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

 

Click HERE to watch the movie online.

Click HERE to join the online discussion on Monday, July 6, 2026, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation and a link to join the discussion on Zoom. 

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?

A “Gentleman’s Agreement” Exposed: Unmasking the Polite Facade of American Anti-Semitism

Gentleman’s Agreement (1947) is a groundbreaking social drama that follows Philip Schuyler Green (Gregory Peck), a distinguished, widowed journalist who relocates to New York City with his young son and mother after accepting a high-profile assignment from a prestigious magazine. The publication’s liberal editor tasks Green with writing an in-depth, undercover exposé on anti-Semitism in America. Initially struggling to find a fresh, impactful angle on a subject many citizens comfortably ignore, Green realizes that the only way to truly understand the depth of this prejudice is to experience it firsthand. He decides to adopt a Jewish identity, telling the world that his real name is Phil Greenberg.

The core of the film explores the swift and jarring shift in how society treats him. Almost immediately, Green is subjected to a spectrum of bigotry that ranges from overt, hostile discrimination to subtle, insidious social snubbing. He is abruptly turned away from exclusive resorts, condescended to by doctors, and frozen out of elite social circles. More painfully, his social experiment strains his burgeoning romance with Kathy Lacey (Dorothy McGuire), the progressive woman who originally suggested the magazine article, as her own deeply ingrained, passive prejudices and fear of societal disapproval begin to surface. Through these tense interactions, Green uncovers the quiet hypocrisy of affluent, polite society.

Directed by Elia Kazan and adapted by Moss Hart from Laura Z. Hobson’s bestselling novel, the film acts as a powerful psychological study of institutionalized bigotry and the complicity of silence. The narrative shines a sharp light on the casual, everyday biases of ordinary people who look the other way to maintain their social standing. Gentleman's Agreement remains a definitive masterpiece of Golden Age cinema, brilliantly illustrating how unspoken societal contracts—the gentleman's agreements of the title—can perpetuate discrimination just as effectively as formal laws.

 

Elia Kazan (1909 – 2003) was an American director, producer, writer, and actor. He is one of the co-founders of the Actors Studio in 1947 with Robert Lewis and Cheryl Crawford. Kazan is also one of the most celebrated directors in theater and film. Kazan won two Best Director Academy Awards, in 1947 for Gentleman’s Agreement and 1954 for On the Waterfront, and a Lifetime Achievement Academy Award in 1998. A Tree Grows in Brooklyn (1945) was Kazan’s feature film debut as a director.

Gregory Peck and Dean Stockwell

Gregory Peck (1916 – 2003) was a towering icon of Golden Age Hollywood, universally revered for his deep, resonant voice, commanding presence, and on-screen embodiment of moral integrity. After studying at UC Berkeley and honing his craft under Sanford Meisner in New York, Peck burst onto the cinematic scene, earning a Best Actor Academy Award nomination for his second film, The Keys of the Kingdom (1944). Fiercely independent, he bucked the studio system by refusing exclusive contracts, allowing him to seamlessly traverse genres in masterpieces like Alfred Hitchcock’s Spellbound (1945), Elia Kazan’s Gentleman’s Agreement (1947), and the romantic classic Roman Holiday (1953). His career reached its zenith with his Oscar-winning portrayal of the principled Southern lawyer Atticus Finch in To Kill a Mockingbird (1962)—a performance that came to define his legacy as Hollywood’s ultimate archetype of honor and decency. Beyond his acting, Peck was a passionate humanitarian and industry leader, serving as President of the Academy of Motion Picture Arts and Sciences and receiving the Presidential Medal of Freedom in 1969 before passing away peacefully at his Los Angeles home at the age of 87.

Dorothy McGuire (1916–2001) was a distinguished American actress who brought a rare, luminous sincerity and quiet intelligence to the screen during Hollywood’s Golden Age. Born in Omaha, Nebraska, where she cut her teeth acting alongside a young Henry Fonda at the local community playhouse, McGuire rocketed to stardom after winning the titular role in the 1941 Broadway smash Claudia—a performance so captivating that producer David O. Selznick brought her to Hollywood to recreate it for her 1943 film debut. Eschewing the traditional glamour-girl studio mold, she consistently chose deeply felt, complex roles, delivering back-to-back masterpieces in 1945 as the resilient mother in Elia Kazan’s A Tree Grows in Brooklyn and a mute domestic servant in the thriller The Spiral Staircase. Her artistic high point came with the groundbreaking social drama Gentleman’s Agreement (1947), in which her nuanced portrayal of a progressive woman confronting her own passive biases earned her an Academy Award nomination for Best Actress. In the 1950s and '60s, McGuire seamlessly transitioned into one of cinema's most beloved maternal figures, anchoring timeless Disney classics like Old Yeller (1957) and Swiss Family Robinson (1960), and portraying the Virgin Mary in the epic The Greatest Story Ever Told (1965). She continued to grace the stage and television in her later years, earning an Emmy nomination for Rich Man, Poor Man (1976), before passing away in 2001 at the age of 85, leaving a legacy defined by profound dignity and understated grace.

