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Screwball comedy

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Screwball comedy is a film subgenre of the romantic comedy genre that became popular during the Great Depression, beginning in the early 1930s and thriving until the early 1950s, that satirizes the traditional love story. It has secondary characteristics similar to film noir, distinguished by a female character who dominates the relationship with the male central character, whose masculinity is challenged,[1] and the two engage in a humorous battle of the sexes.[2]

Bringing Up Baby (1938) is a screwball comedy from the genre's classic period.

The genre also featured romantic attachments between members of different social classes,[3] as in It Happened One Night (1934) and My Man Godfrey (1936).[2]

What sets the screwball comedy apart from the generic romantic comedy is that "screwball comedy puts the emphasis on a funny spoofing of love, while the more traditional romantic comedy ultimately accents love."[4] Other elements of the screwball comedy include fast-paced, overlapping repartee, farcical situations, escapist themes, physical battle of the sexes, disguise and masquerade, and plot lines involving courtship and marriage.[2] Some comic plays are also described as screwball comedies.

Name

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Screwball comedy gets its name from the screwball, a type of breaking pitch in baseball and fastpitch softball that moves in the opposite direction from all other breaking pitches. These features of the screwball pitch also describe the dynamics between the lead characters in screwball comedy films. According to Gehring (2008):[5]

Still, screwball comedy probably drew its name from the term's entertainingly unorthodox use in the national pastime. Before the term's application in 1930s film criticism, "screwball" had been used in baseball to describe both an oddball player and "any pitched ball that moves in an unusual or unexpected way." Obviously, these characteristics also describe performers in screwball comedy films, from oddball Carole Lombard to the unusual or unexpected movement of Katharine Hepburn in Bringing Up Baby (1938). As with the crazy period antics in baseball, screwball comedy uses nutty behavior as a prism through which to view a topsy-turvy period in American history.

History

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Screwball comedy has proved to be a popular and enduring film genre.[6] Three-Cornered Moon (1933) starring Claudette Colbert, is often credited as the first true screwball,[7] though Bombshell starring Jean Harlow followed it in the same year. Although many film scholars agree that its classic period had effectively ended by 1942,[8] elements of the genre have persisted or have been paid homage to in later films. Other film scholars argue that the screwball comedy lives on.

During the Great Depression, there was a general demand for films with a strong social class critique and hopeful, escapist-oriented themes. The screwball format arose largely due to the major film studios' desire to avoid censorship by the increasingly enforced Hays Code. Filmmakers resorted to handling these elements covertly to incorporate prohibited risqué elements into their plots. The verbal sparring between the sexes served as a stand-in for physical and sexual tension.[9] Though some film scholars, such as William K. Everson, argue that "screwball comedies were not so much rebelling against the Production Code as they were attacking – and ridiculing – the dull, lifeless respectability that the Code insisted on for family viewing."[10]

The screwball comedy has close links with the theatrical genre of farce,[4] and some comic plays are also described as screwball comedies. Other genres with which screwball comedy is associated include slapstick, situation comedy, romantic comedy and bedroom farce.

Characteristics

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A still from a trailer for It Happened One Night

Films that are definitive of the genre usually feature farcical situations, a combination of slapstick and fast-paced repartee, and show the struggle between economic classes. They also generally feature a self-confident and often stubborn central female protagonist and a plot involving courtship, marriage, or remarriage. These traits can be seen in both It Happened One Night (1934) and My Man Godfrey (1936). The film critic Andrew Sarris has defined the screwball comedy as "a sex comedy without the sex."[11]

Like farce, screwball comedies often involve masquerades and disguises in which a character or characters resort to secrecy. Sometimes screwball comedies feature male characters cross-dressing, further contributing to elements of masquerade (Bringing Up Baby (1938), Love Crazy (1941), I Was a Male War Bride (1949), and Some Like It Hot (1959)). At first, the couple seems mismatched and even hostile to each other, but eventually overcome their differences amusingly or entertainingly, leading to romance. Often, this mismatch comes about when the man is of a lower social class than the woman (Bringing Up Baby and Holiday, both 1938). The woman often plans the final romantic union from the outset, and the man is seemingly oblivious to this. In Bringing Up Baby, the woman tells a third party: "He's the man I'm going to marry. He doesn't know it, but I am."

