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?

Review of “The Blue Dahlia” at #NoirCityChicago

I went to see The Blue Dahlia, at the Music Box Theatre, 3733 N. Southport Ave., Chicago, last night. The 1946 Paramount release, directed by George Marshall was presented in a clean 35mm print. The original screenplay from detective story legend, Raymond Chandler is just a tad less confusing than Howard Hawks’s The Big Sleep released the same year. But like that Bogie and Bacall classic, The Blue Dahlia is just as enjoyable nonetheless.

Terrific publicity shot of Alan Ladd and Veronica Lake

Introduced by Film Noir Foundation Founder and President, Eddie Muller, who provided some interesting background information, as well as putting the film in context. For example, the film was rushed into production before star Alan Ladd was off to serve in the Navy toward the end of World War II. Muller also noted that Ladd’s Dahlia and frequent costar, Veronica Lake, was never a femme fatale, at least not in the films she made with Ladd. Muller said Lake, by contrast, was always a self-confident woman, a positive example to the women watching her on the big screen. Muller said that Ladd and Lake were the 1940s most popular acting team. Judging from the box office success of their films, one could reasonably make that argument.

Seeing the film with an audience was a delight. The best part of the film was the snappy dialogue between all the major characters. Some of the situations portrayed were laugh-out-loud funny, but probably weren’t meant to be so in 1946. Besides the top-billed Ladd and Lake, there’s great support from William Bendix, Doris Dowling, Howard Da Silva, and Hugh Beaumont (yes, Ward Cleaver before Leave it to Beaver fame).

Lobby card for The Blue Dahlia featuring Ladd and Lake

The plot surrounds the murder of Ladd’s wife after he returns home from military service. When Ladd discovers that his wife has been unfaithful and was responsible for the death of their young son, he walks out on her. Their arguing overheard by the house detective at Dowling’s bungalow, casts suspicion on Ladd when Dowling ends up dead. Ladd goes on the run when he realizes he’s a murder suspect. Lake picks up Ladd in her car when she finds him walking in the rain. Lake befriends Ladd and the two strike up an uneasy friendship. When it is revealed that Lake is the estranged wife of Da Silva, the nightclub-owning-gambler and Dowling’s boyfriend and potential murderer, things get complicated. Just about everyone in the movie has a motive to bump off Miss Dowling, which holds your suspense, but also makes the plot difficult to follow at times. But no matter, it’s the dialogue between Ladd and Lake and the other cast members (as Muller noted in his introduction) that really make this movie hum.

Without giving in to spoilers, let’s say that everything makes sense in the end.

The Blue Dahlia was a big hit for Paramount and one of the most popular of Ladd and Lake’s films. Ladd’s career continued to climb, but Lake’s was pretty much over by the end of the decade.

The Noir City Chicago film festival runs through August 23. The see the remaining films on the schedule, click here.