Ball of Fire (1941)

Ball of Fire is a real 'screwball' comedy, and it being directed by Howard Hawks, who made arguably the best one of all (His Girl Friday), ups the stakes just a bit. Not only that, but it was one of Billy Wilder's first projects on a screenplay, and his sharp wit comes through in almost every scene that needs it. And more than that, when the movie needs to be romantic, without any frills, it really is. At the center of the craziness that becomes the story (mostly towards the end and early on and a little in the middle) is a story that we know is formulaic- that a woman who is already attached (if not quite yet hitched) to someone else falls into an unlikely situation with another man and the two suddenly become really close, the man first and then the woman- but its the chemistry between a sexy pre-Double Indemnity Barbara Stanwyck with conservative Gary Cooper.

If, ultimately, it doesn't have the machine-gun energy of His Girl Friday (then again, few movies do), it makes up for it with a fun premise that Hawks and Wilder ride out logically, as far as comedy premises can go. It's about seven professors and their leader professor, played by Cooper, who for years have been writing an encyclopedia and are coming close to the end... except for a snag - slang words. The old guys and intellectuals haven't a clue as to what words like "Boogie" and "sugar-puss" mean, until they get a few people off the street to tell them. That, and a nightclub singer (Stanwyck) on the run from the cops after she gets unwittingly (and unfairly) mixed up in a murder plot with her fiancée. So, she shacks up with Cooper and his fellow profs, and it becomes Snow White and the Seven Dwarfs with the twist that the girl this time is a lot more wily (and tempting) while the men are... old professor types who know almost everything except the human heart.

But Hawks makes twist on his own premise as he goes along, too. We see the natural progression of the plot, of Cooper quickly falling in love with Stanwyck's advances (all fake at first just so she can stay at the house), and then little by little she falls for him too, or at least feels so guilty about what she's doing to see the old geezers as real people instead of obstacles. There are a few key scenes that break the mold of the comedic antics (some of which, like Stanwyck showing the old men how to dance is hilarious and memorable): one is the bachelor dinner between the professors, when the one professor, played by Richard Haydn, talks about his marriage from many years before, and it becomes genuinely tender and sincere, not played for laughs, certainly not when they're all singing the song Gienevive. The other scene is when Cooper walks into the wrong room (thinking it's a professor and not his future wife) and asks for advice about what to do, as he loves her and isn't sure about himself. It's all shot in dark, with a few specific lighting touches, and it's about perfect.

The ensemble is entertaining- from the old men with their various (sometimes interchangeable) personalities, to the film-noir knockoffs playing the henchmen of Joe Lilac- and there are many lines and moments that, upon a repeat viewing, should become even quotable. It could be said that it's slightly dated in some of its approach to tradition vs. the titillating, but it never loses its sense of humor, all the way up to the climax. Oh, and it also happens to feature one of the best nightclub music scenes in the movies, with Gene Krupa and h

Fmovies: Ball of Fire was directed and written by three of the best at their genre. Howard Hawks was a notable director of screwball comedies and the team of Wilder and Brackett wrote a number of comedies including Ernst Lubitsch's funniest film Ninotchka (1939). Wilder would also later become once of cinematic history's greatest comedic and dramatic directors with The Apartment and Some Like it Hot.

In Hollywood Genres, Howard Schatz writes, "The Screwball comedy dominated Depression-era screen comedy and provided that period's most significant and engaging social commentary" (151). Schatz suggests that screwball comedies were not just escapist fare for Depression-era audiences but they remedied their shattered dreams that their poverty and discrepancies in wealth couldn't be overcome. One important element for this remedy to work was that there had to be a love story that crossed class boundaries, usually with the woman as poor but more socially apt and the man as the opposite.

