Bonded by Loyalty, Tested by Fate: The Emotional Triumph of “Three Comrades”

Directed by Frank Borzage, Three Comrades (1938) is a poignant romantic drama set in Germany during the turbulent aftermath of World War I. The film stars Robert Taylor, Margaret Sullavan, Franchot Tone, and Robert Young. It follows three battle-weary German veterans who form a tight-knit brotherhood as they attempt to rebuild their lives and navigate economic hardship, political unrest, and deep personal trauma.

Together, the trio operates a small auto repair shop and spends their free time restoring an old racing car named “Vicky.” Their bond is tested and deepened when Erich, the youngest of the comrades, meets and falls deeply in love with Patricia Hollmann, a glamorous yet fragile aristocrat who has fallen on hard times. Rather than creating tension within the group, Pat is warmly embraced by Erich’s friends, becoming an integral fourth member of their close circle.

As inflation and political extremism destabilize the country, the four main characters attempt to carve out a pocket of happiness despite looming tragedy. The film explores themes of unconditional friendship, love, and emotional endurance, capturing how affection and loyalty can sustain people through societal devastation and personal heartache.

 

Franchot Tone, Robert Taylor, and Margaret Sullavan

Frank Borzage (1894 – 1962) was a celebrated American film director and actor renowned for his romantic, humanistic melodrama style and visually atmospheric storytelling. He made history at the inaugural Academy Awards in 1929 by winning the first-ever Oscar for Best Director for his silent masterpiece 7th Heaven (1927). Borzage won a second Best Director Oscar for Bad Girl (1931) and directed several notable romantic classics throughout the 1930s and 1940s, including A Farewell to Arms (1932) and Three Comrades (1938), leaving a lasting influence on cinema through his compassionate portrayal of lovers facing societal adversity.

Robert Taylor (1911 – 1969) was one of Metro-Goldwyn-Mayer’s most durable and striking leading men during the Golden Age of Hollywood. Born Spangler Arlington Brugh in Nebraska, he was discovered by talent scouts while attending college and quickly rocketed to stardom due to his handsome features and smooth screen presence. Over a career spanning more than three decades, Taylor successfully transitioned from photogenic romantic leads in films like Camille (1936) to rugged, hard-bitten roles in major Westerns, dramas, and war epics including Quo Vadis (1951), Ivanhoe (1952), Knights of the Round Table (1953), and The Law and Jake Wade (1958).

Margaret Sullavan (1909 – 1960) was an acclaimed American stage and screen actress known for her distinctive voice, emotional authenticity, and selective approach to Hollywood roles. After making her film debut in Only Yesterday (1933), she quickly became a major star at Universal Pictures and MGM, earning an Academy Award nomination for Best Actress for her performance in Three Comrades (1938). She is particularly remembered for her frequent collaborations with James Stewart, most famously starring alongside him in Ernst Lubitsch’s romantic comedy The Shop Around the Corner (1940).

Born into a wealthy family in Niagara Falls, New York, Franchot Tone (1905 – 1968) emerged as a sophisticated, intellectual actor of stage and screen who gained prominence after joining the prestigious Group Theatre in New York during the late 1920s. He signed with Metro-Goldwyn-Mayer in 1932, quickly establishing himself as a refined leading man and high-society charm figure in romantic comedies and dramas, earning a Best Actor Academy Award nomination for his role as Midshipman Byam in Mutiny on the Bounty (1935). Beyond his notable performances in films like Three Comrades (1938) and Phantom Lady (1944), Tone's high-profile marriage to Joan Crawford, along with his active involvement in producing independent theatre and appearing in pioneer television dramas, defined a versatile career spanning over four decades.

Born in Chicago, Illinois, Robert Young (1907 – 1998) built an extraordinarily durable career that transitioned seamlessly from classic Hollywood studio filmmaking to iconic early television. Signed by MGM in 1931, he proved to be one of the studio's most reliable and prolific contract players, appearing in dozens of features throughout the 1930s and 1940s—ranging from dramas like Three Comrades (1938) to dark film noir like Crossfire (1947). Young achieved even greater widespread cultural fame when he moved to television, winning multiple Emmy Awards for his portrayal of warm patriarch Jim Anderson in Father Knows Best (1954–1960) and later as the compassionate title physician in Marcus Welby, M.D. (1969–1976).

