Preston Sturges has a great structure to The Lady Eve. The first part of the film–the majority of the runtime–has wealthy oddball Henry Fonda returning home on a ship and falling in love with Barbara Stanwyck. Makes sense, as she’s wonderful, only she (and her father, Charles Coburn) are card sharps out to fleece rich passengers. This part of Eve is the most luxurious in terms of the storytelling–Fonda and Stanwyck have great chemistry and, in addition to Coburn providing support, there’s also William Demarest as Fonda’s comically rough valet.
With a subplot or two and a happy ending, Sturges could’ve just told the entire story on the ship. Instead, he jumps ahead. It’s kind of hard to talk about Lady Eve without including a spoiler or two; I’ll tread carefully.
The jump ahead changes up the dynamics of the relationship between Stanwyck and Fonda, with Fonda assuming the rube role he never took in the first part of the picture. And Sturges, while giving Stanwyck excellent material and the most screen time, also changes the tone of the film. There’s slapstick; the previously established characters, contained in that first section, are looser. Sturges doesn’t play the comedy for the viewer (except some of Demarest and Eugene Pallette–wonderful as Fonda’s father). It’s for the characters. So Lady Eve can be loud and lovely.
Fantastic performances and character moments throughout. Eric Blore and Melville Cooper have nice smaller parts.
Sturges, Fonda, and Stanwyck–especially Stanwyck–make magic.
Directed by Preston Sturges; screenplay by Sturges, based on a story by Moncton Hoffe; director of photography, Victor Milner; edited by Stuart Gilmore; produced by Paul Jones; released by Paramount Pictures.
Starring Barbara Stanwyck (Jean), Henry Fonda (Charles), Charles Coburn (Colonel Harrington), Eugene Pallette (Mr. Pike), William Demarest (Muggsy), Eric Blore (Sir Alfred McGlennan Keith), Melville Cooper (Gerald), Martha O’Driscoll (Martha), Robert Greig (Burrows) and Janet Beecher (Mrs. Pike).