High Society Collides with Personal Drama in “Dinner at Eight”

Directed by George Cukor, Dinner at Eight (1933) brings together an ensemble cast that includes Marie Dressler, John Barrymore, Wallace Beery, Jean Harlow, Lionel Barrymore, and Billie Burke. The story centers around Millicent Jordan, played by Billie Burke, an extraordinarily dizzy socialite who becomes obsessed with hosting an extravagant dinner party for a visiting British lord and his wife. Completely oblivious to the harsh economic reality around her, Millicent scrambles to build a prestigious guest list, blind to the fact that her husband, Oliver Jordan, portrayed by Lionel Barrymore, is suffering from severe heart disease and watching his shipping empire collapse during the Great Depression.

As the week progresses toward the event, the private lives of the invited guests unravel in dynamic, overlapping vignettes. Oliver attempts to save his business by asking for help from Dan Packard, a ruthless, crude businessman played by Wallace Beery, unaware that Dan is secretly buying up stock to orchestrate a hostile takeover. Meanwhile, Dan’s social-climbing wife, Kitty, played by Jean Harlow, is engaged in a secret affair with the family doctor, who is also invited. Other key guests carry their own burdens: former grand stage actress Carlotta Vance, portrayed by Marie Dressler, faces financial ruin and must sell her stock in Oliver’s company, while Larry Renault, played by John Barrymore, is a washed-up, alcoholic actor facing total professional irrelevance.

The complex webs of deceit, infidelity, and desperation peak on the evening of the party as tragic news strikes, secrets are threatened with exposure, and Millicent’s pristine dinner arrangements threaten to fall completely apart. Despite the heavy melodramatic undercurrents, the characters ultimately assemble for the meal, maintaining their public facades of sophistication. The film concludes with one of cinema’s most famous comic exchanges between Jean Harlow and Marie Dressler as the dinner guests march into the dining room.

 

Dinner at Eight trivia

• During production, real-life brothers John Barrymore and Lionel Barrymore starred in the film together, yet they do not share a single scene on screen.
• The character of the fading actor, played by John Barrymore, drew heavily on his own real-life struggles with alcoholism and a declining theatrical career, adding a poignant layer of realism to the role.
• In the original script, Carlotta Vance’s lapdog was named Mussolini, but studio executives grew uneasy with the political reference and dubbed the name over as Tarzan in post-production, though the actress’s lips still clearly form the original name.
• Costars Wallace Beery and Jean Harlow intensely disliked one another off-camera, yet their genuine animosity reportedly helped fuel the fiery, authentic dynamic of their onscreen marital bickering.

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Billie Burke, Wallace Beery, and Jean Harlow

Discussion Questions

1. How does the film use the framing device of an upper-class dinner party to critique social ambition and class anxiety during the Great Depression?
2. In what ways do the parallel storylines of financial ruin, marital infidelity, and career decay reflect the broader collapse of the American Dream in the early 1930s?
3. How does George Cukor balance the lighter, comedic elements of the film with its remarkably dark themes, such as alcoholism, financial ruin, and suicide?
4. Considering the pre-Code Hollywood era in which the film was released, how does the movie address topics like infidelity and mortality compared to films made just a few years later under strict Hays Code enforcement?

 

High Society and Second Chances: The Philadelphia Story

Released in 1940 and directed by George Cukor, The Philadelphia Story is a quintessential romantic comedy starring Katharine Hepburn, Cary Grant, and James Stewart. The narrative centers on Tracy Lord (Hepburn), a proud, strong-willed Philadelphia socialite preparing to marry a wealthy but remarkably dull self-made man, George Kittredge. Her upscale wedding plans are suddenly upended by the simultaneous arrival of her charismatic ex-husband, C.K. Dexter Haven (Grant), and a cynical tabloid reporter, Macaulay “Mike” Connor (Stewart), who has been blackmailed into covering the high-society event alongside photographer Liz Imbrie.

As the wedding festivities commence, tension builds between Tracy and the three very different men vying for her affection. Her rigid, high-minded exterior begins to crack under the dry wit of her ex-husband and the unexpected poetic charm of the middle-class reporter. A night of heavy drinking and a late-night swim with Mike lead to a series of classic misunderstandings, forcing Tracy to confront her own vulnerabilities, her harsh judgments of others, and what it truly means to be a compassionate human being rather than an untouchable goddess.

On the morning of the wedding, the romantic chaos reaches its peak. Will Tracy go ahead with her marriage to George, or are Mike and Dexter a better fit for Tracy?

 

Ruth Hussey, James Stewart, Cary Grant, and Katharine Hepburn

George Cukor (1899–1983) was one of Golden Age Hollywood’s most sophisticated and enduring directors, celebrated for his elegant visual style, literary adaptations, and extraordinary skill at guiding actors to career-defining performances. Often labeled a woman's director due to his brilliant collaborations with fierce leading ladies like Katharine Hepburn—with whom he made ten films, including Little Women and The Philadelphia Story—Cukor possessed a sharp comic wit and a deep empathy that transcended gender, making him equally adept at handling sharp screwball comedies, lavish musicals, and intense dramas. Over a career spanning more than fifty years, he earned five Academy Award nominations for Best Director, finally winning the Oscar for the 1964 musical masterpiece My Fair Lady, and cementing his legacy as a master craftsman of classical American cinema.