 

Franchot Tone, Robert Young, and Robert Taylor

Click HERE to watch the movie on the Internet Archive.

Click HERE to join the online discussion on Monday, September 7, 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.

 

Three Comrades trivia

• F. Scott Fitzgerald co-wrote the screenplay, marking the only screenwriting credit he received during his entire Hollywood career.
• Producer Joseph L. Mankiewicz significantly rewrote Fitzgerald’s script, leading to a bitter feud between the author and the studio over the final product.
• Margaret Sullavan received an Academy Award nomination for Best Actress for her performance as Patricia Hollmann.
• The movie was adapted from the 1936 novel of the same name by Erich Maria Remarque, who also authored the world-famous war novel All Quiet on the Western Front.

 

Discussion questions

1. How does the movie portray the psychological aftermath of World War I through the bond between the three lead men?
2. In what ways does Patricia’s arrival change the dynamic among the comrades, and how do they balance romantic love with friendship?
3. Given the political turmoil sweeping Germany in the late 1930s, how does the film reflect or downplay the real-world rise of fascism during the Weimar period?
4. How do Frank Borzage’s visual style and direction influence the tone of romantic idealism present throughout the story?

 

“Little Man, What Now?”: A Test of Love in the Shadow of Crisis

 Little Man, What Now?

Directed by Frank Borzage, Little Man, What Now? (1934) stars Margaret Sullavan as Emma “Lämmchen” Pinneberg and Douglass Montgomery as Hans Pinneberg. Set in early 1930s Germany against the backdrop of the Weimar Republic’s collapsing economy, the film follows the newlyweds as they attempt to navigate extreme financial hardship, widespread unemployment, and social turmoil. Deeply devoted to one another, Hans and Emma struggle to build a stable life together while hiding their marriage so Hans can retain his modest clerk job.

When Hans loses his job despite their caution, the couple relocates to the bustling city of Berlin in search of new economic opportunities. They move into the house of Hans’s estranged stepmother, hoping her connections will help them get back on their feet. Hans manages to secure a position as a department store salesman, but the pervasive poverty and political tension in the city constantly threaten to undermine their fragile security.

Throughout their trials, Emma remains the emotionally grounded foundation of their relationship, offering quiet strength and optimism even as their living conditions grow increasingly desperate. Little Man, What Now? presents a tender examination of young love under severe socio-economic pressure, capturing the dignity and resilience of ordinary people fighting to survive in an uncertain world.

Click HERE to watch the movie on the Internet Archive.

Click HERE to join the online discussion on Monday, August 24, 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.

Frank Borzage (1894–1962) was a celebrated American film director and actor renowned for his romantic, humanistic melodrama style and visually atmospheric storytelling. He made history at the inaugural Academy Awards in 1929 by winning the first-ever Oscar for Best Director for his silent masterpiece 7th Heaven (1927). Borzage won a second Best Director Oscar for Bad Girl (1931) and directed several notable romantic classics throughout the 1930s and 1940s, including A Farewell to Arms (1932) and Three Comrades (1938), leaving a lasting influence on cinema through his compassionate portrayal of lovers facing societal adversity.

Margaret Sullavan (1909–1960) was an acclaimed American stage and screen actress known for her distinctive voice, emotional authenticity, and selective approach to Hollywood roles. After making her film debut in Only Yesterday (1933), she quickly became a major star at Universal Pictures and MGM, earning an Academy Award nomination for Best Actress for her performance in Three Comrades (1938). She is particularly remembered for her frequent collaborations with James Stewart, most famously starring alongside him in Ernst Lubitsch’s romantic comedy The Shop Around the Corner (1940).

Douglass Montgomery (1909–1966), born Robert Douglass Montgomery, was an American stage, film, and television actor whose career spanned both the United States and the United Kingdom. Early in his Hollywood career, MGM temporarily changed his screen name to Kent Douglas to prevent audiences from confusing him with studio star Robert Montgomery. He returned to using Douglass Montgomery for notable film roles, such as playing Laurie opposite Katharine Hepburn in Little Women (1933) and Johnny Hollis in the British wartime classic The Way to the Stars (1945).