 
In The Lady Eve, Jean (center, played by Barbara Stanwyck) passes herself off as an upper-class woman.

These pictures also offered a cultural escape valve: a safe battleground to explore serious issues such as class under a comedic and non-threatening framework.[12] Class issues are a strong component of screwball comedies: the upper class is represented as idle, pampered, and having difficulty coping with the real world. By contrast, when lower-class people attempt to pass themselves off as upper class or otherwise insinuate themselves into high society, they can do so with relative ease (The Lady Eve, 1941; My Man Godfrey, 1936). Some critics believe that the portrayal of the upper class in It Happened One Night was brought about by the Great Depression, and the financially struggling moviegoing public's desire to see the upper class taught a lesson in humanity.[13]

Another common element of the screwball comedy is fast-talking, witty repartee, such as in You Can't Take It with You (1938) and His Girl Friday (1940). This stylistic device did not originate in the genre: it is also found in many of the old Hollywood cycles, including gangster films and traditional romantic comedies.

Screwball comedies also tend to contain ridiculous, farcical situations, such as in Bringing Up Baby, where a couple must take care of a pet leopard during much of the film. Slapstick elements are also frequently present, such as the numerous pratfalls Henry Fonda takes in The Lady Eve (1941).[14]

One subgenre of screwball is known as the comedy of remarriage, in which characters divorce and then remarry one another (The Awful Truth (1937), The Philadelphia Story (1940)).[15] Some scholars point to this frequent device as evidence of the shift in the American moral code, as it showed freer attitudes toward divorce (though the divorce always turns out to have been a mistake: "You've got an old fashioned idea divorce is something that lasts forever, 'til death do us part.' Why divorce doesn't mean anything nowadays, Hildy, just a few words mumbled over you by a judge.")

Another subgenre of screwball comedy is the woman chasing a man who is oblivious to or uninterested in her. Examples include Barbara Stanwyck chasing Henry Fonda (The Lady Eve, 1941); Sonja Henie chasing John Payne (Sun Valley Serenade, 1941, and Iceland, 1942); Marion Davies chasing Antonio Moreno (The Cardboard Lover, 1928); Marion Davies chasing Bing Crosby (Going Hollywood, 1933); and Carole Lombard chasing William Powell (My Man Godfrey, 1936).

The philosopher Stanley Cavell has noted that many classic screwball comedies turn on an interlude in the state of Connecticut (Bringing Up Baby, The Lady Eve, The Awful Truth).[16] In Christmas in Connecticut (1945), the action moves to Connecticut and remains there for the duration of the film. New York City is also featured in a lot of screwball comedies, which critics have noted may be because of the economic diversity of the city and the ability to contrast different social classes during the Great Depression.[13] The screwball comedies It Happened One Night (1934) and The Palm Beach Story (1942) also feature characters traveling to and from Florida by train. Trains, another staple of screwball comedies and romantic comedies from the era, are also featured prominently in Design for Living (1934), Twentieth Century (1934) and Vivacious Lady (1938).