Born Archibald Leach(1904 – 1986) in England, Cary Grant overcame a deeply traumatic childhood to become the definitive archetype of the debonair, sophisticated Hollywood leading man. Known for his impeccable comic timing, mid-Atlantic accent, and effortless physical grace, he moved seamlessly between screwball comedies like Bringing Up Baby and intense suspense thrillers directed by Alfred Hitchcock, including North by Northwest and Notorious. Grant remained one of Hollywood’s biggest box office draws for over three decades, famously retiring from acting in 1966 to focus on raising his daughter.

Katharine Hepburn (1907 – 2003) was a trailblazer whose fiercely independent spirit, sharp intellect, and unconventional style redefined femininity on and off the silver screen for over sixty years. Her career was a masterclass in resilience; she repeatedly defied studio executives, wore trousers when it was considered scandalous, and successfully revived her career whenever the industry tried to write her off. With a record-breaking four Academy Awards for Best Actress across six decades for films like Morning Glory, Guess Who's Coming to Dinner, The Lion in Winter, and On Golden Pond, Hepburn stands as one of the greatest legends in cinematic history.

Beloved for his distinctive drawl and slow, deliberate delivery, James Stewart (1908 – 1997) embodied the quintessential decent, honorable, and relatable everyday American man. His early career thrived on idealistic, vulnerable roles in Frank Capra classics like Mr. Smith Goes to Washington and It's a Wonderful Life, but he later displayed remarkable dramatic depth in darker Westerns and complex Hitchcock psychological thrillers like Vertigo and Rear Window. A decorated World War II bomber pilot who rose to the rank of Brigadier General in the Air Force Reserve, Stewart’s enduring integrity made him one of the most respected and cherished figures in American culture.

 

The Philadelphia Story trivia

• Before making the film, Katharine Hepburn had been labeled box-office poison by theater owners after a string of commercial flops, prompting her to return to Broadway to star in the stage version of this story. She wisely purchased the film rights to the play with the financial help of Howard Hughes, allowing her to control her Hollywood comeback by handpicking the studio, director, and co-stars.
• James Stewart won his only competitive Academy Award for Best Actor for his role as Mike Connor, a victory that surprised him because he felt Henry Fonda deserved the award that year for The Grapes of Wrath. Stewart famously sent the Oscar statuette back home to his father in Pennsylvania, who proudly displayed it in the window of his hardware store for many years.
• The famous scene where Mike Connor visits Dexter Haven’s house while heavily intoxicated features a completely improvised moment when James Stewart lets out a sudden, genuine hiccup. Cary Grant, caught off guard but staying perfectly in character, ad-libbed the response, asking him to clear his throat, which George Cukor loved so much he kept the unscripted interaction in the final cut of the movie.
• Katharine Hepburn originally wanted Clark Gable to play the charming ex-husband Dexter and Spencer Tracy to play the reporter Mike, but prior film commitments kept them from signing on. Cary Grant was then brought in, demanding top billing and a massive salary of $137,000, which he entirely donated to the British War Relief Fund.

 

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Publicity photo with Hepburn, Grant, Steward, and John Howard

Discussion questions

1. How does Tracy Lord’s character arc challenge the concept of the idealized, flawless woman, and what does the film say about the danger of putting a romantic partner on a pedestal?
2. In what ways does the movie use the contrast between the wealthy Main Line elites and the working-class journalists to critique or defend the American class system of the era?
3. Do you believe Tracy made the right choice by returning to Dexter in the end, or did she have more genuine growth and compatibility with Mike?
4. How does George Cukor’s directing style and the snappy, fast-paced dialogue of the screenplay shape the balance between broad comedy and deeply personal drama?

 

 

Norma Shearer, Joan Crawford, and Rosalind Russell are “The Women”

The Women (1939), directed by George Cukor, is a biting, high-society comedy-drama unique for its entirely female cast—not a single man appears on screen. However, their influence looms over every scene. The story centers on Mary Haines (Norma Shearer), a virtuous and refined socialite living in a gossipy Manhattan circle. Her world is upended when she discovers, through the malicious whispers of her “friends,” that her husband is having an affair with a ruthless perfume salesgirl named Crystal Allen (Joan Crawford). As the news spreads through the beauty salons and fitting rooms of Park Avenue, Mary is forced to confront the fragility of her marriage and the vultures circling her social standing.

Driven by the sharp-tongued provocations of the ultimate frenemy, Sylvia Fowler (Rosalind Russell), Mary eventually retreats to a dude ranch in Reno to seek a divorce, a common destination for society women of the era looking for a “quick fix” to their marital woes. While there, she is surrounded by a colorful cast of fellow divorcees, each representing a different facet of womanhood—from the cynical multiple-divorcee Countess de Lave (Mary Boland), to the world-weary Peggy Day (Joan Fontaine). The film brilliantly balances slapstick comedy and sophisticated satire, using the shared experience of heartbreak and betrayal to examine the bonds and rivalries between women.

