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Directed by Frank Capra. With Clark Gable, Claudette Colbert, Walter Connolly, Roscoe Karns. A spoiled heiress running away from her family is helped by a.
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Consider the scene in the hayfield, which comes about twenty five minutes after the one in the motel. Peter and Ellie have been forced off the bus by a breakdown and have been trekking cross-country, with Peter playing to the hilt the role of the cocky, wisecracking male protector to which he has repeatedly reverted. He has been protecting himself from emotional vulnerability by hiding behind a series of wisecracks and sarcastic remarks, giving Ellie lessons in donut dunking and piggyback carrying, just as he will on the following morning give her one on hitchhiking.

Ellie is playing the role she habitually assumes of independent, liberated, unshockable woman. The point Capra is making is how far from being truly exploratory or creative this role playing is.

Though most audiences seem to find it hilarious, I must say that it is not even very funny, in my opinion, but increasingly tedious. Their behavior is, in brief, only a form of social wall building and emotional self-protection.


Capra's photographic and acoustic additions to the mere script of the film—what is expressible in terms of the plot and dialogue—become his way of gesturing beneath the fairly superficial social and theatrical text, or even, at times, of indicating the irrelevance of everything we are watching being played out on the social surface of events.

This passional, stylistic subtext is brought into existence through Capra's use of effects of lighting and sound that are the rough equivalent of Joyce's mimetic shift to poetic language and aurality. There are, at important moments in Capra's work, in effect, two films superimposed one on top of another: the obvious one, which we can, for convenience, call the text of the dialogue and plot, and a quite different emotional subtext that is frequently covered up or hidden by the first text.

The part of the film represented by the smart chat, comic routines, and games between Peter and Ellie is, we are made aware, all a dodge, an evasion of an emotional and imaginative subtext that neither character wants to be the first to disclose to the other. In the haystack scene, all the while Peter and Ellie are emoting about their toughness and independence, Capra's lighting on the haystacks and cornfields and on Ellie's hair and face, the gauzed close-ups of her face, and, most of all, the registration on the sound tack of all of the pregnant pauses and silences between the two of them communicate the opposite of their toughness, independence, and self-sufficiency.

Aconteceu Naquela Noite (Legendado)

The most important scenes in It Happened One Night redirect our attention away from the actions and social interactions taking place and toward something else that is apparently expressible only by the pauses between the words, the tones of voice used, the quality of the light on a character's face. The sounds in the background, or the musical orchestration on the sound track.


At such emotionally charged moments the characters often are saying or doing nothing, or nothing very important—are silent, passive, or merely staring thoughtfully into the distance, in reverie or meditation—and we, too, shift into a meditative state Happened One Night Mr.

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It Happened One Night

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Facebook Twitter Show more sharing options Share Close extra sharing options. Susan King. She also wrote about independent, foreign and studio movies and occasionally TV and theater stories.

Born in East Orange, N. She worked for 10 years at the L. Herald Examiner and came to work at The Times in January She left in More From the Los Angeles Times. The J.