The Price of Devotion: Sacrificial Motherhood and Fatal Ambition in Michael Curtiz’s “Mildred Pierce”

Directed by Michael Curtiz, Mildred Pierce (1945) seamlessly blends classic melodrama with the dark, shadows-and-murder aesthetic of film noir. The story kicks off in classic noir fashion with the late-night murder of playboy Monte Beragon (played by Zachary Scott) at a beach house. The police interrogate Monte’s wife, Mildred (Joan Crawford), which triggers a sprawling series of flashbacks that unspool her life over the previous several years. We learn that Mildred begins as an ordinary, devoted housewife who separates from her well-meaning but unemployed husband, Bert (Bruce Bennett), leaving her to support her two daughters entirely on her own.

Driven by an intense desire to provide everything for her materialistic, status-obsessed eldest daughter, Veda (Ann Blyth), Mildred takes a humbling job as a waitress. With the clever assistance of her cynical, wise-cracking friend and coworker Ida Corwin (Eve Arden) and the smooth-talking real estate agent Wally Fay (Jack Carson), Mildred successfully opens her own restaurant. The business quickly blossoms into a highly profitable Southern California restaurant chain. However, tragedy strikes early in her entrepreneurial journey when her younger daughter, Kay, dies of pneumonia, cementing Mildred’s singular, obsessive emotional fixation on fulfilling Veda’s endless demands for wealth and high social status.

As Veda grows older, her cruelty and entitlement only deepen, leading her to secret marriages, extortion schemes, and a deep contempt for her mother’s working-class roots. In a desperate, final bid to buy her daughter’s love and respect, Mildred marries the aristocratic but functionally broke Monte Beragon, using her restaurant fortune to fund his lavish lifestyle and appease Veda. The Mildred gives in to Veda, the more Veda demands.

Will Mildred realize that the only one Veda loves is Veda?

 

Joan Crawford and Ann Blyth

Michael Curtiz (1886 -1962) was a Hungarian-American film director who worked during Hollywood’s Golden age, directing some of the best-loved classics from that era including The Adventures of Robin Hood (1938), Casablanca (1942), and Mildred Pierce (1945). He directed James Cagney and Joan Crawford to Best Actor/Actress Oscar wins; he put Doris Day and John Garfield on the screen for the first time, making them major movie stars in the process. He’s also responsible for the pairing of Errol Flynn and Olivia de Havilland, one of Hollywood’s most famous screen teams. Other films directed by Curtiz include Angels with Dirty Faces (1938), The Sea Wolf (1941), Yankee Doodle Dandy (1942), Life with Father (1947), and White Christmas (1954).

Born Lucille LeSueur, Joan Crawford (1904–1977) rose from a hardscrabble childhood to become one of the most enduring and fiercely determined superstars of classical Hollywood. She initially gained fame at MGM in the late 1920s and 1930s as a vibrant flapper and the quintessential working-girl heroine, before orchestrating a spectacular mid-career comeback at Warner Bros. that earned her a Best Actress Oscar for the definitive film noir melodrama Mildred Pierce (1945). Renowned for her striking, expressive eyes, razor-sharp cheekbones, and intense dedication to her craft, Crawford successfully reinvented herself across five decades, effortlessly transitioning into mature, volatile dramatic roles in classics like Humoresque (1946) and late-career cult horror films like What Ever Happened to Baby Jane? (1962).

Born John Elmer Carson in Manitoba, Canada, Jack Carson (1910 – 1963) grew up in Milwaukee and established himself as one of Hollywood’s most versatile and dependable character actors and comedians during the Golden Age. Standing over six feet tall with a rugged, burly build, he specialized in playing loudmouthed, brassy, or slightly cynical regular guys, often serving as the perfect comic foil in Warner Bros. musicals and comedies alongside partners like Dennis Morgan. His role as the opportunistic, conniving Wally Fay in Mildred Pierce offered a rare, brilliant showcase for his dramatic range, allowing him to infuse his standard fast-talking persona with a darker, sleazier undercurrent. Carson worked tirelessly across film, radio, and early television until his untimely death from stomach cancer at the age of 52.