Examples from the classic period

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Year Title Director Stars Ref
1928 The Patsy King Vidor Marion Davies, Marie Dressler, and Lawrence Gray
1931 Platinum Blonde Frank Capra Loretta Young, Robert Williams and Jean Harlow [13]
1931 The Front Page (remade as His Girl Friday) Lewis Milestone Adolphe Menjou and Pat O'Brien [17]
1932 Trouble in Paradise Ernst Lubitsch Miriam Hopkins, Kay Francis, and Herbert Marshall [18][19][20]
1933 Bombshell Victor Fleming Jean Harlow and Lee Tracy [13]
1934 Design for Living Ernst Lubitsch Fredric March, Gary Cooper and Miriam Hopkins [21]
1934 It Happened One Night Frank Capra Clark Gable and Claudette Colbert [14][22]
1934 Twentieth Century Howard Hawks John Barrymore and Carole Lombard [17][22]
1935 Hands Across the Table Mitchell Leisen Carole Lombard, Fred MacMurray and Ralph Bellamy [23]
1935 She Couldn't Take It Tay Garnett George Raft and Joan Bennett [13]
1935 If You Could Only Cook William A. Seiter Herbert Marshall and Jean Arthur [13]
1936 Mr. Deeds Goes to Town Frank Capra Gary Cooper and Jean Arthur [24]
1936 The Ex-Mrs. Bradford Stephen Roberts William Powell and Jean Arthur [24]
1936 My Man Godfrey Gregory La Cava William Powell and Carole Lombard [14]
1936 Cain and Mabel Lloyd Bacon Marion Davies and Clark Gable
1936 Libeled Lady Jack Conway Jean Harlow, William Powell, Myrna Loy, and Spencer Tracy
1936 Theodora Goes Wild Richard Boleslawski Irene Dunne and Melvyn Douglas [25]
1937 Easy Living Mitchell Leisen Jean Arthur, Edward Arnold and Ray Milland [26]
1937 Topper Norman Z. McLeod Constance Bennett and Cary Grant [14]
1937 The Awful Truth Leo McCarey Irene Dunne, Cary Grant and Ralph Bellamy [14][22]
1937 Nothing Sacred William A. Wellman Carole Lombard and Fredric March [14][26]
1937 True Confession Wesley Ruggles Carole Lombard, Fred MacMurray and John Barrymore [26]
1938 The Divorce of Lady X Tim Whelan Merle Oberon and Laurence Olivier [27][28]
1938 Merrily We Live Norman Z. McLeod Constance Bennett and Brian Aherne [29]
1938 Bringing Up Baby Howard Hawks Katharine Hepburn and Cary Grant [14]
1938 Bluebeard's Eighth Wife Ernst Lubitsch Claudette Colbert and Gary Cooper
1938 Joy of Living Tay Garnett Irene Dunne and Douglas Fairbanks Jr. [29]
1938 Vivacious Lady George Stevens Ginger Rogers and James Stewart [24]
1938 Holiday George Cukor Katharine Hepburn and Cary Grant
1938 You Can't Take It with You Frank Capra Jean Arthur, Lionel Barrymore, James Stewart and Edward Arnold [30][31][32][13]
1938 Three Loves Has Nancy Richard Thorpe Janet Gaynor, Robert Montgomery and Franchot Tone [29]
1938 The Mad Miss Manton Leigh Jason Barbara Stanwyck and Henry Fonda [26]
1938 Say It in French Andrew L. Stone Ray Milland and Olympe Bradna [29]
1939 Midnight Mitchell Leisen Claudette Colbert and Don Ameche [14]
1939 It's a Wonderful World W. S. Van Dyke Claudette Colbert and James Stewart [13]
1939 Bachelor Mother Garson Kanin Ginger Rogers, David Niven and Charles Coburn [29]
1939 Ninotchka Ernst Lubitsch Greta Garbo and Melvyn Douglas
1940 His Girl Friday Howard Hawks Cary Grant, Rosalind Russell and Ralph Bellamy [14][22]
1940 Too Many Husbands Wesley Ruggles Jean Arthur, Fred MacMurray and Melvyn Douglas [24]
1940 My Favorite Wife Garson Kanin Cary Grant and Irene Dunne
1940 The Great McGinty Preston Sturges Brian Donlevy, Muriel Angelus and Akim Tamiroff
1940 Christmas in July Preston Sturges Dick Powell and Ellen Drew [33]
1940 The Philadelphia Story George Cukor Katharine Hepburn, Cary Grant and James Stewart
1941 Mr. and Mrs. Smith Alfred Hitchcock Robert Montgomery and Carole Lombard
1941 The Lady Eve Preston Sturges Barbara Stanwyck and Henry Fonda [14][22]
1941 The Devil and Miss Jones Sam Wood Jean Arthur, Robert Cummings and Charles Coburn [13]
1941 Love Crazy Jack Conway William Powell and Myrna Loy [29]
1941 Unfinished Business Gregory La Cava Robert Montgomery and Irene Dunne
1941 Ball of Fire Howard Hawks Barbara Stanwyck and Gary Cooper [34][35]
1941 Sullivan's Travels Preston Sturges Joel McCrea and Veronica Lake
1942 To Be or Not To Be Ernst Lubitsch Carole Lombard, Jack Benny, Robert Stack [36]
1942 The Major and the Minor Billy Wilder Ginger Rogers and Ray Milland [23]
1942 I Married a Witch René Clair Fredric March and Veronica Lake [37]
1942 The Palm Beach Story Preston Sturges Claudette Colbert and Joel McCrea [14]
1943 The More the Merrier George Stevens Jean Arthur and Joel McCrea
1944 The Miracle of Morgan's Creek Preston Sturges Betty Hutton and Eddie Bracken [38]
1944 Arsenic and Old Lace Frank Capra Cary Grant and Priscilla Lane [14]
1945 Eve Knew Her Apples (the first musical remake of It Happened One Night) Will Jason Ann Miller and William Wright
1945 Christmas in Connecticut Peter Godfrey Barbara Stanwyck and Dennis Morgan [39]
1946 Cluny Brown Ernst Lubitsch Charles Boyer and Jennifer Jones
1946 Easy to Wed (musical remake of Libeled Lady) Edward Buzzell Van Johnson, Esther Williams, Lucille Ball and Keenan Wynn
1948 A Song Is Born (musical remake of Ball of Fire) Howard Hawks Danny Kaye and Virginia Mayo
1949 I Was a Male War Bride Howard Hawks Cary Grant and Ann Sheridan
 