As Mary navigates her new identity as a single woman, the film evolves into a masterful study of poise versus pride. She must decide whether to stoop to the manipulative tactics of her rivals or maintain her dignity in a world that thrives on scandal.

The cast of The Women

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.

Norma Shearer (1902–1983), hailed as the “First Lady of MGM,” was a powerhouse of the studio system who transformed herself from a determined Canadian immigrant into one of the most influential actresses in Hollywood history. A five-time Academy Award nominee, she won the Oscar for The Divorcee (1930), a landmark Pre-Code film that established her as a symbol of the “New Woman”—sophisticated, sexually liberated, and fiercely independent. As the wife of MGM’s legendary production chief Irving Thalberg, Shearer commanded the studio’s most prestigious projects, ranging from opulent period dramas like Marie Antoinette (1938) to the sharp-tongued social satire like The Women (1939). Renowned for her meticulous work ethic and ability to control her own screen image, she retired at the height of her fame in 1942, leaving behind a legacy as the quintessential star of cinema’s Golden Age.

Joan Crawford (1904–1977) was a titan of Hollywood resilience, evolving from a Depression-era “Jazz Age” flapper into a quintessential dramatic star over a career that spanned five decades. Born Lucille LeSueur, she ascended the ranks at MGM through sheer force of will, famously cultivating a direct relationship with her fans that made her one of the most bankable stars of the 1930s. Her performance in The Women (1939) as the predatory Crystal Allen showcased her capacity for cold, calculating villainy, a sharp contrast to the hardworking “shopgirl” roles that had made her a hero to audiences. After being labeled “box office poison” in the late 30s, she staged one of the greatest comebacks in cinema history, winning an Academy Award for Mildred Pierce (1945) at Warner Bros. Known for her striking features, including her expressive eyes and architectural bone structure, Crawford’s legacy is defined by her absolute commitment to the art of stardom and her ability to constantly reinvent her image to suit the changing tides of the film industry.

Rosalind Russell (1907–1976) was a singular force in Hollywood, a performer who redefined the “leading lady” by proving that a woman could be both impossibly chic and hilariously eccentric. Originally groomed by MGM as a sophisticated dramatic lead, she found her true calling in comedy when she shed her vanity to play the meddling, gossip-hungry Sylvia Fowler in The Women (1939), famously using exaggerated physical comedy to steal scenes from a powerhouse ensemble. This success led to her definitive performance as Hildy Johnson in His Girl Friday (1940), where her “machine-gun” delivery of overlapping dialogue set the gold standard for the screwball comedy genre and established her as the screen’s premier “career woman.” Over a prolific career that earned her four Academy Award nominations and a legendary late-career triumph as the title character in Auntie Mame (1958), Russell remained a trailblazer who championed intelligence and wit as the ultimate form of glamour.

 

The Women trivia

• A Manless World: True to its title, the film features an entirely female cast. Not a single man appears on screen or is even heard—even the background extras, the portraits on the walls, and the household pets were female. The only “male” in the entire film is a brief image of Douglas Fairbanks Jr. on the back of a magazine.
• The Battle for Billing: Rosalind Russell was so determined to get top billing alongside superstars Norma Shearer and Joan Crawford that she famously called in “sick” for several days. She refused to return to work until the studio relented and placed her name above the title, albeit in slightly smaller type than the other two leads.
• A “Jungle Red” Injury: During the famous “catfight” scene at the Reno ranch, the physical comedy turned real. No stunt doubles were used, and in the heat of the moment, Rosalind Russell actually bit Paulette Goddard, leaving a permanent scar on Goddard's arm. Despite the injury, the two remained lifelong friends.
• Technicolor Surprise: Although the film was shot in black and white, it features a jarring and lavish six-minute fashion show filmed in three-strip Technicolor. This sequence showcased the gowns of legendary costume designer Adrian and was included specifically to appeal to the female audience’s interest in high fashion.

 

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The showdown between Crawford and Shearer

Discussion questions

1. The Absence of Men: Although no men appear on screen, the entire plot revolves around their actions, whims, and financial support. Does the “manless” cast highlight the independence of these women, or does it ironically emphasize how much their identities and security are tethered to men?
2. Female Solidarity vs. Sabotage: The film features a wide spectrum of female relationships, from the unwavering loyalty of the “plain” friends to the predatory behavior of Crystal Allen and the gossiping of Sylvia Fowler. Is the film ultimately a celebration of sisterhood, or is it a cynical critique of how women compete with one another?
3. The Evolution of Mary Haines: Mary begins the film as a passive, “noble” wife who is told to ignore her husband’s infidelity to keep her dignity. By the final act, she adopts a more aggressive, “jungle red” strategy. Does the film suggest that Mary has “grown up” by learning to fight dirty, or has she lost her moral superiority by joining the “vultures?”
4. Class and the “Service” Economy: Throughout the film, the secrets of the upper class are facilitated and exposed by service workers—manicurists, maids, and salesgirls. How does the film use these working-class characters to comment on the hypocrisy and fragility of the high-society women they serve?

