Sturges prefers planting the camera in front of the characters or actors; or have the camera follow actors when walking, and simply observing what is witty.
The film does not shy in acknowledging the Great Depression. Sullivan’s discussion, the first one, with the studio leaders through the entire film, I see a genuine conflict between his wishes to present the suffering around him and also their wish in distracting audiences via the making of escapist pictures . It is only in the end does he, Sullivan, notice that perhaps the heads at the studio may be having the right idea.
The movie changes humor style and tone each a few minutes. The movie shows some paradox tone, the movie has humor and gravity existing side-by-side, the tragicomic picture or view whose objective is comedy but it premise is a serious in nature ; the movie aims at both making people laugh and think.
I am in a dilemma of comfortable classifying Sullivans Travels into either the “comedy-not tragedy” or "comedy-ha-ha” modes of humor. Sullivan’s Travels is more of Sullivan’s film, and the movie is presenting exactly what the character has set out to discover. Moreover, the movie avails an integration of comedy, inspiration, and pathos that jointly reinforce and also paradoxically demean the filmmakers’ argument. The movie has various exquisite scene of gags, for example the chase scene where a trailer after Sullivan in the dirt roads and fields, the varied expressions found on the portrait at the house’s window, and a number of characters falling into the pool. The presence of verbal humor emanates in most of the encounters with the Girl’s sarcastic comments that are dry, and Sullivan’s associates.
The movie Sullivan’s Travels is also ironic; Sturges criticizes the motivations and methods of the Popular Front, but at the same time, he perpetuates to give social critique of the manner and style of the Popular Front. Sturges was able to