Little Man, What Now? trivia

• The feature film is based on Hans Fallada’s internationally acclaimed 1932 German novel of the same name, which had already been adapted into a German film in 1933 before Universal’s Hollywood production.
• Margaret Sullavan personally championed the adaptation and cited Little Man, What Now? as one of the very few film roles during her Hollywood contract that provided her true artistic satisfaction.
• Producer Carl Laemmle Jr. and Universal Pictures were initially hesitant to make the movie because they feared audiences would avoid a film centered heavily on themes of homelessness, starvation, and severe unemployment.
• Released before the strict enforcement of the Motion Picture Production Code in July 1934, the film stands as a notable pre-Code Hollywood drama dealing with realistic, mature economic and social dilemmas.

 

Discussion Questions

1. How does director Frank Borzage use romantic devotion as a contrast to the bleak economic landscape of 1930s Germany in the film?
2. In what ways does Margaret Sullavan’s portrayal of Emma resist the typical Hollywood tropes of women during the Great Depression era?
3. How do the economic struggles shown in the film reflect the global conditions of the 1930s outside of Germany?
4. What elements of pre-Code Hollywood filmmaking are most evident in how the movie addresses class struggles, employment, and housing challenges?

 

A Whimsical Experiment in Altruism: Margaret Sullavan as “The Good Fairy”

Directed by William Wyler and released in 1935, this sparkling screwball comedy features a screenplay by the legendary Preston Sturges. The story follows Luisa Ginglebusher (Margaret Sullavan), a naive and wide-eyed orphan released from her sheltered upbringing into the bustling streets of Budapest. Armed with an unwavering belief in human goodness and a self-appointed mission to act as a “good fairy” to those she encounters, Luisa quickly finds that her innocent meddling has complicated consequences after she lands a job as a movie theater usherette.

The plot thickens when Luisa catches the eye of Konrad (Frank Morgan), a wealthy and predatory meat-packing tycoon. To deflect his aggressive romantic advances while still hoping to use his resources for a charitable cause, Luisa fabricates a story that she is already married. When Konrad insists on rewarding her “husband” with a lucrative business contract to prove his supposed high-mindedness, Luisa realizes she must quickly find a real person to inhabit the role before her web of white lies collapses.

Luisa decides to pick a name at random from the telephone book, landing on Dr. Max Sporum (Herbert Marshall), a struggling, ethically upright lawyer living in near-poverty. Without Max’s knowledge, Luisa maneuvers Konrad into bestowing a sudden windfall of legal work and wealth upon the unsuspecting attorney. As Max’s life transforms overnight, he becomes convinced that his own merit is finally being recognized, while Luisa—aided by her cynical but protective waiter friend Detlaff (Reginald Owen)—struggles to maintain the charade.

As the “good fairy” finds herself increasingly entangled in the lives of these two very different men, the film explores the comedic friction between cynical ambition and pure-hearted idealism. Under Wyler’s sophisticated direction, Luisa must navigate a series of misunderstandings and narrow escapes to ensure her quest to do good doesn’t end in disaster. The result is a witty exploration of whether one can truly change the lives of others without causing a little bit of delightful chaos along the way.

 

William Wyler (1902 - 1981) was a titan of Hollywood’s Golden Age, renowned for his meticulous craftsmanship and an uncompromising perfectionism that earned him the nickname “40-Take Wyler.” Born in Alsace, Germany (now France), he moved to the United States in the early 1920s and rose through the studio system to become one of the most decorated directors in history, garnering a record twelve Academy Award nominations for Best Director. Wyler was a master of diverse genres, helming timeless classics such as the sweeping epic Ben-Hur (1959), the poignant post-war drama The Best Years of Our Lives (1946), and the sophisticated romance Roman Holiday (1953). His legacy is defined by his innovative use of deep focus cinematography and his uncanny ability to guide actors—including Margaret Sullavan, Bette Davis, and Audrey Hepburn—to career-defining performances.