Dorothy McGuire and Gregory Peck

John Garfield (1913–1952), born Jacob Julius Garfinkle, was a fiercely talented American actor who revolutionized Hollywood screen acting by pioneering the gritty, raw, and rebellious working-class antihero. Raised in the rough neighborhoods of New York’s Lower East Side, he found his footing in the theater, eventually becoming a leading light of the politically conscious Group Theatre, where he mastered the immersive “Method” style of acting. He exploded into Hollywood with Warner Bros.’ Four Daughters (1938), earning an Academy Award nomination for Best Supporting Actor and instantly establishing his trademark persona: the cynical, streetwise outsider with a hidden vulnerability. Garfield became a definitive star of 1940s film noir, delivering electrifying performances as the doomed lover in The Postman Always Rings Twice (1946) and an uncompromising boxer in Body and Soul (1947), which earned him a Best Actor Oscar nomination. His intense, naturalistic style left an indelible blueprint for future legends like Marlon Brando, James Dean, and Montgomery Clift.

Gentleman’s Agreement trivia

• The production of Gentleman's Agreement faced immense resistance long before a single frame was shot, as several powerful, high-ranking Jewish studio executives in Hollywood actively pressured twentieth Century-Fox studio head Darryl F. Zanuck to shelve the project entirely out of fear that confronting anti-Semitism so directly on screen would provoke a public backlash and increase hostility.
• Director Elia Kazan deliberately weaponized the film's casting to make a point about the subtle nature of prejudice, specifically choosing the elegantly poised, patrician Dorothy McGuire to play Kathy Lacey so audiences could see that passive bias wasn't just held by loud extremists, but also by cultured, polite, and well-meaning members of high society.
• To capture the genuine, unvarnished reactions of regular citizens for the undercover sequence, Gregory Peck and the crew utilized a hidden camera setup across the street from a real, highly exclusive resort in Connecticut, allowing them to capture authentic footage of the actor being turned away by a clerk who believed he was actually Jewish.
• Despite her character’s name and background being synonymous with the affluent, old-money elite of Connecticut, actress Dorothy McGuire was actually heavily pregnant during the final weeks of filming, forcing director Elia Kazan and the cinematography team to utilize creative camera angles, oversized coats, and carefully placed foreground props to completely hide her growing maternity from the audience.

Click HERE to watch the movie on the Internet Archive.

Click HERE to join the online discussion on Monday, June 1, 2026, 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. How does Phil Green’s decision to mask his own identity to uncover prejudice highlight the difference between intellectual empathy and lived experience? Think about whether a reporter can ever truly capture the systemic weight of bigotry if they have an escape hatch that allows them to return to privilege at any moment.
2. The film sharply critiques “polite” society and passive bystanders who claim they aren’t prejudiced but remain silent to maintain social harmony. Looking at characters like Kathy, what does the movie suggest about the moral responsibility of liberals who oppose bigotry in theory but tolerate it in their everyday social circles?
3. Dave Goldman serves as a crucial point of contrast to Phil because his experience with antisemitism isn't a temporary assignment—it is his reality. How does Dave’s perspective challenge or deepen Phil’s idealistic, almost naive approach to fighting discrimination, especially regarding the psychological toll it takes?
4. When we look at the ending, does the film offer a truly hopeful resolution, or does it leave us with a sense that the systemic and structural roots of prejudice remain largely untouched? Consider how the story balances individual moral awakening with the institutional barriers—like restricted housing and exclusive clubs—that defined the era.

 

 

John Garfield and Lili Palmer in "Body and Soul"

Body and Soul (1947) is an American film noir set in the world of professional boxing directed by Robert Rossen and starring John Garfield and Lili Palmer. The supporting cast includes Hazel Brooks, Anne Revere, Canada Lee, and William Conrad. The black and white cinematography was by Academy Award winner James Wong Howe.

Garfield stars as Charlie Davis, a successful boxer who is surrounded by a group of men who may or may not have his best interests at heart. As his career progresses, Charlie's life becomes more and more complicated. When he falls in love with Peg Born (Palmer), Charlie isn't so sure about the decisions he's made about his life and career.

