Rex Harrison and Gene Tierney are “The Ghost and Mrs. Muir”

Set in the early 1900s, The Ghost and Mrs. Muir, directed by Joseph Mankiewicz, follows Lucy Muir (Gene Tierney), a headstrong young widow determined to escape her overbearing in-laws and forge an independent life. Against the advice of a skeptical real estate agent, she rents Gull Cottage, a secluded seaside home with a reputation for being haunted. Lucy is unfazed by the rumors, seeking the house’s salt-aired solitude to raise her young daughter (Natalie Wood), but she soon discovers that the stories of a restless spirit are very much true.

The cottage is “occupied” by the ghost of its former owner, Captain Daniel Gregg (Rex Harrison), a blustery and foul-mouthed sea captain who supposedly committed suicide. While he initially attempts to scare Lucy away with standard ghostly theatrics, he finds himself begrudgingly impressed by her lack of fear and her stubborn resolve. An unlikely truce forms between the living woman and the spectral sailor, evolving into a profound, intellectual companionship as they collaborate on writing his salty memoirs to save the cottage from financial ruin.

As their bond deepens, the film explores the poignant limitations of their relationship. Lucy must navigate the challenges of the physical world—including the suit of a charming but slick “earthly” author (George Sanders)—while the Captain remains a constant, invisible presence in her heart. It is a sophisticated and atmospheric blend of romance and fantasy, trading traditional scares for a melancholic reflection on loneliness, independence, and the idea that a soulmate might not necessarily belong to the world of the living.

Gene Tierney and Rex Harrison

Joseph Mankiewicz (1909 – 1993) was a cerebral and sophisticated force in Hollywood’s Golden Age, celebrated as a “literary” director who prioritized razor-sharp dialogue and complex character psychology over visual spectacle. After a successful tenure as a producer at MGM, he transitioned to directing and achieved the unprecedented feat of winning consecutive Academy Awards for both Screenplay and Direction for A Letter to Three Wives (1949) and All About Eve (1950). His work often explored the intricacies of social status and the art of performance, utilizing intricate flashback structures and witty, cynical narration that became his professional hallmark. Despite the turbulent production of the epic Cleopatra (1963), Mankiewicz’s legacy remains defined by his ability to translate the depth of the theater to the silver screen, cementing his status as one of cinema’s most eloquent storytellers.

Gene Tierney (1920–1991) was a captivating leading lady of the 1940s whose ethereal beauty and refined poise masked a formidable dramatic range. After rising to stardom at 20th Century-Fox, she became an immortal icon of film noir in the title role of Laura (1944) and earned an Academy Award nomination for her chilling portrayal of a possessive socialite in Leave Her to Heaven (1945). Despite her professional success, Tierney’s life was marked by immense personal tragedy, including her daughter’s disability and her own harrowing battle with bipolar disorder. By courageously sharing her experiences with mental illness and shock therapy in her autobiography Self-Portrait, she became a pioneering advocate for mental health awareness, ensuring her legacy was defined by both her cinematic elegance and her profound human resilience.

Natalie Wood and Gene Tierney

Sir Rex Harrison (1908–1990) was an acclaimed English actor of stage and screen, celebrated for his suave delivery and mastery of high comedy. Born Reginald Carey Harrison, he began his career at the Liverpool Playhouse in 1924 and achieved a major breakthrough in the 1936 West End play French Without Tears. Harrison became internationally iconic for his definitive portrayal of Professor Henry Higgins in My Fair Lady, a role that earned him a Tony Award for the 1956 Broadway production and the Academy Award for Best Actor for the 1964 film adaptation. Throughout his six-decade career, he delivered notable performances in films such as The Ghost and Mrs. Muir (1947), Cleopatra (1963), and Doctor Dolittle (1967), while continuing to perform on stage until just weeks before his death. Knighted by Queen Elizabeth II in 1989, Harrison remains one of the most distinguished figures of the Golden Age of cinema and theater.