Zachary Scott (1914 – 1965) was born in Austin, Texas, and brought a distinct brand of urbane, aristocratic villainy to mid-century Hollywood. With his slicked-back hair, prominent mustache, and elegant, suave delivery, he was effortlessly cast as charming scoundrels, treacherous playboys, and smooth-talking heel figures. His definitive breakthrough came when Jack Warner saw him on Broadway and cast him as the fatalistic, gold-digging Monte Beragon in Mildred Pierce, a role that forever stamped him as a quintessential film noir antagonist. Though he occasionally played sympathetic leads, such as in Jean Renoir's The Southerner, Scott remained most memorable as Hollywood’s most sophisticated, menacing cad before dying of a brain tumor at age 51.

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Mildred Pierce trivia

• Director Michael Curtiz initially fought hard against casting Joan Crawford, famously calling her a has-been and demanding she take a screen test to prove she could handle the gritty, unglamorous early scenes of the movie.
• To achieve the realistic look of a weary, working-class mother, Curtiz reportedly became frustrated with Crawford’s meticulously applied shoulder pads and makeup on set, once lunging forward to rip a glamorous scarf from her neck to make her look more authentic.
• Bette Davis, Warner Bros.’ top female star at the time, was originally offered the title role of Mildred Pierce but turned it down, inadvertently paving the way for Crawford to secure the part and win her sole Academy Award for Best Actress.
• The author of the original hard-boiled novel, James M. Cain, was so deeply impressed by Joan's definitive performance that he personally gifted her a bound copy of the book inscribed with a note thanking her for bringing his heroine to life so beautifully.

 

Discussion questions

1. How does the structural choice of framing the narrative as a film noir murder mystery alter the emotional impact of Mildred’s domestic struggles compared to how the story might feel if told in simple chronological order?
2. In what ways does the film critique or subvert the traditional concept of the American Dream, particularly through Mildred’s rise to immense business success failing to secure her personal or familial happiness?
3. To what extent is Mildred herself responsible for Veda’s monstrous behavior, and where should a viewer draw the line between a mother’s tragic devotion and destructive enabling?
4. How do the supporting characters of Ida Corwin and Wally Fay represent contrasting survival strategies for navigating the cynical, transactional world of wartime Southern California?

 

 

A Symphony of Obsession and Sacrifice: “Humoresque”

 Directed by Jean Negulesco, Humoresque (1946) is a sweeping, emotionally charged melodrama that chronicles the turbulent rise of a classical musician and the destructive romance that threatens his career. The story centers on Paul Boray, played with fierce intensity by John Garfield, a talented violinist from a working-class immigrant family in New York City. Despite his father’s skepticism, Paul is fiercely dedicated to his craft, supported by his mother and his cynical, wisecracking pianist friend, Sid Jeffers, played by real-life piano virtuoso Oscar Levant.

Paul’s big break arrives when Sid introduces him to Helen Wright, portrayed by Joan Crawford in one of her most iconic, glamorous, and tragic roles. Helen is a wealthy, unstable, and heavily drinking socialite trapped in a hollow marriage of convenience. Fascinated by Paul's brooding confidence and raw talent, she becomes his patroness, using her immense wealth and high-society connections to launch him into national stardom. However, their professional relationship quickly spirals into a passionate, volatile affair that forces Paul to constantly choose between his absolute devotion to music and his consuming love for Helen.

As Paul's fame grows, the power dynamics in their relationship shift, and Helen’s deep-seated insecurities take over. Overwhelmed by the realization that she can never truly compete with his first love—the violin—and devastated by the pain their toxic relationship causes, Helen makes a heartbreaking sacrifice.

Joan Crawford and John Garfield

Born in Romania, Jean Negulesco (1900–1993) originally trained as a painter in Paris before translating his keen visual sense to Hollywood cinema. He gained renown at Warner Bros. in the 1940s, helming moody, atmospheric film noirs like The Mask of Dimitrios (1944) and sweeping melodramas like Humoresque (1946) that brilliantly showcased powerful female leads and lush, artful cinematography. Later moving to 20th Century Fox, Negulesco successfully transitioned into the widescreen era, directing the studio’s very first CinemaScope comedy blockbuster, How to Marry a Millionaire (1953), and earning a Best Director Oscar nomination for the romantic classic Three Coins in the Fountain (1954).