Robert Rossen (1908 - 1966) was an American screenwriter and director. He wrote screenplays while under contract to Warner Brothers. His first solo screenwriting credit was They Won't Forget (1937) which featured the film debut of Lana Turner. Rossen wrote or co-wrote the scripts for Dust Be My Destiny (1939), The Roaring Twenties (1939), and The Sea Wolf (1941). Rossen directed the Best Picture of 1949, All the King's Men. Rossen was nominated for Best Director but lost out to Joseph L.Mankiewicz. Rossen was a member of the Communist Party and was blacklisted in the 1950s. He eventually named names and his career was back on track. He directed The Hustler (1961) which was nominated for nine Academy Awards.

John Garfield (1913 - 1952) was an American actor who specialized in brooding, rebellious characters. Garfield was a popular stage actor with the Group Theater in New York when Hollywood came calling. Garfield's first film was Four Daughters (1938). The movie was a big success and Garfield's performance was praised. He received a Best Supporting Actor Academy Award nomination for his role as troubled musician Mickey Borden. His success in his first film led to a long-term contract with Warner Brothers. Other films Garfield starred in include They Made Me a Criminal (1938), Juarez (1939), Castle on the Hudson (1940), Out of the Fog (1941), Destination Tokyo (1943), and The Postman Always Rings Twice (1946), and Body and Soul (1947) for which he was nominated for the Academy Award for Best Actor. Garfield had long-term heart problems. Against the advice of his doctor, he played tennis the day he passed away.

Lili Palmer (1914 - 1986) was a German actress who made her film debut in Crime Unlimited (1935) while under contract by Gaumont Film Company in Great Britain. In 1943, she married Rex Harrison. They had a son together named Carey. When Harrison went to Hollywood, Palmer followed him and made several popular movies including Cloak and Dagger (1946) co-starring Gary Cooper. Palmer split her time between the stage and film and continued acting up until the time of her death.

John Garfield and Lili Palmer

Body and Soul trivia

• Anne Revere who played Garfield's mother was only 10 years old than he was.
• The film is considered one of the greatest boxing films of all time.
• Many of the cast and crew became directors including William Conrad (Quinn), Joseph Pevney (Shorty), and Abraham Polonsky.
• Cinematographer James Wong Howe wore roller skates to get a more realistic feel while filming the fight scenes.

To watch the film on YouTube, click the link below.

To join the discussion on July 18, 2022, at 6:30 p.m. Central Time, click here. Once you RSVP, you'll get an invitation and Zoom link to join the discussion.

Discussion questions:

1. How would you compare Garfield's performance in this film to Force of Evil?
2. Was Garfield believable as a boxer?
3. What did you think of Lili Palmer's performance?
4. Did Garfield and Lili Palmer make a believable couple? Was there chemistry between them?
5. The screenplay was by Abraham Polonsky, the man who wrote and directed Force of Evil. Did you see any similarities between the two films?
6. How did you react to Ben's (Lee) death?
7. Was the ending realistic?

John Garfield stars in "Force of Evil"

Force of Evil (1948) is an American film noir directed by Abraham Polonsky and starring John Garfield. The film is based on the novel Tucker's People, which was adapted by Polonsky and Ira Wolfert from a novel by Wolfert. The music is by David Raskin (Laura, Fallen Angel, The Bad and the Beautiful).

Garfield stars as lawyer Joe Morse who works for a big-time gangster Ben Tucker (Roy Roberts) who runs the numbers racket in New York City. Things get complicated when the gangster Joe works for eats up all the smaller rackets, including Joe's brother Leo (Thomas Gomez).

Will Joe be able to protect his brother and still be effective as the lawyer for Tucker?

Abraham Polonsky (1910 - 1999) was an American film director, screenwriter, and novelist. He was nominated for an Academy Award for Best Original Screenplay for Body and Soul (1947) starring John Garfield. Polonsky earned a law degree from Columbia Law School but after a few years of practicing law and teaching, he decided to be a writer. Other films Polonsky directed include Tell Them Willie Boy Is Here (1969) and Romance of a Horse Thief (1971). Polonsky was a member of the Communist Party and a Marxist. These affiliations hindered his career in Hollywood after he directed Force of Evil.

Marie Windsor and John Garfield

John Garfield (1913 - 1952) was an American actor who specialized in brooding, rebellious characters. Garfield was a popular stage actor with the Group Theater in New York when Hollywood came calling. Garfield's first film was Four Daughters (1938). The movie was a big success and Garfield's performance was praised. He received a Best Supporting Actor Academy Award nomination for his role as troubled musician Mickey Borden. His success in his first film led to a long-term contract with Warner Brothers. Other films Garfield starred in include They Made Me a Criminal (1938), Juarez (1939), Castle on the Hudson (1940), Out of the Fog (1941), Destination Tokyo (1943), and The Postman Always Rings Twice (1946), and Body and Soul (1947) for which he was nominated for the Academy Award for Best Actor. Garfield had long-term heart problems. Against the advice of his doctor, he played tennis the day he passed away.

