Cary Grant, Myrna Loy, and Shirley Temple star in “The Bachelor and the Bobby-Soxer”

The Bachelor and the Bobby-Soxer (1947) is an American screwball comedy-romance directed by Irving Reis and starring Cary Grant, Myrna Loy, and Shirley Temple. The supporting cast includes Rudy Vallee, Ray Collins, Henry Davenport, Veda Ann Borg, Johnny Sands, and Lillian Randolph. The screenplay, written by Sidney Sheldon, won an Academy Award for Best Writing Original Screenplay. It was the only Academy Award nomination for the film.

Richard Nugent (Grant), a carefree and charming artist who finds himself in legal trouble after being accused of corrupting a minor. The accuser is the stern and elegant Judge Margaret Turner (Loy), whose younger sister, Susan (Temple), has developed a fierce crush on Richard. Susan's infatuation, sparked by his magazine photo, leads to a series of chaotic misunderstandings that land Richard in Margaret's courtroom. In a fit of frustrated fury and a desire to teach her sister a lesson, Margaret sentences Richard to "rehabilitate" Susan by pretending to be her boyfriend until her teenage crush fades away.

What could go wrong?

 

Irving Reis (1906 – 1953) was a radio program producer and director, and a film director. Reis directed several notable and popular films, including Hitler’s Children (1943), The Bachelor and the Bobby-Soxer (1947), and All My Sons (1948).

Cary Grant (1904 – 1986) was an English-born American actor who became one of the most popular leading men in film history. Grant started his career in vaudeville before heading to Hollywood. He became a superstar in the late 1930s in a series of screwball comedies, including The Awful Truth (1937) with Irene Dunne. He was a memorable C. K. Dexter Haven in The Philadelphia Story (1940) opposite Katharine Hepburn and James Stewart. He received two Best Actor nominations for Penny Serenade (1941) and None but the Lonely Hearts (1944). Other classic Grant films include Gunga Din (1939), Only Angels Have Wings (1939), and Arsenic and Old Lace (1944). He made four popular films with Alfred Hitchcock: Suspicion (1941), Notorious (1946), To Catch a Thief (1955), and North by Northwest (1959). He was presented with an Honorary Oscar at the 42nd Academy Awards in 1970.

Myrna Loy (1905 - 1993) was an American film, television, and stage actress. Loy was a trained dancer but decided to concentrate on acting, appearing in silent films before becoming a major star with the advent of sound. Perhaps Loy is most famous for playing Nora Charles opposite William Powell in The Thin Man (1934) and its subsequent sequels. Loy and Powell were one of the screen’s most popular acting teams; they appeared in 14 films together. Loy starred opposite the top leading men of the day, including Clark Gable, Spencer Tracy, Tyrone Power, and Cary Grant. Some of her films include Wife vs. Secretary (1936), Libeled Lady (1936), The Great Ziegfeld (1936), Test Pilot (1938), Too Hot to Handle (1938), The Rains Came (1939), Love Crazy  (1941), The Bachelor and the Bobby-Soxer (1947), and Mr. Blandings Builds His Dream House (1948).

 

Cary Grant, Shirley Temple, and Myrna Loy

Shirley Temple (1928 – 2014) was an American actress, singer, dancer, and diplomat. Temple was Hollywood’s number-one box-office star from 1934 to 1938. As the most famous child star of all time, Temple achieved worldwide fame. Her films are still popular today. Some of Temple’s movies during her child star period include Baby Take a Bow (1934), Bright Eyes (1934), Captain January (1936), Stowaway (1936), Heidi (1937), Rebecca of Sunnybrook Farm (1938), and The Little Princess (1939). Her popularity as a top star at Twentieth-Century Fox ended with the release of The Blue Bird (1940). The film was Fox’s answer to The Wizard of Oz (1930), but it was a disaster with critics and, more importantly, with audiences. She had some success as a teen star in films like Since You Went Away (1944) and The Bachelor and the Bobby-Soxer (1947). Temple turned to politics in the 1960s. She was the United States Ambassador to Ghana (1974 – 1976). She was the first female Chief of Protocol of the United States (1976 – 1977), where she was in charge of President Jimmy Carter’s inauguration and inaugural ball. She was appointed the United States Ambassador to Czechoslovakia (1989 – 1992) by George H. W. Bush.