A promotional photo for the 1940 screwball comedy His Girl Friday

Other films from this period in other genres incorporate elements of the screwball comedy. For example, Alfred Hitchcock's thriller The 39 Steps (1935) features the gimmick of a young couple who finds themselves handcuffed together and who eventually, almost despite themselves, fall in love with one another, and Woody Van Dyke's detective comedy The Thin Man (1934), which portrays a witty, urbane couple who trade barbs as they solve mysteries together. Some of the Fred Astaire and Ginger Rogers musicals of the 1930s also feature screwball comedy plots, such as The Gay Divorcee (1934), Top Hat (1935), and Carefree (1938), which costars Ralph Bellamy. The Eddie Cantor musicals Whoopee! (1930) and Roman Scandals (1933), and slapstick road movies such as Six of a Kind (1934) include screwball elements. Screwball comedies such as The Philadelphia Story (1940) and Ball of Fire (1941) also received musical remakes, High Society (1956) and A Song is Born (1948). Some of the Joe E. Brown comedies also fall into this category, particularly Broadminded (1931) and Earthworm Tractors (1936).

Actors and actresses featured in or associated with screwball comedy:

Directors of screwball comedies:

Later examples

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A screenshot from a trailer for How to Marry a Millionaire
 
One, Two, Three (1961)

Later films thought to have revived elements of the classic era screwball comedies include:

Elements of classic screwball comedy often found in more recent films which might otherwise be classified as romantic comedies include the "battle of the sexes" (Down with Love, How to Lose a Guy in 10 Days), witty repartee (Down with Love), and the contrast between the wealthy and the middle class (You've Got Mail, Two Weeks Notice). Many of Elvis Presley's films from the 1960s had drawn, consciously or unconsciously, the many characteristics of the screwball comedy genre. Some examples are Double Trouble, Tickle Me, Girl Happy and Live a Little, Love a Little. Modern updates on screwball comedy are also sometimes categorized as black comedy (Intolerable Cruelty, which also features a twist on the classic screwball element of divorce and remarriage). The Coen Brothers often include screwball elements in a film which may not otherwise be considered screwball or even a comedy.