In Ball of Fire, Gary Cooper isn't so much rich as he is distinguished in the world of academia. He is a lexicologist in charge of an encyclopedia project with eight other professors, each in charge of a different field of knowledge. The fact that the other professors are twice his age highlights just how smart he is in his field. Barbara Stanwyck, an excellent comic foil, is a nightclub singer whose boyfriend is a gangster on the run from the police. She comes into contact with Cooper through his work. He is doing a section for his encyclopedia on slang and enlists her to help him and needing to hide from the cops, she accepts. This set-up is very interesting because while Gary Cooper is not rich, he's an expert on the language of the rich in a sense. In turn, Stanwyck's character, Sugarpuss O'Shea, is lower-class only through his standards. In terms of actual material wealth, O'Shea is richer than Cooper because her boyfriend has stolen large amounts of money while he has worked nine years into his uncompleted encyclopedia. Also, Sugarpuss O'Shea has absolutely no academic credentials, but suddenly becomes of use to him as an expert on slang through her lower-class background. Many twists on the traditional form of the screwball comedy are thrown into the story adding enough complexity to the relationship that it becomes unclear who really has the upper-hand. Moreso, the language theme presents wealth as an illusion which validates the main message of screwball comedies as well.

A silly farce of a story that works. The elderly academians are stereotypically perfect. Gary Cooper does his "aww, shucks", naive, signature performance in a worthy role. Barbara Stanwyck is (always) "one hot mama". Great chemistry between the street smart Stanwyck character and the shy, bashful Cooper.

A later version with Danny Kaye falls flat. Instead of slang, they are researching music. Great musical cameo's, but the four star (rated 10) version is the original. I always thought Kaye's brand of humor more suited to children.

The original is funny and cute, the re-make seems like leftover pieces squeezed together to fit a pre-established mold. It lacks charm, stick with the real thing...THIS ONE!!!

Ball of Fire fmovies. This film (remade in 1948 as a musical with Danny Kaye and Virginia Mayo with the title, "A Song Is Born") is a hilarious vehicle for Barbara Stanwyck, who was nominated for Best Actress for her performance here. Anyone who has only seen Ms. Stanwyck in film noir such as "Double Indemnity" or in television's Big Valley should watch this or "Christmas In Connecticut" to see a fine comedic talent at work. She blows Gary Cooper off the screen! Most Recommended.

Barbara Stanwyck plays a wise-cracking entertainer who moves in with 8 professorial types in "Ball of Fire," a marvelous Billy Wilder film, directed by Howard Hawks, that is loosely based on Snow White and the 7 Dwarfs! Only Wilder could come up with an idea like this and make it shine.

And shine it does. Stanwyck is perfect as Sugarpuss O'Shea, whose boyfriend is a mobster sought after by the police. After a visit by Cooper, whose assignment is slang for the encyclopedia he and the others have been writing for only nine years, she drops in on him late at night, intending to hide out there so the police can't subpoena her testimony. Cooper falls for her while the other, older men develop paternalistic feelings for her.

Stanwyck is gorgeous and gets to show off that fabulous body and great legs as well as her flair for comedy. She's in stark contrast to Cooper as a man who's been in his ivory tower too long. Cooper was one of the handsomest movie stars ever. Tall and gangly, slow-talking, with a boyish smile that lights up his face, it's no wonder the heiress funding the encyclopedia is crazy about him and that Stanwyck finds herself drifting into love with him.

Dana Andrews has a good role as the mobster boyfriend, and one of his sidekicks is the always snarky Dan Duryea. The professors are all terrific. Highly entertaining fare from Billy Wilder, and the last film he ever wrote but didn't direct.

Wow, what a cast! Let's see, there's Gary Cooper, Barbara Stanwyck, Richard Haydn, Oscar Homolka, Henry Travers, S.Z. Sakall, Tully Marshall, Dana Andrews, Allen Jenkins and more! Classic film fans know all these names.

What's more, it's a fun movie, fun to see and especially fun to hear. Stanwyck is her usual fascinating self, but in this movie it's the men - the seven old bachelors and the younger Cooper in the "club" - that are the most entertaining.

When you have directors and writers such as Howard Hawks and Billy Wilder behind the film, you know it's a winner.

Because the story dealt with a bunch of encyclopedia writers trying to find out the latest slang words, the dialog in here is really funny. The expressions of the day are dated and humorous and there are so many you can't count them all. Some are stupid; some are hilarious...which is what you get with most comedies anyway. Not every line hits the mark, but a lot do in this one.

Tack on some action and some romance and it's corny-but-cute film , entertaining all the way.