Gene Tierney and Rex Harrison between takes on location

George Sanders (1906–1972) was a Russian-born British actor and singer renowned for his smooth, bass voice and his definitive portrayal of sophisticated, cynical, and often villainous characters. Throughout a prolific career spanning over 40 years, he became a fixture of Hollywood’s Golden Age, starring in classics such as Alfred Hitchcock’s Rebecca (1940) and Foreign Correspondent (1940), and the fantasy-romance The Ghost and Mrs. Muir (1947). His career reached its pinnacle with his performance as the acid-tongued theater critic Addison DeWitt in All About Eve (1950), a role that won him the Academy Award for Best Supporting Actor. Beyond his live-action work, Sanders is fondly remembered by younger generations as the voice of the malevolent tiger Shere Khan in Disney’s The Jungle Book (1967). Known off-screen for his wit and self-described persona as a “professional cad,” Sanders remained a distinguished and in-demand talent until he died in Spain in 1972.

 

Gene Tierney with Natalie Wood and Tierney’s dog

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The Ghost in Mrs. Muir trivia

• Composer Bernard Herrmann considered his work for The Ghost and Mrs. Muir to be his personal favorite. Unlike his later tension-filled scores for Hitchcock (like Psycho), this music was lush and romantic, designed to bridge the gap between the living and the dead. He even reused some of its haunting themes for his only opera, Wuthering Heights.
• Director Joseph L. Mankiewicz famously directed Rex Harrison to play the ghost of Captain Daniel Gregg as if he were actually alive. He instructed Harrison to speak his lines with a booming, physical presence rather than a traditional spectral or whispered voice. This choice emphasized that, to Lucy Muir, the Captain was a very real, vital force in her life.
• The film’s popularity led to a 1960s sitcom of the same name. While the movie is a poignant, bittersweet romance, the TV show (starring Hope Lange and Edward Mulhare) leaned much further into comedy. Despite the tonal shift, the series was a hit and ran for two seasons, keeping the story of Gull Cottage in the public consciousness for a new generation.
• A very young Natalie Wood appears in the film as Lucy Muir’s daughter, Anna. At just eight years old, Wood delivered a remarkably natural performance. It would be another eight years before her breakout role in Rebel Without a Cause (1955), but her work here showed the early promise of the legendary star she would become.

 

Discussion questions

1. Lucy Muir’s move to Gull Cottage is her first act of rebellion against her in-laws. In what ways does her relationship with Captain Gregg help her find her own voice, and in what ways does it keep her tethered? Does she achieve true independence, or has she simply swapped the control of her living family for that of a ghost?
2. The romance between Lucy and Daniel Gregg is entirely non-physical, built on shared secrets, intellectual collaboration, and mutual respect. How does the film use the supernatural to comment on the nature of companionship? Does the film suggest that a “soulmate” is defined by a connection of the mind and spirit rather than a physical presence?
3. Compare the characters of Captain Gregg and Miles Fairley (the “real” suitor). Miles is charming and physically present but ultimately deceptive, while Daniel is gruff and invisible but honest. What is the film saying about the romanticized ideals we hold versus the disappointing realities of the people we encounter in the world?
4. The final act of the film covers several decades of Lucy’s life. How does the passage of time—shown through the aging of Lucy and the growing up of her daughter—affect the audience's perception of the ghost? Is Captain Gregg's decision to “recede” from Lucy’s mind an act of love or a tragic necessity for her to live a human life?

 

Book Review: Pre-Code Essentials: Must-See Cinema from Hollywood’s Untamed Era – 1930 - 1934

Title: Pre-CodeEssentials: Must-See Cinema from Hollywood’s Untamed Era – 1930 - 1934

By Kim Luperi and Danny Reid

Publisher: Running Press

ISBN: 978-8-89414-055-1

Pre-Code Essentials: Must See Cinema from Hollywood’s Untamed Era 1930-1934 written by Kim Luperi and Danny Reid, serves as a vibrant, rowdy tribute to the four-year window when Hollywood lost its inhibitions before the Hays Code clamped down in mid-1934. This collection or retrospective (depending on your local screening series) perfectly captures the era's frantic energy, highlighting films that feel surprisingly modern even nearly a century later. By focusing on the gritty realism and social fluidity of the early thirties, the curator bypasses the polished Golden Age artifice in favor of something far more visceral and honest.

The selection excels at showcasing the era’s “dangerous” women and cynical heroes. From the unapologetic social climbing of Barbara Stanwyck in Baby Face to the crackling, machine-gun dialogue of Cagney and Robinson, the “Essentials” list reminds us that the pre-Code era was defined by its lack of moral lecturing. These films didn’t just depict sin; they often allowed it to go unpunished, reflecting a Great Depression-era audience that was far more interested in survival and rebellion than in Sunday school lessons.