The Golmaal movies, a series of Hindi-language Indian films, has been described as a screwball comedy franchise.[51][52]

Screwball comedy elements in other media and genres

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The screwball film tradition influenced television sitcom and comedy drama genres. Notable screwball couples in television have included Sam and Diane in Cheers, Maddie and David in Moonlighting, and Joel and Maggie in Northern Exposure.[53][54]

In his 2008 production of the classic Beaumarchais comedy The Marriage of Figaro, author William James Royce trimmed the five-act play down to three acts and labeled it a "classic screwball comedy". The playwright made Suzanne the central character, endowing her with all the feisty comedic strengths of her classic film counterparts. In his adaptation, entitled One Mad Day! (a play on Beaumarchais' original French title), Royce underscored all of the elements of the classic screwball comedy, suggesting that Beaumarchais may have had a hand in the origins of the genre.

The plot of Corrupting Dr. Nice, a science fiction novel by John Kessel involving time travel, is modeled on films such as The Lady Eve and Bringing Up Baby.[55]

See also

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References

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  1. ^ Dancyger, Ken; Rush, Jeff (2006). Alternative Scriptwriting (Fourth ed.). Focal Press. p. 85. ISBN 978-0240808499. The screwball comedy is funny film noir that has a happy ending... The premise of the film is about the struggle in their relationship. During the course of the struggle, which is highly sexually charged, the maleness of the central character is challenged. The female is the dominant character in the relationship. This role reversion is central to the screwball comedy.
  2. ^ a b c Cele Otnes; Elizabeth Hafkin PleckCele Otnes, Elizabeth Hafkin Pleck (2003) Cinderella dreams: the allure of the lavish wedding University of California Press, p. 168. ISBN 0-520-24008-1.
  3. ^ Beach, Christopher. Class, Language, and American Film Comedy. Cambridge University Press (February 11, 2002). p. 125.
  4. ^ a b Gehring, Wes D. (2008). Romantic vs. Screwball Comedy: Charting the Difference. Lanham: Scarecrow Press Inc. p. 186.
  5. ^ Gehring, Wes D. (2008). Romantic vs. Screwball Comedy: Charting the Difference. Lanham: Scarecrow Press Inc. p. 9.
  6. ^ Sarris, Andrew (March 1, 1978). "THE SEX COMEDY WITHOUT SEX". American Film. Vol. 3, no. 5. New York. pp. 8–15. ProQuest 964099959. Retrieved December 19, 2022.
  7. ^ Three-Cornered Moon AllMovie review by Craig Butler, accessed October 28, 2023
  8. ^ Byrge, Duane; Miller, Robert Milton (1991). The Screwball Comedy Films: A History and Filmography, 1934–1942. McFarland. p. 104. ISBN 978-0-89950-539-8. With the explosive exception of His Girl Friday, screwball comedy had calmed considerably by 1940 from its peak of zaniness in 1937–38.
  9. ^ "Under the Radar: The Hays Code and the Birth of Screwball". virginia.edu. University of Virginia. Archived from the original on August 5, 2012. Retrieved 21 March 2018.
  10. ^ Everson, William K. (1994). Hollywood Bedlam: Classic Screwball Comedies. New York: Carol Publishing Group.
