DEFINING SCREWBALL: "... For many 1930s critics, ["My Man Godfrey"] represented [an] obvious starting point for the genre.".

• Author: Gehring, Wes D.
• Position: ENTERTAINMENT

BEFORE addressing the unique and often unexplored nature of the iconic screwball comedy "My Man Godfrey" (1936), some guidelines need to be established.

The term "screwball" often has proven to be an unfortunate expression, as many equate it with the most baseless of personality comedies, a la the "Dumb & Dumber" franchise (starting in 1994). Nothing could be further from the truth. Screwball comedy is a form of American farce that began during the Depression. The genre is an eccentric second cousin to romantic comedy, both in escapist settings.

The genre's origin date is approximately 1934, with the arrival of Hollywood's Hays Code. Since screwball comedy was farce, it necessitated being the "sex comedy without sex." As far as the "screwball" term, in 1930s slang it meant an eccentric person, though as a 19th century colloquial expression, it meant having a "screw loose" (being crazy) or becoming "screwy" (drunk)--given traits for this then new form of farce. In "My Man Godfrey," for example, both conditions nicely match the seemingly crazy post-debutante Carole Lombard, and her eternally blotto household and sometimes soused butler Godfrey (William Powell).

By chance, period baseball stimulated the word "screwball" by the 1934 world champion St. Louis Cardinals, a team noted for its nutty behavior and nicknamed "The Gashouse Gang." Their zany antics were highlighted by star pitcher "Dizzy" Dean. His madcap behavior even placed him on the cover of Time magazine, calling him a "legend ... to every literate U.S. citizen and whose antics [were] gracious or absurd." This is the pocket definition of Lombard in "Godfrey."

Indeed, the Sept. 23, 1936, Variety review of "My Man Godfrey" stated:"... She needs only a rosin bag to be a female Rube Waddell [a Dizzy Dean-type turn-of-the-century pitcher]." Fittingly, since the mid 1930s, "screwball" also has been a baseball reference to a pitch moving in the opposite direction of a curveball, made famous during that era by southpaw Carl Hubbell, who helped hurl the New York Giants to three pennants during the '30s.

Through the years, critics and historians mistakenly have used the designations "screwball comedy" and "romantic comedy" interchangeably. If one wanted the simplest distinction between the two, the former category accepts a partner as is, versus romantic comedy necessitating someone change. Romantic comedy puts love on a pedestal and makes any negatives verboten. Indeed, in Rob Reiner's "When Harry Met Sally" (1989), there even are narrative breaks when the viewer is exposed to random romantic testimonials from elderly married couples from a "love seat."

In contrast, to use a celebrated screwball comedy title, there is "nothing sacred" from laughter in this genre, including love. Consequently, screwball comedy mocks love right up until the focus couple unites. Moreover, supporting screen couples either mock marriage and/or find it dysfunctional. In fact, Lombard's "Godfrey" mother (Alice Brady) forever comically argues with her husband (Eugene Pallette) and has a live-in "protege" --1930s code for gigolo.

An expanded comparison of screwball and romantic comedy centers upon two additional points beyond screwball accenting laughter over love. Since romantic comedy is more reality based than its counterpart, screwball comedy has extra...