To watch the film on YouTube, click on the link below.

To join the discussion on July 11, 2022,  at 6:30 p.m. Central Time, click here. Once you RSVP, you will receive an invitation and a link to join the discussion on Zoom.

Force of Evil trivia

• The director gave cinematographer George Barnes a copy of a book of Edward Hopper's Third Avenue paintings to give him an idea of the look he wanted on film.
• The lighthouse at the end of the film is under the George Washington Bridge.
• Supposedly, this film had an impact on director Martin Scorsese as it was the first film he remembers seeing.
• Garfield stood on an apple box in his scenes with Marie Windsor since she was taller than he was.

Discussion questions

1. What did you think of John Garfield's performance?
2. Was the relationship between Garfield and Gomez (Leo Morse) believable?
3. Do you think film noir is the correct category for this film?
4. The was Beatrice Pearson's (Doris Lowry) first film (she made only one more). What did you think of her performance?
5. A lot of the movie was filmed on location. Did that add anything to the film for you?
6. Who is more dishonest, Joe or Leo Morse?
7. What about the relationship between Joe and Doris?
8. Was the ending believable?

John Garfield reaches “The Breaking Point”

The Breaking Point (1950) is an American crime drama directed by Michael Curtiz and starring John Garfield and Patricia Neal. The excellent supporting cast includes Phyllis Thaxter and Juano Hernandez.

John Garfield plays Harry Morgan, a sports-fishing boat captain whose business is not going very well. In an effort to keep his business afloat (no pun intended) and to support his wife and two young daughters, he hooks up with a shady lawyer named Duncan (Wallace Ford). Duncan gets him involved with human smuggling and before he knows it, he’s involved with more criminal activity.

Harry’s life Lucy, (Phyllis Thaxter) begs him to give up the boat and start over with a new job with her father and move away from California. Harry refuses his wife’s plea and instead, risks losing his family, and the respect of his partner Wesley Park (Juano Hernandez).

Will Harry come to his senses or will his fear of failure distort his judgment and destroy his chance at happiness.

To watch the film on YouTube, click the link below.

 

To join our discussion on September 6, 2021, at 6 p.m. Central Time, click here. Once you RSVP, you will receive an email with an invitation to the meetup and a link to the meeting on Zoom.

The Breaking Point trivia

• Michael Curtiz directed three films in 1950, two of them starred Patricia Neal. The other film was Bright Leaf which also starred Gary Cooper and Lauren Bacall.
• Actress Phyllis Thaxter dyed her hair blond for the film, opting not to wear a wing.
• Wallace Ford (Duncan) had a long career in Hollywood going back to the days of the silents and working as late as 1965 in A Patch of Blue.
• Juano Hernandez made this film after starring in Intruder in the Dust at M-G-M.

Why watch this film?

• This was John Garfield’s second-to-last film role and the one he was most proud of.
• It’s a much grittier version of Howard Hawks’s To Have and Have Not (1944) starring Humphrey Bogart and Lauren Bacall.
• The film features some great supporting performances including those by Phyllis Thaxter (a standout) and Juano Hernandez.
• The film features the Warner Bros. A-Team with director Michael Curtiz, cinematographer Ted D. McCord, music by Max Steiner, and producer Jerry Wald.
• New York Times curmudgeon Bosley Crowther said the film had “All of the character, color and cynicism of Mr. Hemingway’s lean and hungry tale are wrapped up in this realistic picture, and John Garfield is tops in the principal role...”

John Garfield and Phyllis Thaxter

Discussion questions:

1. Noir or not? Does this film fit with your understanding of what makes a movie a film noir?
2. What did you think of the on-screen relationship between John Garfield and Phyllis Thaxter and Garfield and Patricia Neal?
3. Was Patricia Neal’s role necessary? What did her characterization add to the plot?
4. Did the friendship/business partnership between Garfield and Juano Hernandez surprise you?
5. Was the film title fitting?
6. The film had a brutal ending; was it the ending you expected?

 

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.

2018 Turner Classic Film Festival (#TCMFF) Day 1

It’s hard to believe that the 2018 TCM Film Festival is over. My anticipation builds as soon as the weather turns chilly here in Chicago. Dreaming about the film festival and warm days and nights in Los Angeles helps me get through the winter. Plus it’s great reconnecting with friends from all over the country and the world.