  11. ^ Citation Sarris, Andrew. You Ain't Heard Nothin' Yet: The American Talking Film, History & Memory, 1927–1949, Oxford University Press, New York, 1998
  12. ^ [1] The Screwball and Its Audience - University of Virginia
  13. ^ a b c d e f g h i Pronovost, Virginie (2020). "Screwball": A Genre for the People : Representing Social Classes in Depression Screwball Comedy (1934-1938): Representing Social Classes in Depression Screwball Comedy (1934-1938) (PDF). Stockholm University. Retrieved 27 February 2024.
  14. ^ a b c d e f g h i j k l "10 great screwball comedy films". British Film Institute. 12 February 2015.
  15. ^ Cavell, Stanley (2003). Pursuits of happiness: the Hollywood comedy of remarriage (10. print ed.). Cambridge, Mass.: Harvard Univ. Press. ISBN 978-0-674-73906-2.
  16. ^ Cavell, Stanley. Pursuits of Happiness: The Hollywood Comedy of Remarriage. Cambridge, Massachusetts: Harvard University Press, 1981
  17. ^ a b Tim Dirks. "Comedy films: Screwball comedy". filmsite.org.
  18. ^ White, Armond. "Trouble in Paradise: Lovers, On the Money". The Criterion Collection. Retrieved 2022-12-03.
  19. ^ Alberti, John (2014). Screen Ages: A Survey of American Cinema. Taylor & Francis. p. 111. ISBN 9781317650287.
  20. ^ Halbout, Grégoire (2022). Hollywood Screwball Comedy 1934-1945. Bloomsbury Publishing. ISBN 9781501347627.
  21. ^ Janes, Samantha Anne (2020-05-26). Girls Will Be Girls: Examining the Adaptation of Female Characters in Screwball Comedy Films and Their Source Texts (PDF). OAKTrust (Thesis). Texas A&M University. Retrieved 27 February 2024.
  22. ^ a b c d e Robbie Collin (23 June 2015). "Who killed the screwball comedy?". The Telegraph. Archived from the original on 2022-01-12.
  23. ^ a b Liebenson, Donald. "TCM Spotlight: Screwball Comedies". www.tcm.com. Retrieved 27 February 2024.
  24. ^ a b c d Halbout, Grégoire (2023). Hollywood Screwball Comedy 1934-1945: sex, love, and democratic ideals (Paperback ed.). New York London Oxford New Delhi Sydney: Bloomsbury Academic. ISBN 978-1501347610.
  25. ^ "Theodora Goes Wild (1936): Boleslawsky's Screwball Comedy Starring Irene Dunne in Oscar-Nominated Performance | Emanuel Levy". 6 February 2006.
  26. ^ a b c d Kiriakou, Olympia (6 January 2022). "Notebook Primer: Screwball Comedy". MUBI. Retrieved 26 February 2024.
  27. ^ Levy, Emanuel (10 November 2007). "Divorce of Lady X: Korda Screwball Comedy, Starring Merle Oberon, Laurence Olivier and Ralph Richardson - Emanuel Levy". Emanuel Levy. Retrieved 21 March 2024.
  28. ^ Hunt, Dennis (14 July 1989). "Most Olivier Performances Available on Home Video". Los Angeles Times. Retrieved 21 March 2024.
  29. ^ a b c d e f Greene, Jane M. (2011). "A Proper Dash of Spice: Screwball Comedy and the Production Code". Journal of Film and Video. 63 (3): 45–63. doi:10.5406/jfilmvideo.63.3.0045. ISSN 0742-4671. JSTOR 10.5406/jfilmvideo.63.3.0045. Retrieved 26 February 2024.
  30. ^ Berardinelli, James. "You Can't Take it with You". Reelviews Movie Reviews. Retrieved 27 February 2024.
  31. ^ Johnson, Mark (19 May 2023). "95 Years of Oscars: Ranking The Best Picture Winners: #95-76". Awardsdaily. Retrieved 27 February 2024.
  32. ^ Hamada, James T. (Feb 8, 2022). "The Nippu Jiji". hojishinbun.hoover.org. Honolulu. Retrieved 27 February 2024.