Margaret Sullavan (1909 - 1960) was a luminous and fiercely independent star of the 1930s and 40s, celebrated for her husky, tremulous voice and a naturalistic acting style that set her apart from the stylized glamour of her contemporaries. Born in Norfolk, Virginia, she initially balked at the Hollywood studio system, preferring the discipline of the Broadway stage, yet she eventually became one of the screen's most poignant leading ladies. Sullavan is best remembered for her heart-wrenching performances in dramas like Three Comrades (1938), for which she received an Academy Award nomination, and her quintessential turn as the feisty Klara Novak in the holiday classic The Shop Around the Corner (1940). Despite a relatively brief filmography and a tumultuous personal life, her ability to blend fragile vulnerability with a sharp, intelligent wit ensured her legacy as one of the most respected performers of her generation.

Herbert Marshall (1890 - 1966) was the quintessence of the urbane British gentleman, beloved by audiences for his resonant, velvet voice and a quiet dignity that became his cinematic trademark. Born in London, he initially pursued a career in accounting before finding his true calling on the stage, a path briefly interrupted by his service in World War I, where he suffered a combat injury that resulted in the amputation of his leg. Despite this, his seamless grace and charm allowed him to transition effortlessly to Hollywood, where he became one of the most sought-after leading men of the 1930s. Marshall is perhaps best remembered for his sophisticated turn as the gentleman thief Gaston Monescu in Ernst Lubitsch’s Trouble in Paradise (1932) and for his poignant performances as the steady, often-betrayed husband in classic dramas like The Letter (1940) and The Little Foxes (1941). A versatile performer who navigated both sparkling comedies and somber melodramas with equal poise, he remained a distinguished presence on screen for over three decades, leaving an indelible mark as a symbol of resilience and refined elegance.

Frank Morgan (1890 - 1949) was a master of the flustered, well-meaning eccentric, a quintessential character actor whose stammering delivery and bewildered charm made him a beloved fixture of Hollywood’s Golden Age. Born Francis Phillip Wuppermann in New York City, he followed his brother Ralph into the acting profession, honing his craft on the Broadway stage before transitioning to a prolific film career spanning over thirty years. Though he was a versatile performer capable of dramatic depth—earning Academy Award nominations for his work in the 1934 version of The Affairs of Cellini and the 1942 drama Tortilla Flat—Morgan is eternally immortalized for his multifaceted performance in the 1939 masterpiece The Wizard of Oz. As the titular Wizard, along with several other colorful roles in the Land of Oz, he perfectly balanced humbug bluster with a deeply touching sense of humanity. A mainstay at MGM, his presence in classics like The Shop Around the Corner (1940) and The Three Musketeers (1948) cemented his reputation as a performer who could steal a scene with a single befuddled glance, leaving behind a legacy as one of cinema's most endearing and recognizable figures.

 

The Good Fairy trivia

• A Turbulent Romance: Director William Wyler and star Margaret Sullavan were notorious for clashing on set, with Sullavan frequently walking off in a temper. However, in a surprising twist, Wyler realized her acting improved on the days they didn’t fight; he began treating her with more patience, the two fell in love, and they actually eloped to Yuma, Arizona, in the middle of production.
• A “Sanitized” Script: The film was one of the first major productions to be heavily affected by the strict Hays Code censorship rules implemented in 1934. Writer Preston Sturges had to rewrite the original Ferenc Molnár play extensively to remove “objectionable” material, including a scene where the orphanage head explains the “facts of life” and the removal of a sofa from a bachelor's apartment to avoid risqué implications.
• The “Wizard” Connection: Four years before he became world-famous as the titular character in The Wizard of Oz (1939), Frank Morgan played the wealthy Konrad in this film. In a prophetic bit of dialogue, his character actually refers to himself as a “wizard” while offering to use his checkbook to perform “magic” for Luisa.
• Sturges’ Creative Frustration: Preston Sturges was kept under immense pressure during filming, often finishing script pages only a day before they were shot. His frustration with how directors (including Wyler) handled his dialogue in this and later films eventually led him to become a director himself, culminating in his legendary run of 1940s comedies.

 

Click HERE to watch the movie online.

