A full study of expressionist dream sequences in 40s movies (a trend seemingly begun by Charles Vidor’s BLIND ALLEY, 1939) would be fun to research. I’m particularly interested by those in comedy films, where the nightmarish imagery is often more disturbing and less funny than in the dark thrillers. Vincente Minnelli’s FATHER OF THE BRIDE would be a good example — ALL Minnelli’s comedies have a feeling of inexorable nightmare about them — and this one employs imagery later recycled with a straight face in A NIGHTMARE ON ELM STREET (the floor turning to quicksand).
GETTING GERTIE’S GARTER is a vigorous, unfunny farce made by Allan Dwan during a brief phase in his long, long career when he was working as a farceur — UP IN MABEL’S ROOM has the same plot and some of the same cast, and there’s BREWSTER’S MILLIONS too. Sex farces where the hero is a love rat trying not to get caught suffer from a lack of sympathy (and would get banned in the 40s), and those where the hero is innocent tend to be silly and undermotivated. (George Axelrod complained that THE SEVEN YEAR ITCH became rather trivial once it became a film and the hero could no longer screw the Girl upstairs and feel guilty about it.) Joe Orton could bypass the problem by highlighting it — unsympathetic protagonists make a satirical point in his work — he’s making a case for what he believes humanity and society are really like. And he makes it funny. The other farces I’ve enjoyed are mainly every single episode of Fawlty Towers, where the character’s neurotic confabulations are true to character.
GGG, typical of many stage farces, distorts character and has people doing things they would not, or could not, ever do, for the sake of plot. Having introduced the hero as a professor who’s absent-minded to the point of dementia, having him then turn out to be a quick-thinking, sociopathic yarn-spinner, and everyone he knows be incredibly dense and willing to accept absurd explanations for absurd actions, is problematic since it’s unbelievable not in real-world terms but on its own terms.
But the nightmare scene is eye-catching. Hard to believe it was made BEFORE Lang’s SECRET BEYOND THE DOOR… but it was. I guess STRANGER ON THE THIRD FLOOR’s extended legal nightmare scene was an inspiration. I include these images without the narrative points which explain them, because they’re better unexplained.