Visually and tonally, the collection highlights the raw transition from silent cinema to talkies. You can see the camera regaining its mobility while the sound design experiments with the era”s new freedom. The “Untamed” moniker is well-earned here; the films tackle heavy themes of addiction, sexual autonomy, and systemic corruption with a frankness that disappeared from screens for decades after. The inclusion of deep cuts alongside well-known classics like Red-Headed Woman ensures that even seasoned cinephiles will find a new essential to obsess over.

Ultimately, Pre-Code Essentials is a necessary correction for anyone who thinks old movies are inherently “tame.” It celebrates a time when the ink on the rulebook was still wet and filmmakers like William Wellman and Ernst Lubitsch were pushing the boundaries of what a mass audience could handle. It’s a fast-paced, scandalous, and utterly essential look at a brief moment in time when Hollywood was truly, gloriously out of control.

 

Constance Bennett discovers “What Price Hollywood?”

What Price Hollywood? (1932), directed by George Cukor, is a poignant Pre-Code drama that explores the meteoric rise and tragic fall associated with Tinseltown fame. The story follows Mary Evans (Constance Bennett), an ambitious waitress at the Brown Derby who catches the eye of Maximillian Carey (Lowell Sherman), a brilliant but alcoholic film director. Max gives Mary her big break, and she quickly transforms into a celebrated screen icon. However, as Mary’s star ascends—leading to a whirlwind romance and marriage to a wealthy polo player—Max’s career and health spiral downward due to his relentless drinking, creating a stark contrast between her newfound success and his professional obsolescence.

The film takes a somber turn as the pressures of the spotlight take their toll on Mary’s personal life and Max’s dignity. After a series of scandals and a heartbreaking tragedy involving Max, Mary realizes the steep emotional cost of her celebrity status. Often cited as the primary inspiration for the various iterations of A Star Is Born, the movie serves as a cautionary tale about the volatility of the entertainment industry. It concludes with a bittersweet reflection on sacrifice, suggesting that while Hollywood can grant one's wildest dreams, it often demands a devastating personal price in return.

 

Lowell Sherman and Constance Bennett

George Cukor (1899–1983) was a titan of Hollywood’s Golden Age, celebrated for his sophisticated wit, impeccable style, and a rare ability to elicit career-defining performances from his actors. Often labeled a “woman's director”—a reductive title he both embraced and transcended—he became the go-to filmmaker for the industry’s greatest leading ladies, including Katharine Hepburn, Joan Crawford, and Judy Garland. His filmography is a masterclass in literary and stage adaptations, ranging from the sparkling social comedy of The Philadelphia Story (1940) and Adam’s Rib (1949) to the grand musical tragedy of A Star Is Born (1954). Though he famously lost his position as the director of Gone with the Wind due to creative clashes, Cukor’s legacy remained untarnished, eventually culminating in a Best Director Oscar for My Fair Lady (1964). Known for his “invisible” directorial hand, he prioritized the emotional truth of a scene over visual gimmicks, cementing his status as one of cinema's most literate and enduring storytellers.

Constance Bennett (1904–1965) was a leading American actress and producer who ranked as one of Hollywood’s highest-paid stars during the early 1930s. Born into a prominent theatrical family as the daughter of actor Richard Bennett and the sister of actress Joan Bennett, she became the epitome of cinematic sophistication, known for her husky voice, blonde elegance, and independent personality. After a successful transition from silent films to "talkies," she delivered a career-defining performance in George Cukor’s What Price Hollywood? (1932) and later excelled in sophisticated comedies such as Topper (1937) and Two-Faced Woman (1941). Beyond her acting, Bennett was a shrewd businesswoman who founded her own cosmetics and clothing lines and was one of the first women to produce her own films. In her later years, she dedicated significant time to entertaining U.S. troops and made a final screen comeback in the 1966 remake of Madame X before her death.

Lowell Sherman (1885–1934) was a quintessentially suave and cynical figure of the early sound era, distinguished by his polished “man-about-town” persona and a razor-sharp delivery that made him a favorite in Pre-Code cinema. Originally a successful stage actor, Sherman specialized in playing sophisticated villains, charming scoundrels, and weary aristocrats—most notably in What Price Hollywood? (1932), where his portrayal of the alcoholic director Max Carey earned critical acclaim for its depth and pathos. However, his most enduring legacy lies behind the camera; he successfully transitioned into directing, helming the Mae West classic She Done Him Wrong (1933) and the first three-strip Technicolor feature, Becky Sharp (1935). Tragically, Sherman’s career was cut short by double pneumonia at the age of 49, just as he was becoming one of the most versatile and influential writer-director-actors in the industry.