 

 

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 and Ingrid Bergman star in “Gaslight”

Gaslight (1944) is an American psychological thriller set in 19th-century London. The film was directed by George Cukor and stars Charles Boyer, Ingrid Bergman, and Joseph Cotten. The film features Dame May Whitty, and Angela Lansbury in her feature film debut.

Alice Alquist, a world-famous opera singer is murdered in her home in Victorian London. Her niece Paula (Bergman) is sent to Italy to study opera like her aunt, but unfortunately, she doesn’t have her aunt’s talent. When she reaches adulthood, she falls in love with her accompanist Gregory Anton (Boyer). They marry after a two-week romance and settle in her late aunt’s townhouse. Paula has a hard time living in the home where everything reminds her of that terrible murder. While moving her aunt’s furnishings into the attic, Paula discovers a letter from a man named Sergis Bauer. When Gregory sees the letter he becomes enraged, but then apologizes.

Is Gregory hiding something from Paula? If so, what does it mean?

 

Ingrid Bergman and Charles Boyer

George Cukor (1899 – 1983) was an American director. He was famous for directing comedies and literary adaptations of classics like Little Women (1933) and David Copperfield (1935). He was famously fired from directing Gone with the Wind (1939), but that incident didn’t mar an impressive directorial career that included The Philadelphia Story (1940), Gaslight (1944), and Born Yesterday (1950). Cukor won an Academy Award as Best Director for My Fair Lady (1964).

Charles Boyer (1899 - 1978) was a French-American stage and film actor. Boyer was nominated for the Best Actor Academy Award four times. He became a major movie star in the late 1930s in films like The Garden of Allah (1936), Algiers (1938), and Love Affair (1939). He starred as the evil husband of Ingrid Bergman in Gaslight (1944). Boyer starred opposite most of the top female stars of the period including Claudette Colbert, Marlene Dietrich, Irene Dunne, Jean Arthur, Greta Garbo, Bette Davis, Joan Fontaine, Katharine Hepburn, and Olivia de Havilland. As he grew older, Boyer played supporting roles in film and also starred on Broadway in Kind Sir (1953 - 1954) and The Marriage-Go-Round (1958 - 1960).

Ingrid Bergman (1915 – 1982) was a Swedish actress who became an international star upon her Hollywood debut in Intermezzo (1939). Few actresses were as popular as Bergman during the 1940s. In fact, she was the number two box office draw (after Bing Crosby) in 1946. She starred opposite Humphrey Bogart in Casablanca (1942), For Whom the Bell Tolls (1943) opposite Gary Cooper, and Gaslight (1944) for which she won the Best Actress Academy Award. She starred opposite newcomer Gregory Peck in Spellbound (1945) which was her first collaboration with director Alfred Hitchcock. Bergman would win another Best Actress Academy Award for Anastasia (1956) and a Best Supporting Actress Academy Award for Murder on the Orient Express (1974).

Joseph Cotten (1905 - 1994) was an American film, stage, radio, and television actor. Cotten achieved fame on Broadway in the original stage productions of The Philadelphia Story and Sabrina Fair.  He became famous worldwide after appearing in Citizen Kane (1941) and The Magnificent Ambersons (1942). As one of the most popular leading men of the 1940s, Cotten starred in Shadow of a Doubt (1943), Gaslight (1943), Duel in the Sun (1946), and The Third Man (1949). Cotten alternated between work on stage and film into the late-1950s. Cotten also appeared on television guest starring in The Name of the Game, Cimarron Strip, and Ironside. Cotten’s last film role was in 1981.

 

Angela Lansbury and Ingrid Bergman

Gaslight trivia

• M-G-M tried to get the film negatives of the 1940 British version destroyed.
• Ingrid Bergman studied mental patients to help with her characterization of Paula.
• Angela Lansbury turned 18 during the production of the film. The cast and crew held a birthday party for her.
• Bergman was initially concerned that she wouldn’t be able to portray a fragile character like Paula.
• Boyer’s son and only child was born during production.
• In her autobiography, Bergman said that Boyer was the most intelligent actor she ever worked with and one of the nicest.

 

Click HERE to watch the film on the Internet Archive

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Discussion questions

1. The film is described today as a psychological thriller. Does that description work for you? Would you categorize it differently?
2. What did you think of Bergman’s performance?
3. Charles Boyer was nominated for Best Actor for his performance in this film (he lost to Bing Crosby). What did you think of his performance?
4. Angela Lansbury had never acted before her role as the maid, Nancy. What did you think of her performance?
5. Joseph Cotten is hardly ever mentioned when this film is discussed. Is his a thankless role?

 

 

Joan Crawford and Melvyn Douglas lead the cast in “A Woman’s Face”

A Woman’s Face (1941) is an American drama film directed by George Cukor and starring Joan Crawford and Melvin Douglas. The strong supporting cast includes Conrad Veidt, Osa Massen, Reginald Owen, Albert Basserman, Marjorie Main, Donald Meek, Connie Gilchrist, George Zucco, and Henry Kolker.

As a teenager, Anna Holm (Crawford) was disfigured in a fire. The fire scarred the right side of her face. Imbittered because of this, she engaged in a life of crime. Her life changes when by chance, she meets Dr, Gustaf Segert (Douglas), a famous plastic surgeon. He successfully restores her face giving Anna a chance to live her life out of the shadows.