Born Lucille LeSueur, Joan Crawford (1904–1977) rose from a hardscrabble childhood to become one of the most enduring and fiercely determined superstars of classical Hollywood. She initially gained fame at MGM in the late 1920s and 1930s as a vibrant flapper and the quintessential working-girl heroine, before orchestrating a spectacular mid-career comeback at Warner Bros. that earned her a Best Actress Oscar for the definitive film noir melodrama Mildred Pierce (1945). Renowned for her striking, expressive eyes, razor-sharp cheekbones, and intense dedication to her craft, Crawford successfully reinvented herself across five decades, effortlessly transitioning into mature, volatile dramatic roles in classics like Humoresque (1946) and late-career cult horror films like What Ever Happened to Baby Jane? (1962).

Born Jacob Julius Garfinkle, John Garfield (1913–1952) rose from a rough-and-tumble upbringing in the Bronx to become the definitive precursor to the rebellious, anti-hero Method actors of the 1950s. After honing his natural, gritty acting style with New York’s prestigious Group Theatre, he exploded onto the Hollywood scene with a searing, Oscar-nominated debut in Four Daughters (1938), quickly establishing himself as Warners Bros.’ go-to streetwise underdog. Revered for his intense, brooding masculinity and raw vulnerability, Garfield delivered definitive performances in classic post-war noirs and melodramas like The Postman Always Rings Twice (1946), Humoresque (1946), and Body and Soul (1947)—the latter earning him a Best Actor Academy Award nomination—before his brilliant career was tragically cut short at age 39

 

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Humoresque trivia

• To pull off the illusion of John Garfield playing the violin like a virtuoso, a unique visual trick was engineered on set. Two professional violinists stood hidden on either side of the actor just outside the camera frame; one tucked his arm through Garfield’s tuxedo to do the complex fingerwork on the strings, while the other handled the bow.
• While Garfield mimed the body movements, the actual flawless violin music heard on the soundtrack was recorded by a 25-year-old Isaac Stern, who also served as the film’s musical adviser and provided his own hands for the extreme, tight close-ups.
• Joan Crawford performed her own stunt for a scene where she falls off a galloping horse, though the sequence had to be entirely reshot because the studio censors initially deemed it “too racy” to have Garfield's character land on top of her during the fall, prompting a layout reversal where Crawford landed on top instead.
• During production, Garfield’s intense commitment to Method acting led him to stare deeply into Crawford’s eyes to build an authentic emotional bond for their scenes, a technique that so thoroughly unnerved the seasoned actress that she eventually complained to the director and asked him to make Garfield stop. 

Discussion questions

1. How does the film define the concept of an artist's sacrifice? Do you believe Paul's absolute obsession with his music justifies his emotional neglect of the people around him, or is it presented as a character flaw?
2. Helen Wright is a complex, deeply insecure character wrapped in a shell of wealth and high-society confidence. In what ways does her alcoholism and self-destructive behavior stem from the rigid gender and social expectations of the 1940s?
3. Compare the two central maternal/guiding figures in Paul's life: his working-class mother, who fiercely protects his talent, and Helen, who uses her wealth to patronize and control it. How do their conflicting versions of love shape Paul's identity?
4. The climax of the film juxtaposes Helen's tragic walk into the ocean with the sweeping, dramatic notes of Wagner's Tristan und Isolde playing on the radio. How does the choice of classical music function as a narrative voice in this scene, and does it elevate or romanticize her suicide?

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?

 

 

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.

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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?

Joan Crawford, Dana Andrews, and Henry Fonda in Otto Preminger's Production of “Daisy Kenyon”

Daisy Kenyon (1947), based on the best-selling novel by Elizabeth Janeway, is one of many films referred to as “women’s pictures” during Hollywood’s Golden Age. In many ways, it fits that genre perfectly, especially with Joan Crawford—“an old hand at being emotionally confused” according to The New York Times review—playing the title role. However, in director Otto Preminger’s hands, it’s so much more, with the male protagonists, Henry Fonda and Dana Andrews, also grabbing the spotlight.

Andrews plays prominent attorney, Dan O’Mara who is married to Lucile (Ruth Warrick). They have two daughters Rosamund (Peggy Ann Garner) and Marie (Connie Marshall). O’Mara leads a double life: On the one hand, he’s a family man, and on the other, he’s a philandering husband carrying on an affair with Daisy (Crawford), a single career woman. The relationship is a strained one primarily because O’Mara refuses to divorce his wife and marry Daisy. Daisy is torn between her love for Dan and her desire for a relationship that doesn’t need to be kept secret. To complicate matters further, Daisy meets World War II veteran, Peter Lapham (Fonda). Not as exciting a character as Dan, but a safe one.