Neil Hamilton (1899–1984) was a versatile American actor whose career remarkably spanned from the silent film era to the television age. Initially, a popular leading man of the 1920s discovered by D.W. Griffith, Hamilton transitioned seamlessly into “talkies,” starring in major productions like the original Beau Geste (1926) and playing the romantic lead in the first sound-era Tarzan films. In George Cukor's What Price Hollywood? (1932), he showcased his range as the wealthy but frustrated polo player Lonny Borden. While his status as a film protagonist waned in the 1940s, he found enduring pop-culture immortality in the 1960s as the stolid Commissioner James Gordon on the Batman television series. Over a fifty-year career with more than 260 credits, Hamilton remained one of Hollywood's most reliable professionals, bridging the gap between the birth of cinema and the golden age of broadcast TV.

 

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What Price Hollywood? Trivia

• The Blueprint for a Legend: The film is widely recognized as the primary inspiration for the 1937 film A Star Is Born. While the later versions shifted the focus to a central romance, the narrative arc of a rising starlet mentored by a self-destructive, fading industry veteran remains the core of both stories.
• Real-Life Inspiration: The character of the alcoholic director Max Carey was reportedly based on several real-life figures, including director Marshall Neilan and John McCormick (the husband of actress Colleen Moore). Both were brilliant men whose careers were famously derailed by heavy drinking.
• Cinematic Innovation: Director George Cukor and cinematographer Charles Rosher used experimental techniques to portray Max’s alcoholism. They utilized distorted lenses and montage sequences to simulate a drunken stupor, which was highly sophisticated and visually daring for a film made in 1932.
• A "Waitress" in the Know: To prepare for her role as Mary Evans, Constance Bennett actually practiced her waitressing skills. Her character’s workplace, the Brown Derby, was a real-world Hollywood landmark where the "stars" actually ate, adding an authentic layer of "meta" commentary to the film's depiction of the industry.

 

Discussion questions

1. The Nature of Mentorship vs. Romance: Unlike its successors in the A Star Is Born franchise, this film keeps the relationship between Mary and Max primarily platonic. How does the absence of a romantic bond between the “rising star”and the “falling mentor” change the emotional stakes of the story? Does it make Max’s tragedy more or less poignant?
2. The “Price” of the Title: By the end of the film, Mary Evans has achieved international stardom but has lost her marriage and her closest friend. Based on the film’s portrayal of the studio system, do you think the “price” of Hollywood is presented as an inevitable tax on talent, or a result of the characters’ specific personal choices?
3. Pre-Code Realism vs. Later Censorship: What Price Hollywood? was released just two years before the strict enforcement of the Hays Code. How do you think the film’s gritty depiction of alcoholism, divorce, and suicide would have been altered if it had been made only a few years later? Are there elements of the 1932 version that feel “more honest” than the 1937 or 1954 remakes?
4. The Dual Perspective of Fame: The film presents two simultaneous arcs: Mary’s ascent and Max’s decline. How does George Cukor use visual motifs (such as mirrors or camera angles) to contrast the two journeys? Does the film suggest that for every new star that rises, an old one must fall to maintain the industry's balance?

Charles Boyer, Olivia de Havilland, and Paulette Goddard try to “Hold Back the Dawn”

Set against the backdrop of a dusty Mexican border town, Hold Back the Dawn (1941), directed by Mitchell Leisen, follows the story of Georges Iscovescu (Charles Boyer), a suave but desperate European dancer stranded in a crowded hotel. Having fled the turmoil of war-torn Europe, Georges is one of many refugees stuck in a bureaucratic limbo, waiting for a quota number that will allow him to legally enter the United States. When he realizes his wait could last years, he becomes disillusioned and decides to take a more cynical path to gain entry.

The plot pivots when Georges encounters an old flame and former dance partner, Anita Dixon (Paulette Goddard), who has successfully entered the U.S. by marrying an American citizen and then quickly divorcing him. Anita convinces Georges that his best chance at freedom is to find a naive American woman to marry for the sole purpose of obtaining a visa. This cold-hearted plan sets the stage for a calculated seduction, as Georges begins to scan the various tourists visiting the border for a suitable target.