  33. ^ Beach, Christopher (2004). Class, language, and American film comedy (Transferred to digital print ed.). Cambridge: Cambridge University Press. p. 117. ISBN 978-0-521-00209-7.
  34. ^ WILSON, JAKE (2011-02-25). "The lost art of screwball comedy". The Sydney Morning Herald. Retrieved 2019-01-01.
  35. ^ Gemmill, Allie (9 August 2017). "These 21 Underrated Rom-Coms Should Be Next In Your Netflix Queue". Bustle. Retrieved 2019-01-01.
  36. ^ Haslam, Jason (2013). The Public Intellectual and the Culture of Hope. University of Toronto Press. p. 164. ISBN 9781442641846.
  37. ^ Landay, Lori Ruth (1994). "Madcaps, screwballs, and con-women: The female trickster in American culture". Indiana University: 204. ProQuest 304127781. Retrieved 26 February 2024.
  38. ^ Jaeckle, Jeff, ed. (2015). ReFocus: The Films of Preston Sturges. Edinburgh University Press. pp. 118–120. ISBN 9781474406574.
  39. ^ Siede, Caroline (18 December 2020). "Christmas In Connecticut: Subversive 1940s rom-com turned gender roles on their head". The A.V. Club. Retrieved 26 February 2024.
  40. ^ "rediff.com, Movies: Classics Revisited: Why Chalti Ka Naam Gaadi is nonstop fun". m.rediff.com. Retrieved 2023-04-30.
  41. ^ Canby, Vincent (July 17, 1981). "Dudley Moore Stars as a Screwball in 'Arthur'". The New York Times. Retrieved 27 February 2024.
  42. ^ "Ranker Insights".
  43. ^ Described as a screwball comedy in Roger Ebert's contemporary review.
  44. ^ Kael, Pauline (21 February 2015). "The Stacks: 'Something Wild' Is One Great Road Movie". The Daily Beast. Retrieved 8 February 2024.
  45. ^ "Stallone's 'Oscar' Recovers From Bad Start". chicagotribune.com. 26 April 1991. Retrieved 21 March 2018.
  46. ^ "I Heart Huckabees (2004)". Rotten Tomatoes. Fandango Media. Archived from the original on January 18, 2010. Retrieved January 12, 2024.
  47. ^ O'Malley, Sheila (Dec 15, 2015). "Modern Screwball: Charles Hood on "Night Owls"". Roger Ebert. Retrieved 27 February 2024.
  48. ^ Marsh, James (March 23, 2016). "'Chongqing Hot Pot': HKIFF review". Screen Daily. Retrieved March 28, 2016.
  49. ^ Batey, Eve (June 7, 2024). "'Richard Linklater Explains How He Turned True Crime Into Screwball Comedy". Vanity Fair. Retrieved June 18, 2024.
  50. ^ Hall, Jacob (September 21, 2024). "'Anora Review: Sean Baker's High Stress Screwball Comedy Is The Best Movie Of 2024 [Fantastic Fest]". Slashfilm. Retrieved October 15, 2024.
  51. ^ "Golmaal Again Review {3.5/5}: No logic, Only magic. Gags, fights, songs, giggles, ghosts, here is a buffet you can overdose on". The Times of India.
  52. ^ "Golmaal: A wacky winner". www.rediff.com.
  53. ^ Scodari, Christine (March 1995). "Possession, attraction, and the thrill of the chase: Gendered myth-making in film and television comedy of the sexes". Critical Studies in Mass Communication. 12 (1): 23–39. doi:10.1080/15295039509366917. Retrieved 7 October 2023.
  54. ^ Spencer, Metta (2006). Two aspirins and a comedy: How television can enhance health and society. Paradigm. pp. 207–208. ISBN 9781594511554.
  55. ^ Gevers, Nick (16 October 1999). "Corrupting Dr Nice by John Kessel". infinity plus. Retrieved 29 August 2012.

Further reading

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