This year’s festival began for me on Thursday, April 26. Flying out of Chicago’s Midway airport in the morning and arriving in LA four hours later…in the morning! After leaving the airport and heading for the Hollywood Roosevelt Hotel where fellow classic movie fans gather in the Blossom Room—the room where the very first Academy Awards ceremony was held in 1929—to hang out and chat, celebrity watch, and watch everyone arrive. After the couple of hours of meeting and greeting, it’s check in time at the Air B & B; this year barely a block away from the Hollywood Roosevelt Hotel. Score!

After checking in, it’s back to the Hollywood Roosevelt for the hardest movie trivia game ever, “So You Think You Know Movies,” hosted by Bruce Goldstein, repertory program director of New York’s Film Forum. I think my knowledge of classic movies is pretty good, but every year, this event just crushes me. We assembled a good team, but we came up extremely short.

As usual I opted for the Classic Pass, which doesn’t include the red carpet presentation movie (this year Mel Brooks’s The Producers). The bump in price has never seemed worth it and there are plenty of movies to choose from while the celebrities mingle with ordinary folk on the red carpet at the Chinese Theater. The first movie I saw was To Have And Have Not (1944) directed by Howard Hawks. I’ve seen bits and pieces of this film over the years, but I don’t think I’ve ever seen it from beginning to end. The film that introduced Lauren Bacall to film audiences starred Humphrey Bogart who would end up marrying his 19-year-old leading lady the next year. The 35MM print provided by Warner Bros. Classics looked great on the big screen at the Egyptian Theatre and was the perfect movie to start my 2018 TCMFF.

The next movie on my agenda was The Sea Wolf (1941) directed by Michael Curtiz, starring Edward G. Robinson, Ida Lupino, and John Garfield. The supporting cast includes Gene Lockhart, Alexander Knox, and Barry Fitzgerald. Besides being a fan of all three stars, this movie went through a restoration. In 1947, Warner Brothers paired The Sea Wolf with The Sea Hawk (1940) on a double bill. In order to get more screenings in, Warners cut 14 minutes from The Sea Wolf. Those 14 minutes were thought lost forever until a 35MM nitrate print was discovered at the Museum of Modern Art. What we saw at the Chinese Multiplex House # 6 was a beautiful digital restoration that looked brand new. The performances of Robinson, Lupino, and Garfield are extraordinary. Robinson’s performance is especially good; it’s hard to believe he was never nominated for a competitive Oscar—neither was Lupio; Garfield was nominated twice: Best Supporting Actor in Four Daughters (1938) and Best Actor in Body and Soul (1947). By the time The Sea Wolf ended, it was nearly 11:30 p.m. (1:30 p.m. Chicago time!). Time to get some shuteye and plan on what movie to see Friday morning. Here are my three choices: The Merry Widow (1934), Strangers on a Train (1951), and Intruder in the Dust (1949). Which movie would you pick?

“The Postman Always Rings Twice”: 5th Film in “High Heels and Fedoras” series at Daystar Center June 11, 2013

Tuesday, June 11, 2013
6:30 p.m.
The Venue 1550 at the Daystar Center
1550 S. State Street

The Postman Always Rings Twice was one of the top box office hits of 1946. It also provided stars, Lana Turner and John Garfield with, arguably, the best screen roles of their careers.

Based on the novel by James M. Cain, The Postman Always Rings Twice has a lot in common with Double Indemnity, also penned by Cain. Both feature duplicitous couples planning a murder. And just like Double Indemnity, Postman’s femme fatale is married to an older man who is “inconvenient.”

Cora Smith (Turner) is a beautiful young waitress who works at her husband Nick’s (Cecil Kellaway) gas station and hamburger restaurant. When a drifter named Frank Chambers (John Garfield) starts working alongside Cora, the sparks fly. When Cora suggests that she and Frank could be together if something should happen to Nick, things begin to get crazy. Will Cora and Frank be able to pull off the perfect crime? Will they both get away with murder? Find out on Tuesday!

Here’s what New York Times critic Bosley Crowther said about the stars’ performances in his May 3, 1946 review:

Too much cannot be said for the principals. Mr. Garfield reflects to the life the crude and confused young hobo who stumbles aimlessly into a fatal trap. And Miss Turner is remarkably effective as the cheap and uncertain blonde who has a pathetic ambition to “be somebody” and a pitiful notion that she can realize it through crime.

To purchase tickets for in advance for the June 11 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.

Director Tay Garnett with Lana Turner and John Garfield
on the set of The Postman Always Rings Twice

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.