Who will Daisy choose? 

Otto Preminger (1905 -1986) was an American film director who made more than 35 feature films during a five-decade career. Born in Austro-Hungarian into a Jewish family. Preminger was drawn to acting from an early age and became the apprentice of famed stage director Max Reinhardt. In 1935, he was recruited by Twentieth Century-Fox to apprentice as a director at the studio. After a rocky start, Preminger established himself as an A-list director after Rouben Mamoulian was fired from Laura (1944). The film noir classic made major stars of Gene Tierney and Dana Andrews and is considered one of the best film noirs of all time. While under contract to Fox, Preminger directed Fallen Angel (1945), Centennial Summer (1946), Forever Amber (1947), and Daisy Kenyon (1947). After he left Fox, Preminger became a maverick, constantly clashing with members of the Production Code. He released two films without the approval of the Production Code: The Moon is Blue (1953) and The Man with the Golden Arm (1955). Both films were financial successes and helped bring an end to the Code entirely. Later successes for Preminger include Anatomy of a Murder (1959) and Exodus (1960).

Crawford at the top of the triangle.

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).

Dana Andrews (1909 – 1992) was an American stage, film, and television actor. During the 1940s, Andrews was a major star and leading man starring in Laura (1944), State Fair (1945), A Walk in the Sun (1945), The Best Years of Our Lives (1946), Canyon Passage (1946), Boomerang! (1947), and Daisy Kenyon (1947), the latter co-starring Joan Crawford and Henry Fonda. During the 1950s, film roles were harder to come by, but he had success in Elephant Walk (1954) co-starring Elizabeth Taylor and Peter Finch, While the City Sleeps (1956), and Curse of the Demon (1957). In 1958 he replaced Henry Fonda on Broadway in Two for the Seesaw. Andrews worked a lot on television guest-starring on shows like The Twilight Zone, Checkmate, The Barbara Stanwyck Show, Ben Casey, The Love Boat, Ironside, and Falcon Crest. He also starred in the daytime soap opera Bright Promise (1969 - 1971).

Trouble in the O’Mara household

Henry Fonda (1905 –1982) was an American stage and film actor. Fonda came to Hollywood in 1935 and became a star overnight. Early starring roles include Jezebel (1938), Jesse James (1939), Young Mr. Lincoln (1939), and The Grapes of Wrath (1940) for which he received his first Best Actor nomination for playing Tom Joad. Fonda played opposite Barbara Stanwyck in The Lady Eve (1942), My Darling Clementine (1946), and Mister Roberts (1955). In 1981 he finally won the Best Actor Oscar for his role as Norman Thayer Jr. in On Golden Pond.

Daisy Kenyon trivia

• Joan Crawford requested both Henry Fonda and Dana Andrews as her co-stars.
• Fond and Andrews didn’t want to make the film but had to it to fulfill their contracts.
• During an interview during the 1970s, Otto Preminger said he had no recollection of Daisy Kenyon.
• Crawford was borrowed from Warner Bros. for her role as Daisy.
• Andrews had already worked with Preminger on Laura (1944) and Fallen Angel (1945).
• John Garfield appears as an extra sitting at the bar in the Stork Club.
• Columnist Walter Winchel, writer Damon Runyon, and New York Post columnist Leonard Lyons all have cameos as themselves.

Dan O’Mara at the Stock Club with Leonard Lyons and check out
John Garfield drinking far left!

Click HERE to watch the film on the Internet Archive.

Click HERE to join the online discussion on November 25, 2024, at 6:30 p.m. Central Time. Once you RSVP, you will receive an email with a link to join the discussion on Zoom.

Discussion questions

1. When the film was released on DVD, the film company classified it as a film noir. Do you think this film fits that genre? How would you classify it?
2. Did you find the relationships between the three stars believable? 
3. Do you think Daisy made the right choice?
4. Were you surprised by anything?
5. Was the ending satisfying?

Screening of "Humoresque" at Daystar Center July 14

Humoresque (1946)

Where: Daystar Center, 1550 S. State Street, Room 102

When: July 14, 2018

Time: 6:45 p.m.