The Bachelor and the Bobby-Soxer trivia

• At the time of filming, Shirley Temple was 18 and had been married for ten months. Cary Grant was 42 years old.
• Movie in-joke references to Shirley Temple appear in the film. Cary Grant is served a “Shirley Temple” drink in a soda shop. When Shirley’s character is packing in her room, she takes a Shirley Temple doll off the mantle of her fireplace in her bedroom.
• Myrna Loy was almost 23 years older than her younger “sister” in the film.
• This was the second of three movies starring Cary Grant and Myrna Loy:
• Wings in the Dark (1934), and Mr. Blandings Builds His Dreamhouse (1948).

 Click HERE to watch the movie on the Internet Archive.

Click HERE to join the online discussion on September 1, 2025, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation and a link to join the discussion on Zoom.

Discussion questions

1. How does the film's title, The Bachelor and the Bobby-Soxer, reflect the central conflict and themes of the story? What does the term "bobby-soxer" reveal about the period in which the film was made?
2. Analyze the character of Judge Margaret Turner. Is her decision to sentence Richard to "rehabilitate" her sister an abuse of power, a clever solution, or both? How does her professional role as a judge contrast with her personal role as an older sister?
3. The film uses a significant age gap between the characters of Richard Nugent and Susan Turner for comedic effect. How do the performances of Cary Grant and Shirley Temple ensure that the relationship remains a lighthearted infatuation and never feels inappropriate?
4. Beyond the central love story, what does the film say about the differences between generations and the expectations placed on young people and adults in the 1940s?

Get ready for Noir City Chicago 2025

Noir City Chicago 2025 is a week-long film festival dedicated to celebrating classic film noir and neo-noir. The event will be held at Chicago's Music Box Theatre, 3733 N. Southport Ave., from September 5 to 11. Presented by the Film Noir Foundation, the festival is a must-see for fans of hardboiled crime stories, high heels and fedoras, and shadowy cinematography. The lineup for the festival is curated to include both renowned classics and obscure rarities, often presented in double-bills, and will feature screenings of 35mm prints alongside digital restorations.

Joan Bennett and Edward G. Robinson in The Woman in the Window

The 2025 program promises an eclectic mix of films, including classics like Stanley Kubrick's The Killing and Fritz Lang's Scarlet Street, as well as a selection of neo-noirs such as The Grifters and The Hot Spot. The festival will be hosted by Eddie Muller, the founder of the Film Noir Foundation and host of TCM's "Noir Alley," for the opening weekend. Following that, screenings will be presented by Film Noir Foundation board member Alan K. Rode. This year's event highlights the lasting legacy and influence of film noir, providing audiences with a chance to experience these gripping tales of desperation, greed, and betrayal on the big screen.

Click HERE for the full schedule.

Claudette Colbert and Joel McCrea in Preston Sturges's "The Palm Beach Story"

The Palm Beach Story (1942) is an American screwball comedy written and directed by Preston Sturges and starring Claudette Colbert, Joel McCrea, Mary Astor, and Rudy Vallee. The cinematography is by Victor Milner, and the music is by Victor Young.

Tom Jeffers (McCrea) is an inventor going through a rough patch with his wife, Gerry (Colbert). Used to living an upper-class life in New York City, their current financial situation (not good) isn't helping the relationship.

Gerry, still in love with her husband, develops a plan that seems to make no sense to anyone but her. Will her plan throw her marriage into greater peril or save it?

Preston Sturges (1898 - 1959) was an American playwright, screenwriter, and film director. Sturges was one of the first film directors to direct his own screenplays, opening up the door for Billy Wilder and Joseph L. Mankiewicz to do the same. Sturges was a successful playwright and Hollywood screenwriter, and script doctor. As a writer-director, Sturges had an amazing output of films in a period of five years, all considered classics today. These films include The Great McGinty (1940), Christmas in July (1940), The Lady Eve (1941), Sullivan's Travels (1941), The Palm Beach Story (1942), Hail the Conquering Hero (1944), and The Miracle of Morgan's Creek (1944). After leaving Paramount Pictures in a dispute with upper management, Sturges's career declined, and he never produced anything close to the quality of his earlier successes. In spite of this decline, Sturges is considered one of the greatest talents to come out of Hollywood.