But old habits are hard to break and Anna finds it difficult to leave behind her past life.

Will Anna be able to start a new life with her new face or will her old life and associates drag her to her doom?

 

George Cukor (1899 – 1983) was an American director. He was famous for directing comedies and literary adaptations of classics like Little Women (1933) and David Copperfield (1935). He was famously fired from directing Gone with the Wind (1939), but that incident didn’t mar an impressive directorial career that included The Philadelphia Story (1940), Gaslight (1944), and Born Yesterday (1950). Cukor won an Academy Award as Best Director for My Fair Lady (1964).

Joan Crawford (190? – 1977) was an American actress. A former dancer, Crawford was signed to a movie contract by M-G-M in 1925. She started out in small parts in silent films, sometimes doubling for established star Norma Shearer. Crawford was an amazing self-promoter and by the 1930s, her popularity rivaled Shearer and Greta Garbo. She was famous for playing shop girls who somehow made it big. During the height of the Depression, women flocked to her films. But by the late 1930s, her popularity was beginning to wane. She left M-G-M and was absent from the screen for almost two years. She signed with Warner Bros. and made a successful comeback in Mildred Pierce (1945). The film was a hit with audiences and critics alike and won Crawford her one-and-only Academy Award for Best Actress. She went on the star in Humoresque (1946) with John Garfield, Possessed (1947) with Van Heflin, and Flamingo Road (1949).

Melvyn Douglas (1901 – 1981) was an American actor. Douglas was a popular leading man during the 1930s working with some of Hollywood’s most famous leading ladies including Greta Garbo, Claudette Colbert, Joan Crawford, Marlene Dietrich, Myrna Loy, and Merle Oberon. He won two Best Supporting Actor Academy Awards late in his career for Hud (1963) and Being There (1979). Douglas’s last film role was in Ghost Story (1981) co-starring Douglas Fairbanks Jr. and Fred Astaire.

A Woman’s Face trivia

• The role was planned for Greta Garbo but she had retired from film giving the role to Joan Crawford.
• A Woman’s Face was originally filmed in 1938 in Sweden starring Ingrid Bergman.
• Crawford was disappointed that her performance wasn’t nominated for a Best Actress Academy Award.
• Bette Davis said that she would have liked to have played the role of Anna Holm.
• M-G-M studio head, Louis B. Mayer thought that the role was a risk for the glamorous Crawford.

 

Click HERE to watch the film at the Movie Internet Archive.

Click HERE to join the online discussion. Once you RSVP, you will receive an email invitation and link to join the discussion on Zoom.

 

Discussion questions

1. How did you feel about the character of Anna Holm? Did you have any sympathy for her?
2. What did you think of Crawford’s performance? Was she believable as a woman scared physically and emotionally?
3. Was her relationship with Melvyn Douglas realistic? Did they have good screen chemistry?
4. The film has an amazing supporting cast. Did any one of them stand out to you?
5. Some critics consider A Woman’s Face a film noir. Do you think this is an accurate classification? How would you classify it?

Ronald Colman struggles to avoid “A Double Life”

A Double Life (1947) is a film noir directed by George Cukor, starring Ronald Colman and Signe Hasso. The husband and wife team of Ruth Gordon and Garson Kanin wrote the screenplay. Milton R. Krasner did the cinematography and Miklos Rozsa wrote the score.

The plot concerns the famous Broadway stage actor Anthony “Tony” John (Colman) who is coming off tremendous success in a comedy entitled A Gentleman’s Gentleman. Max Lasker (Philip Loeb), a theatrical producer wants Tony’s next play to be Shakespeare’s Othello. Lasker also wants Tony’s ex-wife, Brita (Hasso) to co-star as Desdemona.

Tony and Brita star in Othello to wonderful reviews and the play runs for over a year on Broadway. As time goes by, Tony finds it difficult to distinguish between the character he is playing and reality. Will Tony be able to hold on to his sanity or will he disintegrate into madness?

George Cukor (1899 – 1983) was an American director. He was famous for directing comedies and literary adaptations of classics like Little Women (1933) and David Copperfield (1935). He was famously fired from directing Gone with the Wind (1939), but that incident didn’t mar an impressive directorial career that included The Philadelphia Story (1940), Gaslight (1944), and Born Yesterday (1950). Cukor won an Academy Award as Best Director for My Fair Lady (1964).

Ronald Colman (1891 – 1958) was an English-born actor whose career started in the theatre. In 1923, Colman appeared opposite Lillian Gish in the silent film The White Sister. He was a hit with the public and starred in over 20 silent films in America. Due to his wonderfully trained stage voice, Colman made the transition to talking pictures with ease. Some of his sound films include Clive of India (1935), A Tale of Two Cities (1935), Lost Horizon (1937), The Prisoner of Zenda (1937), The Talk of the Town (1942), and Random Harvest (1942). Colman was nominated three times for the Best Actor Academy Award. He finally won for his performance in A Double Life (1947).