His mark arrives in the form of Emmy Brown (Olivia de Havilland), a sweet, wholesome schoolteacher from California who has brought her students on a brief field trip across the border. Sensing her innocence and romantic nature, Georges turns on his considerable charm, sweeping her off her feet in a whirlwind twenty-four-hour courtship. Emmy, unaware of the legal mechanics behind his sudden affection, falls deeply in love and agrees to marry him, believing she has found a genuine soulmate amidst the chaos of the world.

The final act of the story explores the growing tension between Georges’s deceptive intentions and the unexpected emotional impact of Emmy’s unwavering kindness. As an immigration officer begins to investigate the suspicious speed of their marriage, Georges is forced to navigate a high-stakes game of pretense. The film focuses on the psychological conflict of a man caught between his desperate need for a new life and the guilt of exploiting a woman who represents the very best of the country he is so desperate to join.

 

Charles Boyer and Olivia de Havilland

Hold Back the Dawn trivia

1. The Movie That Made Billy Wilder a Director

The legendary Billy Wilder co-wrote the screenplay, but he was so infuriated by the filming process that he vowed never to let another director “ruin” his scripts again. Specifically, lead actor Charles Boyer refused to film a scene Wilder had written where his character, in a moment of despondent isolation, has a conversation with a cockroach on his hotel wall. When director Mitchell Leisen sided with the actor and cut the scene, Wilder decided he had to become a director himself to protect his work. His very next project was his directorial debut, The Major and the Minor (1942).

2. Semi-Autobiographical Origins

The film’s focus on the grueling wait for a U.S. visa was deeply personal for Billy Wilder. As a Jewish refugee fleeing Nazi Germany, Wilder had actually spent time stranded in a Mexican border town (Mexicali) in the late 1930s, waiting for his own quota number to come up so he could legally re-enter the United States. He channeled that genuine anxiety and the “limbo” of the border hotels directly into the script.

3. The Sister vs. Sister Oscar Showdown

The 1941 Academy Awards featured one of the most famous sibling rivalries in history. Olivia de Havilland was nominated for Best Actress for Hold Back the Dawn, while her sister, Joan Fontaine, was nominated in the same category for Hitchcock’s Suspicion. When Fontaine won, it notoriously cooled their relationship for years. This remains one of the few times in Oscar history that two sisters competed against each other for the same top honor.

4. A Clever “Meta” Cameo

The film uses a “story-within-a-story” framing device where Charles Boyer’s character enters a movie studio to sell his life story to a director. The director he speaks to is played by none other than Mitchell Leisen, the real-life director of Hold Back the Dawn. In the scene, Leisen is shown directing a movie starring Veronica Lake and Brian Donlevy, which was actually real footage from I Wanted Wings, a film Leisen had completed just months earlier.

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Discussion questions

 1. The Morality of the “Visa Marriage”

Georges begins the film as a cynical opportunist who views Emmy merely as a “passport” to the United States. Given the desperate circumstances of the European refugees in the hotel, does the film successfully make Georges a sympathetic protagonist, or does his exploitation of Emmy’s innocence make him irredeemable? At what specific point in the film—if ever—do you think his feelings for her become genuine?

2. The Portrayal of Bureaucracy and the Border

Hold Back the Dawn was released in 1941, while the real-world visa crisis for refugees was at its peak. How does the film portray the American immigration system? Does the “limbo” of the Mexican border town feel like a prison, or is it presented with the lighthearted touch typical of Paramount romances of that era? Consider how the setting of the Hotel Esperanza reflects the emotional state of its residents.

3. Emmy Brown: Naivety vs. Strength

Emmy is often described as a “wholesome schoolteacher,” a archetype common in 1940s cinema. However, by the end of the film, she is forced to confront a devastating betrayal. Does Emmy remain a victim throughout the story, or does her reaction to the truth show a different kind of strength? Discuss how Olivia de Havilland’s performance (which earned her an Oscar nomination) elevates a character that could have been a one-dimensional "mark."

4. The “Wilder” Influence and Tone

Knowing that Billy Wilder was frustrated by the direction of this film, can you spot the “Wilder touch” in the dialogue or the darker, more cynical moments of the plot? Compare the sophisticated, witty banter between Georges and Anita to the earnest, romantic scenes with Emmy. How do these two different “worlds”—the cynical European past and the optimistic American future—clash within the film’s narrative?