Claudette Colbert (1903 -1996) was an American stage, film, and television actress. She is perhaps best known for her role as Ellie Andrews in Frank Capra’s It Happened One Night (1934). For her role in that film, she won the Academy Award for Best Actress. She was nominated two other times in that category. Colbert got her start in the theater, where she played a variety of ingenue roles. In 1928, she signed a contract with Paramount Pictures, where she quickly made a succession of movies. Her breakout role came in 1932 in The Sign of the Cross (1932) starring Fredric March and Charles Laughton. In 1934, she made three films that were nominated for the Academy Award for Best Picture: Imitation of Life, Cleopatra, and the eventual winner, It Happened One Night. No one had been able to match that record. Other popular films include I Met Him in Paris (1937), Drums Along the Mohawk (1939), Midnight (1939), The Palm Beach Story (1942), Since You Went Away (1944), and The Egg and I (1947).

Joel McCrea (1905 – 1990) was an American movie star who appeared in over 100 films. During his almost-five-decade career, McCrea worked with some of the top directors in Hollywood, including Alfred Hitchcock (Foreign Correspondent 1940), Preston Sturges (Sullivan’s Travels 1941, The Palm Beach Story 1942), and George Stevens (The More the Merrier 1943). McCrea worked opposite some of the top leading actresses of the day, including Miriam Hopkins, Irene Dunne, Veronica Lake, Claudette Colbert, and Barbara Stanwyck, with whom he made six films. He was the first actor to play Dr. Kildare in the film Internes Can’t Take Money (1937), co-starring Stanwyck. McCrea married actress Frances Dee in 1933. The two were married until McCrea died in 1990.

Click HERE to watch the movie on the Internet Archive.

Click HERE to watch the movie on YouTube.

Click HERE to join the discussion on August 25, 202, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation and a link to the discussion on Zoom.

The Palm Beach Story trivia

• Carole Lombard was scheduled to star alongside McCrea but was replaced by Colbert when Lombard was killed in a plane crash in 1942.
• Preston Sturges makes a cameo appearance carrying Colbert's luggage after departing Rudy Vallee's yacht.
• The studio didn't want Rudy Vallee to be cast in the role of J.D. Hackesacker III but Sturges persisted and got his way.
• The $700 that the Wienie King gives Gerry would be worth over $10,000 today.
• The Palm Beach Story was the fifth film writer-director Preston Sturges made in two years!

Why watch this film?

• The Palm Beach Story is considered one of the best screwball comedies ever made. 
• Preston Sturges is one of the true geniuses of Hollywood's classical period which makes watching his films practically mandatory.
• It's an opportunity to see Joel McCrea and Claudette Colbert at the peak of their powers and appeal.
• The supporting cast includes Mary Astor and Rudy Vallee, and the members of The Preston Sturges Stock Company.
• Few people could write sophisticated comedy like Preston Sturges, and The Palm Beach Story is just one example of the director's talent.

Discussion questions

1. Gender Roles and Expectations: How does the film challenge or reinforce traditional gender roles of the 1940s? Consider the characters of Gerry and Tom and their respective approaches to money, marriage, and independence.
2. Money vs. Love: The central conflict in the film revolves around money. Does the movie ultimately suggest that money is a necessary evil for a successful marriage, or is it a corrosive force that undermines genuine affection?
3. Screwball Comedy Elements: Identify and analyze the classic elements of screwball comedy present in "The Palm Beach Story." How do these elements, such as fast-paced dialogue, zany situations, and mistaken identities, serve the film's satirical commentary on class and relationships?
4. Symbolism of the Ale & Quail Club: The Ale & Quail Club and its chaotic journey on the train are a significant part of the film's humor. What might this group symbolize? What is their function within the narrative, and how do they reflect the film's broader themes?
5. Frankness and Modernity: For a film made in 1942, "The Palm Beach Story" is remarkably frank about divorce, remarriage, and a woman's desire for financial security. How does this film's treatment of these topics compare to other films of the era, and in what ways does it feel surprisingly modern?