Click HERE to join the online discussion on March 16, 2025, 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. The Ethics of Deception: Luisa Ginglebusher begins her journey with a vow to be a “good fairy,” yet her primary method of doing good is through a complex web of lies. Does the film suggest that white lies are a necessary tool for survival in a cynical world, or does the resulting chaos prove that her naive meddling is actually irresponsible?
2. The Power of the “Self-Made” Myth: When Dr. Max Sporum receives his sudden windfall, he immediately attributes his success to his own unrecognized merit rather than luck or outside intervention. What does this say about the human ego, and how does his transformation from a humble, starving lawyer to a wealthy man change his character?
3. A “Hays Code” Heroine: Given that the film was produced under the strict moral guidelines of the 1934 Production Code, how does the script balance Luisa’s perceived “innocence” with the predatory nature of the men around her? Does the film’s humor effectively subvert the censors, or does it feel restrained by them?
4. Wyler vs. Sturges: The film features a unique collision of styles: the sophisticated, visual storytelling of director William Wyler and the fast-talking, cynical wit of writer Preston Sturges. Can you identify moments where these two styles clash or complement each other? For instance, does the romance feel sincere (Wyler) or purely satirical (Sturges)?

Merry Christmas!

 Help James Stewart and Margaret Sullavan decorate the Christmas tree!

Margaret Sullavan, Ann Sothern, and Joan Blondell “Cry ‘Havoc’”

Cry ‘Havoc’ (1943) is an American World War II drama directed by Richard Thorpe and starring Margaret Sullavan, Ann Sothern, and Joan Blondell. The film features a strong supporting cast that includes Fay Bainter, Marsha Hunt, Ella Raines, Frances Gifford, Connie Gilchrist, and Diana Lewis.

The film focuses on 13 American women, two Army nurses, and 11 civilians. The setting is a field hospital during the Battle of Bataan where the Japanese forces are bearing down on the Philippine peninsula. Lt. Mary “Smitty” Smith (Sullavan) and her superior officer, Capt. Alice Marsh (Bainter) struggle to tend to the wounded with meager supplies and limited staff. They manage to round up nine women civilian refugees fleeing Manila, all from various backgrounds. Pat Conlin (Sothern), a waitress, immediately takes a dislike to Lt. Smith. Grace Lambert (Blondell) is a burlesque queen who helps relieve the tension with her talent to entertain the group.

With hope dwindling and casualties mounting, the women do their best to keep things together emotionally while carrying out their duties.

As the Japanese get closer and closer to the field hospital, will the women be able to escape with the withdrawing American troops?

Publicity still featuring the main cast

Richard Thorpe (1896 - 1991) was an American film director who had a long career at Metro-Goldwyn-Mayer where he was under contract. He was the original director assigned to The Wizard of  Oz (1939) but was fired after two weeks of shooting. The studio didn’t think Thorpe captured the fantasy that they were looking for. Thorpe survived that unfortunate event and went on to direct most of the major stars under contract at M-G-M including Robert Taylor, Joan Crawford, Esther Williams, Hedy Lamar, Gene Kelly, Wallace Beery, William Powell, Jane Powell, Ava Gardner, and Elizabeth Taylor. Some of Thorpe’s popular films include The Crowd Roars (1938), Two Girls and a Sailor (1944), Thrill of Romance (1945), A Date with Judy (1948), Ivanhoe (1952), The Prisoner of Zenda (1952), and The Knights of the Round Table (1953). He also directed Elvis Presley in Jailhouse Rock (1957) and Fun in Acapulco (1963).

Margaret Sullavan (1909 - 1960) was an American stage and film actress. Sullavan made only 16 movies but her place as a legend of classic Hollywood is secure. She starred in some of the most popular films of the 1930s and 1940s including Three Comrades (1938), The Mortal Storm (1940), and The Shop Around the Corner (1940). She was unhappy working in Hollywood and she retired from film in 1943. Other popular films starring Sullavan include The Good Fairy (1935), So Red the Rose (1935), The Shopworn Angel (1938), and Back Street (1941). Sullavan was married to the legendary director William Wyler (1934 - 1936) and screen legend Henry Fonda (1931 - 1933).