 

 

Rock Hudson and Sidney Poitier search for “Something of Value”

Directed by Richard Brooks and based on Robert Ruark’s best-selling novel, Something of Value (1957) is a stark, challenging drama set against the backdrop of the Mau Mau Uprising in colonial Kenya. The story centers on two young men, Peter McKenzie (Rock Hudson), the son of a white rancher, and Kimani (Sidney Poitier), the son of a Kikuyu tribal leader. Raised together as brothers on the same farm, their childhood bond transcends race, but as they reach adulthood, the rigid social structures of British-ruled East Africa begin to pull them apart, forcing them into the roles of master and servant.

The narrative shifts from personal friendship to political tragedy when Kimani’s father is imprisoned for adhering to tribal customs that conflict with colonial law. Feeling humiliated and betrayed by the system his friend represents, Kimani flees the farm and eventually joins the Mau Mau, a militant movement seeking to reclaim land and drive out European settlers. While Kimani is initially drawn to the cause by a desire for dignity and freedom, he becomes increasingly tormented by the brutal, indiscriminate violence demanded by the movement's leaders.

As the uprising turns into a bloody guerrilla war, the McKenzie farm becomes a target, and the lifelong friendship between Peter and Kimani is put to the ultimate test. Peter, who initially resists the harsh methods of the colonial militia, finds himself forced to take up arms to protect his family and his home. The film vividly portrays the “eye-for-an-eye” cycle of violence, illustrating how prejudice and the sudden dismantling of traditional cultures leave a vacuum that is often filled by hatred and chaos.

Sidney Poitier and Rock Hudson

Rock Hudson (1925–1985), born Roy Harold Scherer Jr. in Winnetka, Illinois, was a quintessential leading man of Hollywood’s Golden Age. After serving as a Navy airplane mechanic in World War II, he moved to Los Angeles and was eventually discovered by talent scout Henry Willson, who gave him his rugged stage name. Though his career began with minor roles, he skyrocketed to stardom in the 1954 drama Magnificent Obsession. Hudson’s versatile talent allowed him to excel in sweeping dramas like Giant (1956), which earned him an Academy Award nomination, and in a series of beloved romantic comedies alongside Doris Day, such as Pillow Talk (1959). In the 1970s, he successfully transitioned to television with the popular series McMillan & Wife.

Dana Wynter (1931–2011) was a German-born British actress celebrated for her elegance and sophisticated screen presence. Born Dagmar Winter in Berlin and raised in the United Kingdom and Southern Africa, she initially pursued a degree in medicine at Rhodes University before shifting her focus to the theater. After honing her craft in British films and New York television, she moved to Hollywood and signed a contract with 20th Century Fox, quickly winning a Golden Globe for Most Promising Newcomer in 1956. She is best remembered for her iconic role as Becky Driscoll in the science fiction classic Invasion of the Body Snatchers (1956), and for her performances in major dramas such as Something of Value (1957) and Sink the Bismarck! (1960). In her later years, Wynter transitioned successfully to television with roles in series like The Man Who Never Was and McMillan & Wife, and she eventually became an occasional columnist for several prestigious publications.

Sidney Poitier (1927 - 2022) was an American actor and director. He was the first black man to win the Academy Award for Best Actor for his role in Lilies of the Field (1963). Poitier made his film debut in No Way Out, which launched him on a path to movie stardom. Other early films include Cry, The Beloved Country (1951), Blackboard Jungle (1955), and Edge of the City (1957). Another breakthrough came with The Defiant Ones (1958) where he co-starred with Tony Curtis. Both actors were nominated for the Best Actor Academy Award, with Poitier’s nomination the first for a black man. In 1959, he starred in the first production of A Raisin in the Sun on Broadway. He starred in the film version in 1961. That same year, he starred with Paul Newman and Joanne Woodward in Paris Blues. Other film roles include The Bedford Incident (1965) and A Patch of Blue (1965), co-starring Elizabeth Hartman and Shelley Winters. Poitier’s big year was 1967. He had three hits: To Sir, with Love, In the Heat of the Night, and Guess Who’s Coming to Dinner. The popularity of these three films made him the top box office draw of the year. Later in his career, Poitier started directing films like Uptown Saturday Night (1974) and Stir Crazy (1980). Poitier was a recipient of an Honorary Academy Award for his contribution to the motion picture industry.