Signe Hasso (1915 – 2002) was a Swedish actress who was promoted in the United States by RKO Pictures as “the next Garbo.” Although she wouldn’t live up to the promotion, Hasso had some memorable film roles in Heaven Can Wait (1943), The Seventh Cross (1944), Johnny Angel (1945), and The House on 92nd Street (1945). Hasso also acted on the Broadway stage and appeared on television making guest appearances on Route 66, Starsky and Hutch, Trapper John, M.D., and Hart to Hart.

A Double Life trivia:

• Laurence Olivier was originally slated for the role of Anthony John.
• The film was nominated for four Academy Awards: Best Actor (Colman winner), Best Music, Scoring of a Dramatic or Comedy Picture (Miklos Rozsa winner), Best Director (George Cukor), and Best Writing, Original Screenplay (Garson Kanin and Ruth Gordon).
• Colman had never performed any Shakespeare before and was uneasy about doing so on film.

Click HERE to watch the film on the YouTube. Please use this link because other versions on the channel aren’t as good.

Click HERE to join the online discussion on January 27, 2025, at 6:30 p.m. Central Time. Once you RSVP, you will receive an email invitation to join the discussion on Zoom. 

Questions for discussion:

1. Noir or not? Does this film fit in with your idea of what makes a movie qualify as a film noir?

2. Was Ronald Colman convincing as a major Broadway star?

3. Did Colman and Signe Hasso have good on-screen chemistry?

4. There are lots of double images in the film; do you recall any of them? There is the contrast between illusion and reality. Our hero seems to have trouble distinguishing between the two as the film progresses.

5. Was the ending inevitable? Does it help with its film noir credibility?

Broderick Crawford, Judy Holiday, and William Holden in “Born Yesterday”

Born Yesterday (1950) is an American comedy directed by George Cukor and starring Broderick Crawford, Judy Holiday, and William Holden. Holiday recreated her role as Billie Dawn which she played on Broadway. Crawford replaced Paul Douglas who played opposite Holiday as Harry Brock and Holden replaced Gary Merrill who played Paul Verrall, both of whom created their respective roles on Broadway.

The film concerns Billie Dawn (Holiday), an uneducated woman involved with an older business tycoon Harry Brock (Crawford) who is in Washington to try and “buy” a congressman. Because Billie is uneducated, Harry hires Paul Verrall (Holden), a journalist, to educate her. During her “education,” she realized that Harry was a corrupt businessman. Due to Paul opening her eyes to a whole new world, Billie falls in love with him.

Judy Holiday, Broderick Crawford, and William Holden

George Cukor (1899 – 1983) was an American director. He was famous for directing comedies and literary adaptations of classics like Little Women (1933) and David Copperfield (1935). He was famously fired from directing Gone with the Wind (1939), but that incident didn’t mar an impressive directorial career that included The Philadelphia Story (1940), Gaslight (1944), and Born Yesterday (1950). Cukor won an Academy Award as Best Director for My Fair Lady (1964).

Broderick Crawford (1911 – 1986) was an American stage, film, radio, and television actor. Born in Philadelphia to a show business family, Crawford acted with his parents on stage and then established himself as a talent on his own by winning acclaim as Lenny in the original Broadway production of Of Mice and Men in 1937. He later moved to Hollywood and began acting in small roles and bit parts throughout the 1940s. He finally got his chance at stardom in All the King’s Men (1949), the film version of Robert Penn Warren’s award-winning novel. The film was a big hit and Crawford won the Academy Award for Best Actor for his performance as Willie Stark. Now a star, Crawford starred in more prestigious productions including Born Yesterday (1950) receiving top-billing over co-stars Judy Holiday and William Holden. Crawford became a television icon as Dan Matthews in the police dram Highway Patrol (1955 – 1959.) 

Judy Holiday (1921 – 1965) was an American actress, comedian, and singer. She started out in show business playing nightclubs before making her way to Broadway. Her role as Billie Dawn in Born Yesterday in 1946 made her an “overnight” sensation. When she recreated the role for the film version, she won the Academy Award for Best Actress of the Year. Other films include The Marrying Kind  (1952), It Should Happen to You (1954), Phffft (1954), The Solid Gold Cadillac (1956), Full of Life (1956), and Bells Are Ringing (1960), recreating her Tony Award-winning performance. Holiday died of breast cancer in 1965 at the age of 43.

William Holden (1918 - 1981) was an American actor and major movie star. He was one of the most bankable stars of the 1950s. Holden starred in some of the most popular and beloved films of all time including Sunset Boulevard, Sabrina, Picnic (1955), The Bridge on the River Kwai (1957), and Stalag 17 for which he won the Academy Award for Best Actor. Holden became a star with his very first role in Golden Boy (1939). He had lead roles in other popular films like Our Town (1940), and  I Wanted Wings (1941). World War II interrupted his career. Holden was a first lieutenant in the United States Army Air Force. After the war, he made some popular but forgettable films. It wasn’t after he collaborated with director Wilder on Sunset Boulevard that Holden’s popularity and stature in Hollywood grew to superstar status.

 

Crawford who got top billing on the screen is listed last on this lobby card.

