Barbara Stanwyck is the “Lady of Burlesque”

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

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

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

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

 

Iris Adrian and Barbara Stanwyck

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

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

 

Click HERE to watch the movie on the Internet Archive.

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Lady of Burlesque trivia

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

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

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

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

 

The ladies of burlesque

Discussion questions

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

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

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

2. Dixie Daisy: Agency and Ambition

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

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

3. The Portrayal of the Burlesque Community

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

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

4. Censorship and the “Unseen” Conflict

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

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

 

 

 

 

 

Jeanne Crain, Scott Brady, and Thelma Ritter star in "The Model and the Marriage Broker"

The Model and the Marriage Broker (1951 was directed by George Cukor and stars Jeanne Crain, Scott Brady, and Thelma Ritter.

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

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

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

Jeanne Crain and Thelma Ritter

Jeanne Crain (1925 – 2003) was an American actress whose career spanned more than three decades. While still a teenager, she was asked to take a screen test with Orson Welles. He was testing for the part of Lucy Morgan in his production of The Magnificent Ambersons (1942). She didn’t get the part (Anne Baxter did), but she was on her way. She had a bit part in The Gang’s All Here (1943), but had a leading role in Home in Indiana (1944). The film was a box office hit and Crain became a favorite of film fans everywhere. She had another hit with Winged Victory (1944) and co-starred with Dana Andrews in the musical State Fair (1945). That same year, she was the “good girl” opposite Gene Tierney’s “bad girl” in Leave Her to Heaven. More good roles came her way including leads in A Letter to Three Wives (1949), The Fan (1949), and Pinky (1949). The latter won her a Best Actress Oscar nomination. She lost that year to Olivia de Havilland. Crain’s popularity continued into the 1950s but suffered when she was released from her exclusive contract with 20th Century-Fox. She continued to work in films and on television until 1975.

Scott Brady (1924 – 1985) was an American film and television actor who achieved fame in a series of movie westerns. Brady followed his older brother Lawrence Tierney to Hollywood. He studied acting at The Beverly Hills Dramatic School under the G.I. Bill of Rights. Brady made his movie debut in 1948 and worked steadily in film until his death. His last film role was in Gremlins (1984). Other films featuring Brady include Johnny Guitar opposite Joan Crawford and Sterling Hayden, Gentlemen Marry Brunettes (1955), co-starring Jeanne Crain and Jane Russell, Marooned (1969), Doctor’s Wives (1971), and The China Syndrome (1979). Brady guest starred on many television shows starting in the 1950s to the mid-80s. He was offered the role of Archie Bunker in All in the Family but turned it down! He appeared on the show as Joe Foley for four episodes. He also guest starred on Laverne & Shirley as Shirley Feeney’s father.

Thelma Ritter (1902 - 1969) was an American actress best known for her portrayal of working-class characters. She was nominated six times in the Best Supporting Actress category, more than any other actress in the category. Ritter won the Best Actress in a Musical Tony Award in 1958 for New Girl in Town. She made her unbilled screen debut in Miracle on 34th Street (1947) and a character actress was born. Ritter quickly became a favorite of studio chief Daryl F. Zanuck who cast her in A Letter to Three Wives (1949), All About Eve (1950), The Model and the Marriage Broker (1951), With a Song in My Heart (1952), and Titanic (1953). Perhaps her most famous role was as James Stewart's nurse in Rear Window (1954). Ritter was a good friend of director George Seaton, who cast her in her first film role in Miracle on 34th Street. It was only fitting that Ritter's last film What's So Bad About Feeling Good (1968), was also directed by Seaton.

Dennie Moore, Jeanne Crain, and Nancy Kulp

The Model and the Marriage Broker trivia

• Thelma Ritter was third billed but has more screen time than Jeanne Crain and Scott Brady.
• This was Ritter's only true starring role where she's in almost every scene.
• Jeanne Crain and Scott Brady would co-star four years later in Gentlemen Marry Brunettes.
• This was the last film of Dennie Moore (Mrs. Bea Gingras).

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

To join the discussion online on April 10, 2023, at 6:30 p.m. Central Time, click here. Once you RSVP, you will receive an invitation with a link to the discussion on Zoom.

Discussion questions:

1. Should Mae have read the letter in Kitty's purse? Would you have read it?
2. Do you think this romantic comedy had a serious theme running through it? If yes, what was it?
3. Would you have gone to Mae Swasey to help you find a mate?
4. Did you have a favorite supporting character?
5. Was the romance between Crain and Brady believable?
6. What did you think of the relationship between Kitty (Crain) and Mae (Ritter)? Do you think they'll stay in touch?