Hosted by Stephen Reginald

Joan Crawford is Helen Wright, a wealthy patroness of the arts who is used to getting what she wants. She falls in and out of relationships with men, but things change when she meets Paul Boray (John Garfield), a talented young violinist. Helen’s love for Paul becomes obsessive and brings her to the breaking point. Will their love survive or will it destroy them both?

Warner Bros. pulled out all the stops with this lushly produced melodrama. For this film they employed some of the best talent behind the camera, including cinematographer Ernie Haller (Gone With the Wind) and director Jean Negulesco (Johnny Belinda, How to Marry a Millionaire).

General Admission is $5. $3 for Students and Seniors.

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.

John Garfield and Oscar Levant

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.

“Mildred Pierce”: 4th Film in “High Heels and Fedoras” series at Daystar Center May 14, 2013

Tuesday, May 14, 2013
6:30 p.m.
The Venue 1550 at the Daystar Center
1550 S. State Street


Mildred Pierce was a critical and financial hit when released in 1945. It resurrected the career of screen legend, Joan Crawford, who many had written off as a has-been. The movie was a showcase for some new talent too, but it was Crawford’s film and she commands the screen in every scene she’s in.

The straightforward narrative in the James M. Cain novel was changed for the film version. Mildred’s story is told in flashback, a popular film noir convention that works really well and adds to the movie’s texture. The film itself is put together very nicely with the Warner Brothers A-Team pulling out all the stops. Cinematographer Ernest “Ernie” Haller’s black and white photography is beautifully atmospheric. The angles, the contrasts, are seamless and help advance the story without getting in the way. The score by Max Steiner is lush without being overwhelming, at least not overwhelming as far as Steiner scores go (They’re all kind of overwhelming, actually). Legendary makeup artist Perc Westore makes Crawford’s transition from waitress/working mom into successful/sophisticated businesswomen seem natural and believable. Much of Crawford’s look in this film, and for the rest of the decade, is due in great part to the costuming of Milo Anderson. Last but not least, director Michael Curtiz assembled all the pieces together to form a perfect whole, but Curtiz wasn’t at all set on working with Crawford.

Zachary Scott, Joan Crawford, and Ann Blyth

According to Crawford, Curtiz wanted Barbara Stanwyck to play Mildred. He didn’t want to work with a “difficult” has-been. In order to change Curtiz’s mind, Crawford submitted to a screen test. This was unheard of for an established star, but so determined was Crawford to snag the role that she consented. Crawford’s screen test impressed Curtiz enough that he agreed to direct her. And for Crawford, a new career was born at Warners.

Mildred Pierce was nominated for six Academy Awards, including Best Picture and Best Actress. Crawford’s Best Actress Award was the only win, put it propelled her back to the top of the heap, giving fellow Warner contract-player, Bette Davis a run for her money. Ironically, Davis’s career was on a downward arch while Crawford was starring in some critical and commercially successful melodramas. After Mildred Pierce, Crawford starred in Humoresque (1946), Possessed (1947), Daisy Kenyon (1947), and Flamingo Road (1949). Possessed brought her a second Best Actress nomination.

Mildred Pierce isn’t considered a true film noir movie, by some critics. But it sure feels like film noir to this movie fan.

To purchase tickets for the May 14 screening, click here. Tickets are $5 per person general admission $3 for students and seniors. Tickets may also be purchased at the door. To stay on top of film events like this, join the Chicago Film Club Meetup.

To download a flyer to post in your building or office, click here.


The Venue 1550 is located at 1550 S. State St. in the Daystar Center. The Daystar Center offers a variety of educational, artistic and cultural activities, including classes for children that teach practical life skills like social aptitude, creativity and cultural awareness in fun ways; classes for adults that give space for self-reflection and improvement; room rentals for many different-sized groups in several multipurpose rooms. For more information, call 312.674.0001 or visit their Web site.

Dana Andrews Blogathon begins here!

The Blogathan is now!

Check out my post below and then click on the links to the posts by other bloggers to get their take on Dana Andrews and his films. Be sure to leave comments on the various posts and let us know what you think!