Book Review: “Dashing to the End: The Ray Milland Story:”

Title: Dashing to the End: The Ray Milland Story

By Eric Monder

Publisher: University Press of Mississippi

ISBN: 9781496831491 (hardback)

Dashing to the End: The Ray Milland Story offers a carefully researched and engaging look into the life and career of one of Hollywood's most enduring, yet often underrated, leading men. Author Eric Monder navigates Milland's journey with a biographer's eye for detail and a fan's genuine affection. From his early days as a dashing heartthrob to his unexpected second act as a versatile character actor, the book paints a comprehensive picture of a man who was more complex and resilient than his on-screen persona often suggested.

The book spends a good deal of time during Milland's golden age, particularly his definitive role in Billy Wilder's The Lost Weekend. Monder vividly recounts his preparation for the part of an alcoholic writer, a performance that earned him a Best Actor Academy Award. This section of the book is an interesting trip through film history, providing context on the production and reception of this groundbreaking film. It highlights how Milland’s commitment to the role cemented his status as a serious dramatic actor, changing his public image from a charming romantic lead to a performer with more dramatic range than he was given credit for up to that time.

Milland's post-Oscar life didn’t turn out the way the actor expected. As his star waned in the studio system, he made a conscious and strategic pivot to television and B-movies, a move many of his peers would have scorned. The book treats this period not as a decline, but as a testament to his adaptability and sheer love for acting. Monder reveals anecdotes from Milland’s time directing and starring in sci-fi and horror films like The Man with the X-Ray Eyes. This perspective gives credit to his late-career work, revealing that he tackled these roles with the same professionalism and dedication that he brought to his Oscar-winning performance.

In conclusion, Dashing to the End: The Ray Milland Story is a definitive biography that is a must-read for classic film enthusiasts and anyone interested in the inner workings of Hollywood's studio era. The biography will leave the reader with an appreciation for Milland not just as a gifted actor, but as a shrewd and enduring professional who was "dashing to the end."

Book Review – Ronald Colman: Hollywood’s Gentleman Hero

Title: Ronald Colman: Hollywood’s Gentleman Hero

By Carl Rollyson

Publisher: BearManor Media Books

ISBN 979-8-88771-437-0 (softcover)

In Ronald Colman: Hollywood's Gentleman Hero, author Carl Rollyson provides a long-overdue tribute to one of the most distinguished figures of classic cinema. The book corrects the notion that Colman has been forgotten, asserting his vital role not only as a leading man but as an influential artist across film, radio, and television. Rather than simply recount his life, Rollyson positions Colman as the quintessential “gentleman hero,” a persona he perfected on screen that embodied a complex and appealing set of virtues. The biography reveals a career that helped define the golden age of Hollywood.

A significant strength of Rollyson's work is its focus on Colman’s professional legacy and artistic contributions. The biography is less a sensationalized life story and more of a comprehensive analysis of his body of work. Rollyson corrects previous misconceptions about the actor, offering a carefully researched account of his performances. The book chronicles his seamless and successful transition from silent films to talkies, a feat for which Colman’s magnificent, resonant voice was a key asset.

Rollyson's approach is to delve deep into the critical reception of Colman's work, providing rich context that goes beyond simple storytelling. Though scholarly in tone, it is accessible to the casual film fan.

Ronald Colman: Hollywood's Gentleman Hero stands as a definitive biography of an often-underrated star. It succeeds in bringing Colman's remarkable life and career into focus, offering a case for his enduring relevance. For anyone with a serious interest in the history of cinema, the evolution of the actor's craft, or the specific influence of Ronald Colman, this biography is an essential read. It ensures that the legacy of Hollywood's original gentleman hero is remembered and properly celebrated for generations to come.

 

Carl Rollyson is a prolific biographer. He is the author of the best-selling Hollywood Enigma: Dana Andrews, A Real American Character: The Life of Walter Brennan, and The Making of Sylvia Plath.