Born Yesterday trivia

• Judy Holiday’s role in Adam’s Rib (1948) was an audition to convince Columbia Pictures studio chief Harry Cohn that Holiday was up to the task of playing Billie Dawn on the screen.
• Judy Holiday and Broderick Crawford played gin-rummy on the train to Washington, D.C. for location shooting. Holiday won $600 from Crawford. This cemented their friendship and they remained lifelong friends.
• Marilyn Monroe screen-tested for the role but Harry Cohn never watched it.
• Holiday’s wardrobe became more sophisticated as her character grew.
• William Holden originally turned down the role fearing that he would be overshadowed by Crawford and Holiday. Because of this, Holden’s role was built up for the screen.
• Director George Cukor had Crawford, Holiday, and Holden perform their roles in front of a live audience so that he could time the laughs between the dialogue.

 

Click HERE to watch the room on YouTube.

 

Click HERE to join the discussion on February 26, 2024, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation with a link to join the discussion on Zoom.

 

Discussion questions

1. Born Yesterday was released in the mid-20^th century. Do you think it holds up today?
2. Judy Holiday is so identified with the role of Billie Dawn. Can you see anyone else as successful in the role?
3. Was Broderick Crawford believable in the role of Harry Brock?
4. Holiday beat out Gloria Swanson (Sunset Blvd), Bette Davis and Anne Baxter (All About Eve), and Eleanor Parker (Cage). Do you think she deserved to win?
5. Holden was afraid that he would be overshadowed by Crawford and Holiday. Do you think this was the case or did he hold his own in the less showy role as Paul Verrall?

Ronald Colman has trouble with reality in “A Double Life”

Ronald Colman

A Double Life (1947) is a film noir directed by George Cukor, starring Ronald Colman and Signe Hasso. The husband and wife team of Ruth Gordon and Garson Kanin wrote the screenplay. Milton R. Krasner did the cinematography and Miklos Rozsa wrote the score.

The plot concerns the famous Broadway stage actor Anthony “Tony” John (Colman) who is coming off tremendous success in a comedy entitled A Gentleman’s Gentleman. Max Lasker (Philip Loeb), a theatrical producer wants Tony’s next play to be Shakespeare’s Othello. Lasker also wants Tony’s ex-wife, Brita (Hasso) to co-star as Desdemona.

Tony and Brita star in Othello to wonderful reviews and the play runs for over a year on Broadway. As time goes by, Tony finds it difficult to distinguish between the character he is playing and reality. Will Tony be able to hold on to his sanity or will he disintegrate into madness.

George Cukor (1899 – 1983) was an American director. He was famous for directing comedies and literary adaptations of classics like Little Women (1933) and David Copperfield (1935). He was famously fired from directing Gone with the Wind (1939), but that incident didn’t mar an impressive directorial career that included The Philadelphia Story (1940), Gaslight (1944), and Born Yesterday (1950). Cukor won an Academy Award as Best Director for My Fair Lady (1964).

Ronald Colman (1891 – 1958) was an English-born actor whose career started in the theatre. In 1923, Colman appeared opposite Lillian Gish in the silent film The White Sister. He was a hit with the public and starred in over 20 silent films in America. Due to his wonderfully trained stage voice, Colman made the transition to talking pictures with ease. Some of his sound films include Clive of India (1935), A Tale of Two Cities (1935), Lost Horizon (1937), The Prisoner of Zenda (1937), The Talk of the Town (1942), and Random Harvest (1942). Colman was nominated three times for the Best Actor Academy Award. He finally won for his performance in A Double Life (1947).

Signe Hasso (1915 – 2002) was a Swedish actress who was promoted in the United States by RKO Pictures as “the next Garbo.” Although she wouldn’t live up to the promotion, Hasso had some memorable film roles in Heaven Can Wait (1943), The Seventh Cross (1944), Johnny Angel (1945), and The House on 92nd Street (1945). Hasso also acted on the Broadway stage and appeared on television making guest appearances on Route 66, Starsky and Hutch, Trapper John, M.D., and Hart to Hart.

Other actors you will recognize in smaller roles include Shelly Winters (this was her breakout film performance), Edmund O’Brien, Ray Collins, Whit Bissell, Betsy Blair, and Millard Mitchell.

A Double Life trivia:

• Laurence Olivier was originally slated for the role of Anthony John.
• The film was nominated for four Academy Awards: Best Actor (Colman winner), Best Music, Scoring of a Dramatic or Comedy Picture (Miklos Rozsa winner), Best Director (George Cukor), and Best Writing, Original Screenplay (Garson Kanin and Ruth Gordon).
• Colman had never performed any Shakespeare before and was uneasy about doing so on film.

To watch the film, click on the YouTube link below. Please use this link because there are other versions on the channel that aren’t as good.

After you’ve watched the film, join us for a discussion on Zoom at 6:30 p.m. on August 4, 2020. The links for the Zoom meeting are below.

Stephen Reginald is inviting you to a scheduled Zoom meeting.