“Hello, Honey Bunch”—Dana Andrews in Daisy Kenyon
Daisy Kenyon, based on the best-selling novel by Elizabeth Janeway, is one of many films referred to as “women’s pictures” during Hollywood’s Golden Age. In many ways it fits that genre perfectly, especially with Joan Crawford—“an old hand at being emotionally confused” according to The New York Times review—playing the title role. However, in director Otto Preminger’s hands, it’s so much more, with the male protagonists, Henry Fonda and Dana Andrews, also grabbing the spotlight. Of the two, Andrews has the more complex and challenging role. He brings a sense of humanity to a character who may or may not deserve it.

Crawford at the top of the triangle

An obtuse triangle

Andrews plays prominent attorney, Dan O’Mara who is married to Lucile (Ruth Warrick). They have two daughters Rosmund (Peggy Ann Garner) and Marie (Connie Marshall). O’Mara leads a double life: On the one hand he’s a family man, and on the other he’s a philandering husband carrying on an affair with Daisy (Crawford), a single career woman. The relationship is a strained one primarily because O’Mara refuses to divorce his wife and marry Daisy. Daisy is torn between her love for Dan and her desire for a relationship that doesn’t need to be kept secret. To complicate matters further, Daisy meets World War II veteran, Peter Lapham (Fonda) who immediately proposes marriage. Daisy accepts his proposal and the two are married. But it’s Daisy’s complicated relationship with Dan that is the most intriguing.

Adored and despised

Trouble in the O’Mara household

As the wayward husband, Andrews is charming, lively, and exciting. It’s easy to understand how Daisy might be attracted to Dan. And why else would she put up with all the complications—although they’re starting to wear her down as the movie begins—that he brings with him. Dan is the perfect chameleon. When he is with his two daughters—who adore him—he’s seemingly thoughtful and loving. At the office he is authoritative, but still charming. One look at the adoring expression of his secretary Marsha (Victoria Horne) and you know this is true. Dan’s relationship with Lucile is chilly at best, if not downright cold. One senses from their early interactions that the marriage was probably on the rocks before Dan began his affair with Daisy. Dan’s law partner is Lucile’s father. Did Dan marry Lucile to advance his career? Now that he’s a high-powered New York attorney, is Dan bored with his wife and family? To make things more complicated (and interesting), Dan takes on an unpopular case. He defends a Japanese-American veteran who had his home and property taken from him while he was serving overseas. Dan calls it as he sees it, a clear act of prejudice. An injustice that should not be ignored. Like many characters in Preminger films, no one is all bad.

Daisy and  Dan: It's complicated

An man of contradictions
In his review of the film in the Times, Thomas M. Pryor said “As the philandering father, Dana Andrews gives a performance that is full of vitality and technical grace, but it lacks authority, Mr. Andrews, somehow, just doesn’t appear to be the type.” But that’s exactly the point. Andrews’s O’Mara is a man of contradictions. He’s conflicted and extremely unhappy. It’s pretty obvious that Daisy wasn’t his first extramarital affair. On the surface, O’Mara seems to be a man in control, but in his solitary moments, Andrews’s facial expressions reveal Dan’s inner conflict, his sorrow. When he finally leaves his wife and dissolves his partnership, Dan seems happy at last. Lucile, bitter over the way she’s been treated, sues Dan for divorce and sole custody of their daughters and drags Daisy into the suit accusing her of alienation of affections. To spare Daisy from the ugly court proceedings, Dan gives in to Lucile’s demands. He gives up his daughters. In Dan’s mixed up mind, he somehow thinks Daisy will divorce Peter and marry him. That’s one complicated plot line, even for the movies! 

Reel life and real life converge

Dan at the Stork Club with Leonard Lyons
and check out John Garfield on the left!

Even though Dan is pretty much a heel, we sympathize with him. As noted earlier, characters in Preminger films are often neither heroes nor villains, but something in between. Preminger and screenwriter David Hertz give Andrews plenty to work with. When he’s stalking Daisy at her apartment, the lighting is low and shadowy. Small things like taking a swig from a quart of milk while he’s waiting in the hallway outside Daisy’s empty apartment is a great little bit that Andrews pulls off with natural ease. Andrews and Fonda brilliantly underplay the interactions between their characters. They act almost like best friends and fraternity brothers vying for the same girl in college. Preminger has Dan mingle with some real-life New York characters like Walter Winchel, Leonard Lyons, and Damon Runyon at the Stork Club (recreated on a Twentieth Century-Fox sound stage). If you look carefully as the camera scans the Stork Club bar, you’ll get a glimpse of John Garfield, who supposedly, was filming Gentleman’s Agreement at the time, and did the cameo as a favor to Preminger. And you’ve got to love the way Andrews calls everyone “Honey Bunch.” Andrews makes it all seem real and plausible—Dan O’Mara knows these folk! 

