Nothing Sacred

Plot

Hazel Flagg, a small-town Vermont woman, is mistakenly diagnosed with radium poisoning by her local doctor after being exposed to a nitroglycerin explosion. When ambitious New York newspaper reporter Wally Cook learns about her supposed terminal illness, he brings her to New York City, transforming her into a national media sensation and tragic heroine. Hazel revels in the attention, luxury, and sympathy showered upon her, while developing genuine feelings for Wally despite knowing he's exploiting her story. As the deception spirals out of control with the entire nation invested in her tragic journey, Hazel must navigate increasingly complicated situations to maintain her ruse. The film culminates in a chaotic resolution when the truth threatens to emerge, forcing Hazel to confront the consequences of her deception while potentially finding true love and redemption.

Historical Background

Released in 1937 during the Great Depression's later years, Nothing Sacred reflected America's complex relationship with media and celebrity culture. The film emerged during the golden age of screwball comedy, when audiences sought escapist entertainment that also offered social commentary. The late 1930s saw the rise of tabloid journalism and radio broadcasts that could create national sensations overnight, making the film's premise particularly relevant. The movie also coincided with the early development of color film technology, with studios like Selznick International investing heavily in Technicolor to differentiate their productions. The film's satirical take on media manipulation and public gullibility resonated with an increasingly sophisticated audience that had grown wary of propaganda and sensationalism during the Depression era. Additionally, the film's release came during a period when Hollywood was pushing the boundaries of the Production Code, using comedy to comment on social issues that couldn't be addressed directly in dramas.

Making Of

The production of Nothing Sacred was groundbreaking yet challenging. As one of the early three-strip Technicolor films, the crew had to contend with enormous lighting requirements—up to 100 times more light than black-and-white filming needed. The cameras were bulky and noisy, making dialogue recording difficult. Director William A. Wellman, known for his gritty, realistic style, initially resisted the color format but eventually embraced it, using vibrant costumes and sets to enhance the comedy. Carole Lombard, at the height of her comedic powers, improvised many of her lines and physical gags, much to Wellman's delight. The film's satirical edge was largely due to Ben Hecht's sharp screenplay, which took aim at newspaper sensationalism and public gullibility. The chemistry between Lombard and March was genuine, though March found the color process distracting. The production went over budget due to the technical challenges, but David O. Selznick believed in the project's importance for establishing color as a viable format for comedy films.

Visual Style

The cinematography by W. Howard Greene and James Wong Howe was groundbreaking for its time, representing some of the most sophisticated use of three-strip Technicolor in comedy filmmaking. The cinematographers had to overcome the technical limitations of early color film, which required massive amounts of light and bulky cameras. They used vibrant color palettes to enhance the comedy, with Lombard's costumes and the New York sets deliberately designed to showcase the new technology. The film employed innovative techniques including carefully controlled color schemes that changed as the story progressed, reflecting Hazel's emotional journey. The Vermont sequences used warmer, more natural tones to contrast with the artificial brightness of New York City. The cinematography team developed new lighting techniques specifically for this production, using diffused lighting to soften the harsh effects of early Technicolor. Despite the technical constraints, the visual style remained dynamic and fluid, incorporating the fast-paced camera movements typical of screwball comedies. The film's visual success helped establish color cinematography as more than just a novelty, demonstrating its potential for enhancing storytelling and emotional impact.

Innovations

Nothing Sacred represented several significant technical achievements in cinema history, most notably in the realm of color filmmaking. As one of the first full-color comedies, it demonstrated that the three-strip Technicolor process could work effectively beyond musicals and historical epics. The production pioneered new lighting techniques specifically for color comedy, developing methods to soften the harsh effects required by early Technicolor while maintaining the visual gags. The film's sound recording innovations included techniques to minimize camera noise, a significant challenge in early color productions. The makeup department developed new formulations that wouldn't appear unnatural under the intense lighting required for color filming. The costume design team created color-conscious wardrobes that enhanced the comedy while avoiding the garish effects common in early color films. The film's editing successfully maintained the rapid pace typical of screwball comedies despite the limitations of early color cameras. These technical achievements collectively helped establish color as a viable option for comedy films, influencing the industry's gradual shift away from black and white.

Music

The musical score for Nothing Sacred was composed by Oscar Levant, who received an Academy Award nomination for his work. The film featured several musical numbers despite not being a traditional musical, including Lombard's memorable performance of 'I Can't Give You Anything but Love.' Levant's score cleverly blended popular songs of the era with original compositions that enhanced the film's comedic moments. The soundtrack also included 'The Moon Got in My Eyes' and 'A Woman's Business,' both of which became popular standards. The musical direction by Morris Stoloff ensured that the score complemented the film's rapid pacing without overwhelming the dialogue. The sound recording, handled by John Livadary (also Oscar-nominated), was particularly challenging given the noisy Technicolor cameras, requiring innovative techniques to capture clear dialogue. The film's audio successfully balanced Lombard's rapid-fire delivery with the musical elements, creating a cohesive soundtrack that enhanced rather than distracted from the comedy. The soundtrack was released on 78 RPM records and became popular in its own right, with several songs entering the hit parade.

Memorable Scenes

• The opening sequence where Hazel learns of her 'fatal' diagnosis and immediately sees the opportunities it presents
• The chaotic train journey to New York where Hazel first experiences the perks of being a 'dying heroine'
• The press conference scene where Hazel improvises increasingly dramatic details about her 'illness'
• The rooftop party sequence where Hazel, drunk on champagne, nearly exposes her deception
• The climactic scene at the ticker-tape parade where the truth finally emerges in spectacular fashion
• The final scene where Hazel and Wally reconcile, with Hazel admitting she's 'dying to be honest'

What Critics Said

Contemporary critics praised Nothing Sacred for its innovative use of color and Lombard's sparkling performance. The New York Times called it 'one of the wittiest and most sophisticated comedies of the year,' while Variety noted that 'the color process has never been used to better advantage in a comedy.' Critics particularly appreciated the film's sharp satire of newspaper practices, with many reviewers highlighting Ben Hecht's clever screenplay. Modern critics have reevaluated the film as a classic of the screwball genre, with its ahead-of-its-time commentary on media manipulation earning renewed appreciation. The film holds a 93% rating on Rotten Tomatoes, with critics calling it 'delightfully cynical' and 'remarkably modern in its sensibilities.' Film historians often cite it as an unjustly overlooked masterpiece that deserves wider recognition, particularly for its role in establishing color comedy as a viable genre. The film's blend of visual spectacle and intelligent comedy continues to impress contemporary reviewers, who note how well the humor and social commentary have aged.

What Audiences Thought

Audiences in 1937 responded positively to Nothing Sacred, particularly enjoying Lombard's comedic timing and the novelty of full-color comedy. The film performed well at the box office, though not spectacularly, partly because some theaters weren't yet equipped for Technicolor projection. Contemporary audience surveys indicated that viewers appreciated the film's fast-paced humor and visual appeal, though some found the satire too cynical for their tastes. The movie developed a cult following over the years, particularly among classic film enthusiasts who rediscovered it through television broadcasts and home video releases. Modern audiences often express surprise at how contemporary the film's themes feel, with its commentary on media manipulation and celebrity culture resonating strongly in the internet age. The film has gained appreciation through film society screenings and classic film festivals, where it's often cited as an example of sophisticated Hollywood comedy at its best. Online film communities frequently recommend it to viewers seeking lesser-known classics, with many noting how well Lombard's performance holds up against modern comedic standards.

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