Greer Garson is “Mrs. Miniver”

Mrs. Miniver (1942) is an American drama directed by William Wyler and starring Greer Garson, Walter Pigeon, and Teresa Wright. Others in the case include Dame May Whitty, Reginald Owen, Henry Wilcoxon, Richard Ney, and Henry Travers.

The film introduces us to the idyllic life of an upper-middle-class family in a quiet English village just before the outbreak of World War II. Mrs. Kay Miniver (Garson) is a resourceful wife and mother who lives with her architect husband, Clem (Pigeon), their three children, and their home on the Thames. This peaceful existence is about to change in ways the Minivers could never have imagined.

William Wyler (1902 - 1981) was an American (born in Mulhouse, Alsace, then part of Germany) film director and producer. He won the Academy Award for Best Direction three times: Mrs. Miniver (1942), The Best Years of Our Lives (1946), and Ben-Hur (1959). Wyler was nominated 12 times for Best Director, an Academy Award history. Wyler started working in the movie business during the silent era, eventually making a name for himself as a director in the early 1930s. He would go on to direct Wuthering Heights (1939), The Westerner (1940), and The Little Foxes (1941). Actress Bette Davis received three Oscar nominations under Wyler’s direction, winning her second Oscar for her performance in Jezebel (1938). Other popular films directed by Wyler include The Heiress (1949), Roman Holiday (1954), Friendly Persuasion (1956), The Big Country (1958), and Funny Girl 1968).

Greer Garson (1905 – 1996) was a British-American film actress and singer. Garson was a top box office star from 1942 to 1946. She received seven Academy Award nominations for Best Actress, winning for her performance in Mrs. Miniver (1942). A favorite of M-G-M’s studio head Louis B. Mayer, Garson was cast in some of the most popular pictures the studio produced, including Pride and Prejudice (1940), Blossoms in the Dust (1941), Random Harvest (1942), Madame Curie (1943), Mrs. Parkington (1944), and The Valley of Decision (1945). Later in her career, she was nominated for her seventh Best Actress Award for Sunrise at Campobello (1960), playing Eleanor Roosevelt.

Walter Pidgeon (1897 - 1984) was a Canadian-American actor. During his long career, he was nominated for two Best Actor Academy Awards—Mrs. Miniver (1942) and Madame Curie (1943). Pidgeon worked on the stage before he entered films, making his Broadway debut in 1925. When he started working in film, he starred in musicals. Once the interest in musicals declined, he began making a name for himself in dramas and comedies during the mid-1930s. His lead role in How Green Was My Valley restored his popularity. He was first paired with Greer Garson in Blossoms in the Dust (1941). They made a total of eight films together, making them one of the screen’s most popular acting teams. Some of their other films include Mrs. Miniver (1942), Mrs. Parkington (1944), Julia Misbehaves (1948), and That Forsyte Woman (1949). Pidgeon has success on his own in films like Week-End at the Waldorf (1945), The Bad and the Beautiful (1952), and the science fiction classic, Forbidden Planet (1956). One of Pidgeon’s last film roles was Funny Girl (1968) where he portrayed Florenz Ziegfeld.

Teresa Wright (1918 - 2005) was an American stage, film, and television actress. She received Academy Award nominations in her first three films, a record that holds today. In 1942, she was nominated for Best Supporting Actress for Mrs. Miniver and for Best Actress in The Pride of the Yankees. She won the Supporting Oscar for Mrs. Miniver; her co-star, Greer Garson, won Best Actress. Today, Wright is most famous for playing Lou Gehrig’s wife in The Pride of the Yankees, The Best Years of Our Lives, and Alfred Hitchcock’s Shadow of a Doubt (1943). Wright was a popular star throughout the 1940s, starring opposite Robert Mitchum, Ray Milland, Gary Cooper, and David Niven. She starred opposite Marlon Brando in his first film role in The Men (1950). Wright continued working in film, with her last role as Miss Birdie in The Rainmaker (1997). Wright is the only non-baseball player to be honored by the New York Yankees when she passed away at age 86. 