Something of Value trivia

• Real-Life Segregation on Set: Despite the film’s message of racial equality, the production faced the harsh reality of segregation while filming on location in Africa. Sidney Poitier was initially barred from "white-only" restaurants, and the production team had to exert significant pressure on the local hotel to allow him to stay as a guest alongside his white co-stars.
• Alternate Titles: While the film is famously known by the title of Robert Ruark's bestseller, it was originally released in some regions under the more sensational title Africa Ablaze.
• A Controversial Reception: Because the film depicted the Mau Mau Uprising—a conflict that was still very fresh and politically sensitive in the late 1950s—it was banned in several countries upon its release. Additionally, some theaters in the American South refused to screen the movie due to its portrayal of an interracial friendship and the tense racial themes.
• Directorial Dedication: To ensure the film was as authentic as possible, director Richard Brooks traveled to Kenya for an extensive research trip before filming began. He even integrated a prologue into the film featuring Winston Churchill (voiced by an actor), which emphasized the historical gravity of the "Something of Value" proverb.

 

Dana Wynter and Rock Hudson

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Discussion questions

1. The "Something of Value" Philosophy: The film’s title comes from a proverb stating that if you take away a people's traditions, you must replace them with "something of value." In the context of the film, did the British colonial system provide an adequate replacement for the Kikuyu customs they suppressed? Why or why not?
2. The Evolution of Friendship: Peter (Rock Hudson) and Kimani (Sidney Poitier) begin the film as "brothers," but their relationship is shattered by a single act of humiliation and the weight of systemic inequality. Was their eventual conflict inevitable given the social structure of 1950s Kenya, or was there a specific turning point where their friendship could have been saved?
3. The Ethics of Resistance vs. Order: The film portrays the Mau Mau Uprising not just as a political struggle, but as a moral crisis for both sides. How does the movie balance the portrayal of Kimani’s legitimate grievances against the brutal methods used by the Mau Mau? Similarly, does the film successfully critique the colonial government's response, or does it ultimately favor the preservation of the "status quo"?
4. Symbolism of the Next Generation: The film ends with a powerful image involving the children of the two opposing sides. Based on the cycle of violence depicted throughout the movie, do you find the ending to be genuinely hopeful, or is it a bittersweet acknowledgment that the "healing" process will take generations to achieve?

Barbara Stanwyck is the “Lady of Burlesque”

Lady of Burlesque (1943) is an American comedy mystery film directed by William A. Wellman and starring Barbara Stanwyck. The movie is based on the novel The G-String Murders (1941) by burlesque queen Gypsy Rose Lee. The supporting cast includes Michael O'Shea, Iris Adrian, Gloria Dixon, Charles Dingle, Frank Conroy, and Pinky Lee.

Set in the bustling world of a New York City burlesque house, Lady of Burlesque follows the arrival of Dixie Daisy (Stanwyck), a talented and brassy performer who quickly becomes the theater’s star attraction. As she navigates the colorful and often chaotic backstage environment, Dixie finds herself dealing with a range of eccentric personalities, from jealous rivals to a persistent comic named Biff Brannigan (O’Shea) who is determined to win her heart. Despite her initial reluctance to mingle with her colleagues, Dixie is soon drawn into the tight-knit “family” of performers who struggle to keep the show running amidst the threat of police raids and financial instability.

The atmosphere of the Old Opera House turns dark when a series of mysterious murders shakes the troupe. The victims are strangled with a peculiar weapon—a silk G-string—which casts a shadow of suspicion over everyone in the theater, including the stagehands, the musicians, and the dancers themselves. As the body count rises and the police investigation intensifies, the once-vibrant theater becomes a maze of secrets and hidden motives. Dixie, who finds herself personally targeted by the unseen killer, realizes that she cannot rely solely on the authorities to solve the crime and protect her friends.

In a race against time, Dixie utilizes her sharp wit and insider knowledge of the theater to conduct her own investigation. She sifts through the personal vendettas and romantic entanglements of her coworkers, trying to unmask the killer before they strike again. The film blends elements of musical comedy with a tense whodunit mystery, culminating in a high-stakes trap set by Dixie to lure the murderer into the light. Throughout the ordeal, the resilience of the performers shines through as they attempt to balance the “show must go on” mentality with the growing danger lurking in the wings.