Dan is looking pretty grim.

A broken man
The film concludes when the three have a showdown of sorts at Daisy and Peter’s New England cottage. By this time, Daisy has decided that life with Peter may not be as exciting or passionate as it was with Dan, but she has a better chance at happiness with a man like Peter. Dan, not accustomed to losing in court or in love, is devastated. He’s finally made the decision to divorce his wife and the woman he wants doesn’t want him. The picture of Dan in the backseat of the cab as he’s about to leave the cottage is one of deep hurt and despair. He’s given up his marriage, his daughters, his law partnership and he’s left with nothing. He’s a truly broken man.

Backstory: According to Andrews’s daughter, Susan, in the documentary Life in the Shadows—The Making of Daisy Kenyon, Andrews only made the film because he knew Fox would sue him for breach of contract if he didn’t. His daughter thought it was a good role for him, but suspects because his character doesn’t get the girl at the end he didn’t want to star in it. Crawford, on loan from Warner Brothers, requested and got both Fonda and Andrews to star opposite her. Obviously too old for the role, Crawford wanted the audience (and studio executives) to believe that she could still play the types of roles that made her a star at M-G-M when she was still in her twenties.

Backlot mystery

Check out the movies playing in Daisy’s neighborhood—the Fox backlot. Mr. Lucky is the main feature starring Cary Grant and Laraine Day. The second feature is The Woman in the Window starring Edward G. Robinson and Joan Bennett, but we only see Robinson’s name on the marquee. Daisy Kenyon opened at the Roxy in New York on Christmas Day 1947. Mr. Lucky was released in 1943 and The Woman in the Window  was released in 1944. Both films would have been at least two years old when Daisy Kenyon was released. Neither film is a Fox production. Mr. Lucky and The Woman in the Window  were released by RKO, not Fox. One wonders how those two films ended up playing in Daisy’s Greenwich Village neighborhood. 

Noir classic?
Fox has included Daisy Kenyon in its “Film Noir” DVD collection, which is an odd fit considering it doesn’t quite match that genre. The film incorporates some noir techniques like the great shadowy cinematography by award-winning director of photography, Leon Shamroy. Some suspect this technique was used to soften Crawford’s features and make her appear younger than she was; Crawford and Fonda were both 42 years old when the film was released, Andrews, the baby of the group, was 38.

Check out the great posts on Dana Andrews below. Click on the respective links to read them. Enjoy!


Another Old Movie Blog and its take on Swamp Water (1941). Is this Dana’s first breakout performance?

They Don’t Make ’Em Like They Used To takes on Beyond a Reasonable Doubt (1956). Will you have doubts after you read this post? 

Speakeasy serves up Fallen Angel (1945). Can a fallen angel be redeemed by love?

Carl Rollyson, author of the new biography releasing this September, Hollywood Enigma: Dana Andrews gives his short take on A Walk in the Sun (1945). Is it the best World War II film ever made?


bettiwettiwoo makes us take another look at Laura (1944), as if you had to twist our arms to do so!

Once Upon a Screen reviews The Best Years of Our Lives (1946). Is this Dana’s best film role?

Bobby Rivers TV takes a look at the career of Dana Andrews in Overlooked by Oscars: Dana Andrews and shares how Andrews’s performance in The Best Years of Our Lives impacted his life.

Paula’s Cinema Club examines Boomerang! a film totally dependent on Dana carrying the movie. Does he deliver the goods?

The Shades of Black and White blog reviews State Fair. Is this musical version better than the original or the 1962 remake?

What Happened to Hollywood takes a look at the gritty Where the Sidewalk Ends. Another great collaboration between Andrews and director Otto Preminger.

Cinema_Fanatic pictures Laura, another take on the classic. Is this a fair portrait?

Immortal Ephemera shows some mettle with The Purple Heart. Dana heads a strong cast in this WW II classic.

Laura’s Miscellaneous Musings on Wing and a Prayer. Did Dana reach new heights with this role?