Teresa Wright and Greer Garson

Mrs. Miniver trivia

• Propaganda Value: British Prime Minister Winston Churchill famously said that the film was “more powerful to the war effort than the combined work of six military divisions.” U.S. President Franklin D. Roosevelt also believed in the film's power and ordered its rousing final speech—delivered by the vicar—to be printed on leaflets and dropped over Europe as a morale booster.
• A Historic Oscar Speech: The film's star, Greer Garson, won the Academy Award for Best Actress. Her acceptance speech is legendary for its length, lasting an incredible 5½ minutes and setting a Hollywood record for the longest Oscar speech ever.
• On-Screen Son, Real-Life Husband: In the film, actor Richard Ney played Greer Garson’s son, Vin Miniver. The two fell in love during production and married the following year, though their marriage would end in divorce in 1947.
• Box Office and Awards Success: Mrs. Miniver was a massive hit, becoming the highest-grossing film of 1942 and the second-biggest box-office hit of the decade, after Gone with the Wind. It was also a critical darling, receiving twelve Academy Award nominations and winning six, including Best Picture, Best Director, and the first-ever five acting nominations for a single film.

Click HERE to watch the film on the Internet Archive.

Click HERE to join the online discussion on Monday, August 18, 2025, at 6:30 p.m. Once you RSVP, you will receive an invitations with a link to join the discussion on Zoom.

Discussion questions

1. How does the film portray the gradual shift from peaceful, everyday life to the full-scale reality of war? What specific scenes or events illustrate this change most effectively?
2. The film was a powerful piece of Allied propaganda. In what ways do you see it trying to influence its audience's opinion on the war? Consider the portrayal of the Miniver family, the German pilot, and the vicar's final speech.
3. Discuss the role of women in the film. How does Mrs. Miniver's character challenge or conform to the traditional gender roles of her time, particularly in her actions during the Dunkirk evacuation and her confrontation with the German pilot?
4. The final scene, where the surviving townspeople gather in the bombed-out church, is one of the most famous in cinema history. What is the message of this scene, and why do you think it resonated so strongly with audiences during World War II?
5. How does the film use both grand, epic moments (like the Dunkirk evacuation) and intimate, personal moments (like the Minivers' family life) to tell its story? How do these two scales of storytelling work together to create an emotional impact?

Alan Ladd, Veronica Lake, and William Bendix in “The Blue Dahlia”

The Blue Dahlia is a 1946 film noir, directed by George Marshall, about Johnny Morrison (Alan Ladd), a decorated naval aviator who returns home from the war to find his wife, Helen (Doris Dowling), has been unfaithful. After a heated confrontation, Johnny leaves, only to learn later that Helen has been murdered. The police, led by Captain Hendrickson (Tom Powers), quickly make Johnny their prime suspect. As he attempts to clear his name, Johnny becomes entangled in a web of deceit involving Helen's new lover, the charming nightclub owner Eddie Harwood (Howard da Silva), and Harwood's estranged wife, Joyce (Veronica Lake).

Johnny, with the help of his friends and fellow veterans Buzz (William Bendix) and George (Hugh Beaumont), tries to piece together the events of the night of the murder. He discovers that his wife, Helen, was a troublesome alcoholic and that Eddie Harwood's business partner, “The Man with a Gun”  Leo, had a long-standing feud with her. The film’s plot is driven by Johnny's race against time to uncover the truth and prove his innocence. He forms an unlikely alliance with Joyce, who also suspects her husband is involved, and together they navigate the seedy underbelly of the Los Angeles nightclub scene.

Alan Ladd and Veronica Lake

George Marshall (1891-1975) was an American film and television director, screenwriter, producer, and actor. Born in Chicago, Illinois, Marshall dropped out of the University of Chicago and worked various jobs, including as a mechanic, logger, and newspaper reporter, before entering the film industry. He began as an extra in 1916 and quickly moved into directing, with his early work consisting mostly of westerns and comedies. He directed films for various studios, including Fox, Universal, and Paramount, and worked with notable actors such as Laurel and Hardy, W.C. Fields, and Bob Hope. Later in his career, he also directed television series. He received a Star on the Hollywood Walk of Fame in 1960.