 

Iris Adrian and Barbara Stanwyck

William A. Wellman (1896 – 1975) was an American film director. He started his directorial career in silent films. Wellman directed Wings (1927), which was the first film to win the Academy Award for Best Picture at the 1st Academy Awards ceremony. Wellman directed two classic films released in 1937: Nothing Sacred and A Star is Born. Other important films directed by Wellman include Beau Geste (1939), Roxie Hart (1942), The Story of G.I. Joe (1945), Yellow Sky (1948), Battleground (1949), and The High and the Mighty (1954).

Barbara Stanwyck (1907 – 1990) was an American film star who got her acting start with a supporting role on Broadway in a play called The Noose (1926). The next year she had the lead in another Broadway production, Burlesque, which was a huge hit. She eventually made it to Hollywood, where her success was not immediate. Director Frank Capra saw something in Stanwyck, and he educated her in filmmaking and film acting, and the rest is history. Stanwyck was nominated four times for the Best Actress Oscar—Stella Dallas (1937), Ball of Fire (1941), Double Indemnity (1945), Sorry, Wrong Number (1948)—and remains one of the most beloved movie stars from Hollywood’s Golden Age.

 

Click HERE to watch the movie on the Internet Archive.

Click HERE to join the online discussion on January 12, 2025, at 6L30 p.m. Central Time. Once you RSVP, you will receive an invitation and a link to join the discussion on Zoom.

 

Lady of Burlesque trivia

The Censored Title: The film is based on the 1941 mystery novel The G-String Murders by the famous burlesque star Gypsy Rose Lee. However, the Hays Office (the Hollywood censors of the time) found the original title too scandalous for movie marquees. They eventually settled on Lady of Burlesque, though they still expressed concern about a "G-string" being used as the murder weapon in the plot.

Stanwyck’s Genuine Skills: Long before she became a Hollywood icon, Barbara Stanwyck worked as a chorus girl in the Ziegfeld Follies and other New York nightclubs. Because of this background, she performed all her own dancing and singing in the film, including impressive physical feats like a Russian kick dance and full splits—all while wearing high heels.

A "Lark" for a Legendary Director: The film was directed by William A. Wellman, who is better known for gritty masterpieces like Wings (the first Best Picture winner) and The Ox-Bow Incident. Interestingly, The Ox-Bow Incident was released the same year; Wellman and Stanwyck reportedly viewed Lady of Burlesque as a "fun lark" to work on between their more serious projects.

Public Domain Status: Due to a failure to renew the copyright by the original holder, the film fell into the public domain. This is why you can find countless versions of it on YouTube, bargain-bin DVDs, and streaming services. A new 4K Blu-ray restoration from Film Masters with an audio commentary by our very own Karen Burroughs Hannsberry.  

 

The ladies of burlesque

Discussion questions

1. The “Show Must Go On” vs. The Murder Mystery

Lady of Burlesque is a unique hybrid of a lighthearted backstage musical and a dark, pulpy whodunit.

• Discussion Point: Does the film successfully balance these two tones? Do the musical numbers and comedy routines (like the “Pickle Persuader”) heighten the suspense by providing a “normal” backdrop, or do they distract from the urgency of the murders?

2. Dixie Daisy: Agency and Ambition

Barbara Stanwyck’s character, Dixie (born Deborah Hoople), explicitly mentions her desire to leave burlesque for the “legitimate” stage.

• Discussion Point: How does Dixie’s ambition influence her actions throughout the movie? Unlike many “damsel in distress” archetypes of the 1940s, she takes an active role in the investigation. Does her background as a self-made performer make her a more effective "sleuth" than the actual police in the film?

3. The Portrayal of the Burlesque Community

The film depicts the theater troupe as a “little family,” complete with internal rivalries (like the tension between Dixie and Lolita La Verne) and deep-seated loyalties.

• Discussion Point: How does the movie challenge or reinforce 1940s stereotypes about burlesque performers? Consider the scene where the producer gives the performers stock in the company—does this suggest a level of professional respect and solidarity that contradicts the “seedy” reputation of the industry?

4. Censorship and the “Unseen” Conflict

Because of the Hays Code, the film could not show actual striptease or use the book’s original title, The G-String Murders.

• Discussion Point: How does the film use “suggestion” to get around the censors? For example, consider the costumes or the way the G-string is discussed as a weapon. Does the censorship actually make the film more creative in its storytelling, or does it feel like something essential is missing from the world Gypsy Rose Lee originally described?

 

 

 

 

 

Merry Christmas!

 Help James Stewart and Margaret Sullavan decorate the Christmas tree!