Ann Sothern and Margaret Sullavan

Ann Sothern (1909 - 2001) was an American actress who worked on the stage, radio, film, and television. Sothern’s most commercially successful film role was as Maisie Ravier in a series of films while she was at M-G-M. Maisie, a Brooklyn showgirl was based on the short stories by Nell Martin. Films in the series include Congo Maisie (1940), Gold Rush Maisie (1940), and Up Goes Maisie (1946). The character was so popular that Sothern played the character on the radio in The Adventure of Maisie (1939 - 1947) series. At M-G-M, Sothern starred in the film version of Panama Hattie (1942) opposite Red Skelton, which was a box office success. In 1949, she starred in A Letter to Three Wives which brought her great reviews but did little to advance her career. In 1953, Sothern starred as Susie MacNamara in the television series Private Secretary, (1953 - 1957) and the next year starred in The Ann Sothern Show (1958 - 1961). Sothern continued working on stage, screen, and television. Her last film role was in The Whales of August (1987). For her role in that film, she earned her only Best Supporting Academy Award nomination.

Ella Raines and Diana Lewis

Joan Blondell (1906 – 1979) was an American actress who was a top movie star during the 1930s and early 1940s. Later in her career, she became a popular character actress. Some of Blondell’s early films include The Public Enemy (1931), Gold Diggers of 1933, Dames (1934), and Stand-In (1937). Later in her career, she gave notable supporting performances in The Blue Veil (1951), The Cincinnati Kid (1965), Support Your Local Gunfighter (1971), and Grease (1978).

Why watch this film?

• The movie features several strong female characterizations from Hollywood’s Golden Age.
• It depicts World War II through the eyes of women serving at an Army field hospital.
• The film was made during the War so the outcome was uncertain.
• Features the work of studio contract director Richard Thorpe.

Cry Cry ‘Havoc’ trivia

• Joan Crawford and Merle Oberon were considered for lead roles that eventually went to Margaret Sullavan and Ann Sothern.
• This was the second film role for actress Ella Raines.
• Sullavan and Fay Bainter starred together in The Shining Hour (1938)
• The film was based on a play starring Carol Channing and Ann Shoemaker.
• It features Robert Mitchum in one of his earliest film roles.

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

To join the discussion on Zoom May 25, 2021, at 6:30 p.m. Central Time, click here. Once you RSVP, you’ll receive an invitation a link to the meeting.

Discussion questions:

1. What did you think of the ensemble cast?
2. Did it remind you of any other films you've seen?
3. What did you think of the three star leads: Margaret Sullavan, Ann Sothern, and Joan Blondell?
4. Do you think the film was an accurate portrayal of nurses on the battlefield?

Preston Sturges series: Screening of "The Good Fairy" January 26 at Daystar Center

Preston Sturges series: The Good Fairy
Where: The Venue 1550 at the Daystar Center, 1550 S. State Street, Chicago, IL
When: January 26, 2016
Time: 6:30 p.m.
Hosted by Stephen Reginald

The Good Fairy (1935) has a gem of a screenplay by Preston Sturges, steady direction by William Wyler (Roman Holiday, Ben-Hur), and a dream cast to match. Margaret Sullavan plays Luisa, an innocent young woman who leaves the orphanage where she was raised for a job in the big city of Budapest.

Out in the world, Luisa finds herself pursued by two men: Konrad (Frank Morgan) a rich, older man and Detlaff (Reginald Owen), a grumpy waiter. Konrad wants to make Luisa his mistresss so he can shower her with jewels and furs. To escape Konrad’s clutches, Luisa pretends to be married to Max Sporum (Herbert Marshall), a name she randomly picked from the telephone book. Sporum is a struggling lawyer who has no knowledge of Luisa’s scheme. Undaunted, Konrad strikes a deal with Luisa. If he makes her husband rich by giving him an important position in his company, she will have all the material things she desires—and he desires for her—and they can carry on their affair. Konrad gives Max a big starting bonus, which enables him to furnish his law office in style. Of course things get out of hand, but not before a series of hilarious situations and complications take place.

Sullavan shines as Luisa, the wide-eyed innocent in the big city. You really believe that she’s clueless as to the ways of the world and the consequences her actions cause. Morgan almost steals the picture as Konrad, the amorous meatpacker—not to be confused with a butcher. Owen is appropriately stuffy and crabby as Luisa’s kind of big brother wannabe boyfriend. Marshall is appropriately proud and distinguished as Sporum who believes his newfound success is due to his own sterling reputation, but is in for a rude awakening.

The Good Fairy also features the talents of Beulah Bondi, Cesar Romero, Alan Hale, Eric Blore . . . plus an early screen appearance by Jane Withers as one of the orphans.

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.