Marshall directed films across many genres throughout his career, which spanned over 50 years. He is known for his work on movies such as Destry Rides Again (1939) and The Blue Dahlia (1946). He also co-directed How the West Was Won (1962), for which he directed the railroad segment. Marshall died in Los Angeles, California, in 1975 from pneumonia.

Alan Ladd (1913 – 1964) was an American actor and film producer. Before Ladd made in big in movies, he had a successful career on the radio. After numerous bit parts at just about every Hollywood studio, Paramount signed him to a long-term contract and crafted roles that propelled him to superstardom. Ladd established himself in films noir like This Gun for Hire (1942), The Glass Key (1942), and The Blue Dahlia (1946). Other important films include Two Years Before the Mast (1946) and The Great Gatsby (1949). Ladd also established himself in the western genre, starring in Whispering Smith (1948) and one of the most famous westerns of all time, George Stevens’s Shane (1953). George Stevens offered the role of Jett Rink in Giant (1956), but Ladd turned it down because it wasn’t the lead. Ladd’s last film was in a supporting role in The Carpetbaggers (1964).

Veronica Lake (1922 - 1973) was an American film, stage, and television actress. She was a popular star of film noirs, often paired with Alan Ladd in the 1940s. She was also famous for her peek-a-boo hairstyle. Her home studio, Paramount, dubbed her the peek-a-boo girl. Women and girls all over the world copied her hair-over-one-eye hairstyle. Lake became an overnight sensation with her role in I Wanted Wings (1940). During the height of her career, Lake was making $4,500 a week. Some of her popular films include Sullivan’s Travels (1941), This Gun for Hire (1942), The Glass Key (1942), So Proudly We Hail! (1943), and The Blue Dahlia (1946). Lake’s career declined due to her struggle with alcoholism. She died from cirrhosis of the liver in 1973. She was 50 years old.

William Bendix (1906 – 1964) was an American film, radio, and television actor. Bendix usually played rough guys, gangsters, and blue-collar characters. In 1942, he was nominated for a Best Supporting Actor Oscar for his performance in the World War II drama Wake Island. As a youngster, Bendix was a batboy at Yankee Stadium. He was fired for buying Babe Ruth a hot dog and soda before the game. Bendix starred in several classic films noir, including The Glass Key (1942) and Blue Dahlia (1946). Perhaps his greatest role was as Chester A. Riley, a role he played on radio and television to great success.

The Blue Dahlia trivia

• The film was rushed into production because Alan Ladd was called to military service.  When the script was completed, men over thirty were released from service.
• Cars with the “B” sticker on their windshield could only purchase eight gallons of gas per week. Gas was rationed during World War II.
• This was Raymond Chandler’s first original screenplay without a collaborator. Chandler drank heavily to help him meet the deadline and worked from home, which was unheard of during the studio era.
• Fourth film pairing of Ladd and Lake.
• Raymond Chandler objected to Veronica Lake being in the film. He didn’t think she was a good actress. He also thought director George Marshall was a hack. 

Click HERE to watch the movie on the Internet Archive

Click HERE to join the online discussion on August 11, 2025, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation to join the discussion on Zoom.

Discussion questions

1. The character of Johnny Morrison is a returning veteran who finds his life in disarray. How does the film use his character to explore the themes of post-war disillusionment and the challenges faced by soldiers reintegrating into civilian society?
2. The Blue Dahlia is a classic example of film noir. Discuss how the film utilizes common noir tropes, such as shadowy cinematography, a cynical protagonist, and a femme fatale, to tell its story. How do these elements contribute to the film's overall mood and tone?
3. Raymond Chandler, a master of hardboiled fiction, wrote the screenplay for The Blue Dahlia. How is his signature style evident in the film's dialogue, plot, and character development? Do you think the film effectively captures the essence of his literary work?
4. The film presents several complex female characters, particularly Helen and Joyce. How do their roles challenge or conform to the stereotypical portrayals of women in 1940s cinema? What do their actions reveal about the social and moral landscape of the time?
5. Buzz, one of Johnny's friends, suffers from a psychological condition related to his combat experience. How does the film portray his struggles, and what does his character add to the film's exploration of the lasting impact of war?