Topic: Discussion of "A Double Life"
Time: Aug 4, 2020, 06:30 PM Central Time (US and Canada)

Join Zoom Meeting

https://us04web.zoom.us/j/72687349308?pwd=Vml2SkVzeWNoWWlxdzFCQkVFYXRSdz09

Meeting ID: 726 8734 9308
Passcode: fJB4F9

Questions for discussion:

1. Noir or not? Does this film fit in with your idea of what makes a movie qualify as a film noir?

2. Was Ronald Colman convincing as a major Broadway star?

3. Did Colman and Signe Hasso have good on-screen chemistry?

4. There are lots of double images in the film; do you recall any of them? There is the contrast between illusion and reality. Our hero seems to have trouble distinguishing between the two as the film progresses.

5. Was the ending inevitable? Does it help with its film noir credibility?

Screening of "The Model and the Marriage Broker" at Daystar Center February 14

Classic Movie Man Favorites Series: The Model and the Marriage Broker (1951)
Where: Daystar Center, 1550 S. State Street
When: February 14, 2017
Time: 6:30 p.m.
Hosted by Stephen Reginald


The Model and the Marriage Broker (1951) features Thelma Ritter in a rare starring role as marriage broker, Mae Swasey. Her office is located in New York City’s iconic Flatiron Building where she helps her shy and awkward clients find love and companionship. When she picks up the purse of model Kitty Bennett (Jeanne Crain) by accident, she decides to secretly become her marriage broker. You see, the model found out that the man she’s been dating is married, and Mae sees no future in that relationship. Without her knowledge Mae arranges for Kitty to meet Matt Hornbeck (Scott Brady), a young radiographer. Will Mae’s matchmaking be successful? And what about Mae? Will she find a love of her own? 

Jeanne Crain and Thelma Ritter

This underrated classic has a script by Charles Brackett (Sunset Boulevard - 1950, The Lost Weekend - 1945), cinematography by Milton Kranser (The Egg and I – 1947, All About Eve – 1950, Three Coins in the Fountain – 1954, An Affair to Remember – 1957), and direction by the legendary George Cukor (My Fair Lady - 1964). 

The film also boasts a first-rate supporting cast, featuring Zero Mostel and Nancy Kulp in their first movie roles. But first and foremost, The Model and the Marriage Broker has the incomparable Ritter in one of the best roles of her career.


This film is part of the Classic Movie Man’s favorites series.

Have some Joe and Enjoy the Show!

You can bring food and beverages into the auditorium; we even have small tables set up next to some of the seats. General Admission: $5 Students and Senior Citizens: $3.

Join the Chicago Film club; join the discussion

Twice a month we screen classic films and have a brief discussion afterward. For more information, including how to join (it’s free), click here. The Venue 1550 is easily accessible by the CTA. Please visit Transit Chicago for more information on transportation options.

Stephen Reginald is a freelance writer and editor. He has worked at various positions within the publishing industry for over 25 years. Most recently he was executive editor for McGraw-Hill’s The Learning Group Division. A long-time amateur student of film, Reginald hosts “Chicago Film Club,” a monthly movie event held in the South Loop, for the past two years. Reginald has also taught several adult education film classes at Facets Film School, Chicago.

Great films of 1939: "The Women" July 23 at the Daystar Center

Great films of 1939: The Women
Where: The Venue 1550 at the Daystar Center, 1550 S. State Street, Chicago, IL
When: July 23, 2016
Time: 6:45 p.m.
Hosted by Stephen Reginald

The Women (1939) features an all-star female cast directed by George Cukor in the film version of Clare Boothe's Broadway play. Set among the pampered Park Avenue set played by Rosalind Russell, Joan Fontaine, Paulette Goddard, Mary Boland and Norma Shearer. Joan Crawford plays the manipulative Crystal Allen out to steal Mary Haine's (Shearer) husband so she can live on Park Avenue too. The film has the added dynamic of the real-life professional rivalry between stars Crawford and Shearer.

Director George Cukor (center) with cast of The Women

The Women has been remade as a musical in 1956 and updated in 2008, but neither version holds a candle to the original.

In 2007, the film was voted to the National Film Registry for preservation.

Part of the “Great movies of 1939” series. Discover some of the greatest movies from Hollywood’s most famous year.

Have some Joe and Enjoy the Show!

Before the movie, grab a cup of coffee from Overflow Coffee Bar, located within the Daystar Center. You can bring food and beverages into the auditorium; we even have small tables set up next to some of the seats. General Admission: $5 Students and Senior Citizens: $3.

Join the Chicago Film club; join the discussion

Twice a month we screen classic films and have a brief discussion afterward. For more information, including how to join (it’s free), click here. The Venue 1550 is easily accessible by the CTA. Please visit Transit Chicago for more information on transportation options.

Stephen Reginald is a freelance writer and editor. He has worked at various positions within the publishing industry for over 25 years. Most recently he was executive editor for McGraw-Hill’s The Learning Group Division. A long-time amateur student of film, Reginald hosts “Chicago Film Club,” a monthly movie event held in the South Loop, for the past two years. Reginald has also taught several adult education film classes at Facets Film School, Chicago.

Daystar Center located at 1550 S. State St. works through a grassroots network of collaborations and partnerships with individuals and other nonprofit organizations. Through this web, they’re able to provide educational, cultural, and civic activities that enrich and empower their clients, guests, and community members. To learn more about classes and events offered at the Daystar Center, please visit their Web site.