. (Toland is said to have protected the inexperienced Welles from potential embarrassment by conferring with him in private about technical matters rather than bringing these up in front of the assembled cast and crew,) For “KANE” Toland used a method which became known as “deep focus” because it showed background objects as foreground objects.” This technique was instrumental in the style of film noir. Orson Welles once said of Gregg Toland, “Not only was he the greatest cameraman I ever worked with, he was also the fastest.”
Director Howard Hawks is noteworthy as the reigning king of screwball comedies, directing supreme screwballs such as BRINGING UP BABY, HIS GIRL FRIDAY, and yes, BALL OF FIRE. BALL OF FIRE was one of four films Hawks directed for Samuel Goldwyn. Seven years after BALL OF FIRE, Goldwyn asked Hawks to direct a musical remake titled A SONG IS BORN, starring Danny Kaye. Goldwyn wanted actress Virginia Mayo to play the lead actress role of Sugarpuss. Hawks was less than thrilled. From jazz musicians to big band leaders, this version resulted in a showcase for the who’s who in the music world: Benny Goodman, Louis Armstrong, Lionel Hampton, Charlie Barnet, the Samba Kings, the Page Cavanaugh Trio and more made cameos. In the end, the remake- which didn’t star a Hawks-style of actress- was definitely more of a showcase for popular music, than a screwball comedy. BALL OF FIRE (1941) is considered by many to be the last of the Golden Age of screwball comedies.
Many actresses tested and/or were considered for the role of Sugarpuss O’Shea: Betty Field, Jean Arthur (Columbia wouldn’t loan her out), Ginger Rogers (who later regretted it), Carole Lombard (she declined), and Lucille Ball (who was actually hired, that is until Barbara Stanwyck was recommended by Gary Cooper and discovered to be available.) Cooper and Stanwyck worked together the same year in Frank Capra’s MEET JOHN DOE- John Doe was released in May and Ball of Fire released in December of 1941. The two actors pair up again in 1953 for the western, BLOWING WILD. And while Stanwyck is perfect in the part, including dancing in that phenomenal sequined gown, her singing voice had to be dubbed by Martha Tilton. Tilton was a lead singer for Benny Goodman, and went on with a successful career on radio, television, and as a recording artist.
Other than Gary Cooper as Potts, the remaining seven professors were based on each of the seven dwarves. According to a publicity photo opp, the cast of character actors were inspired by the following corresponding dwarves: SK “Cuddles” Sakall as Dopey, Leonid Kinsky as Sneezy, Richard Haydn as Bashful, Henry Travers as Sleepy, Aubrey Mather as Happy, Tully Marshall as Grumpy, and Oskar Homolka as Doc.
There are MANY nods to the film’s SNOW WHITE and the SEVEN DWARVES inspiration. In a scene when Sugarpuss first meets the entire group of professors at the house, it is peppered with Snow White references… “hidy ho!” = “Hi ho!”, the scurrying around and peeking at her from corners is very parallel to when Snow White first meets the dwarves in the animated film. Also there is the reference to an apple. In Snow White, the apple is deceptive (actually poisonous), in BOF, Sugarpuss says, “just think of me as your apple.” It’s both a direct reference to Snow White, but additionally it’s a symbolism of a biblical apple from Adam and Eve, too. Later in the film, Dana Andrews as “Lilac” makes more direct comparisons to the professors as being the 7 dwarves.
As mentioned, another theme to look for are the ‘insider jokes regarding Hollywood.’ Here are a few of note:
Dana Andrews based his character Joe Lilac on the well-known real-life gangster Bugsy Siegel, who was then the owner of the famous Formosa restaurant and nightclub, located nearby the studios. Andrews would slip over to mirror his appearance, wardrobe, and mannerisms. Spats and all.
Hanging in the main study of the professors’ house is a portrait of Miss Totten’s father. This same painting was placed in another Barbara Stanwyck film from the year earlier, costarring with Fred MacMurray, REMEMBER THE NIGHT (1940).
In an early scene when Potts (Gary Cooper) is speaking with the newspaper boy, there is a movie theater across from them, promoting “SNOW WHITE AND THE SEVEN DWARVES” on the marquee.
In the scene where two gunmen hold the group captive, Dan Duryea as “Pastrami” says, “I saw me a picture last week.” He then licks his thumb, slowly slides it along the barrel of his gun, and shoots. This is actually a reference to SERGEANT YORK (1941) in which Gary Cooper performs this exact method for better marksmanship.
Overall, BALL OF FIRE (1941) is a fun screwball comedy (even though it doesn’t hold all the screwball markers by definition) that was, no doubt, as silly of a romp for us audience viewers as it was for Billy Wilder to create such whacky character names (“Pastrami,” “Asthma,” ”Sugarpuss” …) Look for all the themes created by Billy Wilder such as Snow White and her 7 dwarves, the insider jokes poking fun at Hollywood, and word plays of language. What other examples do you see?
Director: Howard Hawks
Screen play by: Charles Brackett, Billy Wilder
From an original story by: Thomas Monroe, Billy Wilder
Cast: Barbara Stanwyck, Gary Cooper, Dana Andrews, Dan Duryea, Allen Jenkins and a slew of top-notch character actors
Nominated for 4 Oscars including Best Actress (Barbara Stanwyck) and Best Writing, Original Story (Thomas Monroe, Billy Wilder)
Cinematography: Gregg Toland
Costume designs: Edith Head
