Paul Douglas, Richard Basehart, and Barbara Bel Geddes have only “Fourteen Hours”

Fourteen Hours (1951) is a taut, suspenseful drama that chronicles the true-to-life events of a single day in New York City. The film begins with a simple act: a young man, Robert Cosick (Basehart), steps out onto the ledge of a 15th-floor hotel window. This action sets in motion a high-stakes, real-time crisis that captivates the entire city. Down on the street, a crowd of thousands gathers, turning the private tragedy into a public spectacle. The media, including newspapers and early television crews, descend upon the scene, while police and emergency services race to save the man's life.

At the heart of the story is Charlie Dunnigan (Douglas), a compassionate traffic cop who is the first to establish a rapport with the troubled man. As time ticks by, Dunnigan becomes the sole lifeline for Cosick, who refuses to talk to anyone else, including psychiatrists and family members. The film delves into the unfolding drama on the ledge, as well as the diverse reactions of the people below—from those genuinely concerned to those placing bets on the outcome. The narrative also explores subplots involving other people whose lives are affected by the standoff, including a young couple who meet in the crowd and a woman contemplating divorce.

As the standoff extends into the night, the film peels back the layers of Cosick’s troubled past, revealing the complex psychological and family dynamics that led him to the brink. The tension mounts as all efforts to talk him down seem to fail. The film’s strength lies in its documentary-like realism and its exploration of the collective human experience—the mix of empathy, curiosity, and ghoulish fascination that a public crisis can elicit. It remains a powerful and emotionally charged portrait of desperation and the lengths to which a stranger will go to help another.

Henry Hathaway (1898 – 1985) was an American film director and producer. Hathaway began working in silent films in 1925 as an assistant to established directors such as Victor Fleming and Josef von Sternberg. His first solo directorial effort was Heritage of the Desert (1932), starring Randolph Scott. Hathaway, along with Scott, would be known for western movies. Besides Scott, Hathaway directed Gary Cooper in several films, including The Lives of a Bengal Lancer (1935), which earned him his only Best Director Academy Award nomination. In 1940, Hathaway began working at Fox, where he directed Tyrone Power in Johnny Apollo and Brigham Young (both 1940), Gene Tierney in China Girl (1942), Don Ameche and Dana Andrews in Wing and a Prayer (1944), and Call Northside 777 (1948) starring James Stewart and Richard Conte. After leaving Fox, he was one of three directors who worked on the western epic How the West Was Won (1962). He directed Steve McQueen in Nevada Smith (1966), directed John Wayne in True Grit (1968), which won Wayne his one and only Best Actor Academy Award.

Paul Douglas (1907 – 1959) was an American actor. Douglas starred on Broadway and in film. He is mostly known for his comedic performances in films like It Happens Every Spring (1949), Angels in the Outfield (1951), and Never Wave at a WAC (1953). Other Douglas films include A Letter to Three Wives (1949), The Big Lift (1950), Love That Brute (1951), and Clash by Night (1952). Douglas was set to play the role of Mr. Sheldrake in The Apartment (1960), but died of a heart attack right before production was to start. He was replaced by Fred MacMurray.

Barbara Bel Geddes (1922 – 2005) was an American stage and screen actress. She starred as Maggie in the original Broadway production of Cat on a Hot Tin Roof (1955). She played Irene Dunne’s daughter in I Remember Mama (1948), and was Midge, James Stewart’s on-again-off-again girlfriend in Vertigo (1958). Bel Geddes also worked on television during the 1950s and 1960s. In 1978, she starred as Miss Ellie Ewing Farlow on Dallas (1978 – 1990), the role for which she is most famous.

Richard Basehart (1914 - 1984) was an American actor who worked steadily in film and television. Basehart starred in several films noir of the late 1940s and early 1950s. He also had a lead role in director Federico Fellini’s La Strada (1954). Other film roles include Moby Dick (1956), Decision Before Dawn (1951), and The Brothers Karamazov (1958). Baby Boomers would remember Basehart as Admiral Harriman Nelson on Irwin Allen’s science fiction television series Voyage to the Bottom of the Sea (1964 -1968).

Fourteen Hours trivia

• Film debuts of Grace Kelly and John Cassavetes.
• Richard Basehart’s wife, costume designer Stephanie Klein, was diagnosed with a brain tumor during filming in May and June 1950, and died following brain surgery during production of the film in July.
• The film is based on a real-life event that happened in 1938 in New York City.
• Except for brief scoring under the main titles and at the film’s conclusion, the film has no music.

Click HERE to watch the film on YouTube.

Click HERE to join the online discussion on Tuesday, September 30, 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. Exploitation of Tragedy: The film depicts the crowd below the ledge with a mix of genuine concern and ghoulish fascination. How does the movie comment on the public's relationship with tragedy and spectacle, and how does this theme resonate with modern media and social media?
2. Moral Compass: Police Officer Charlie Dunnigan is presented as a compassionate, ordinary man. Why is he, rather than a trained professional like the psychiatrist, the only person who can connect with Robert Cosick? What does this suggest about the importance of human empathy over clinical expertise in moments of crisis?
3. Family Dynamics and Mental Health: The film offers a glimpse into Robert’s fraught relationship with his mother and father. How does the movie portray the impact of family dynamics on mental health? Do you think the film's psychological explanations for his distress hold up today?
4. Suspense in Stasis: For much of the film, the main character is physically stationary. How does director Henry Hathaway build and maintain suspense despite the lack of traditional action? Consider the use of camera angles, the subplots, and the real-time element of the story.

Richard Widmark, Paul Douglas, and Barbara Bel Geddes star in Elia Kazan’s “Panic in the Streets”

Panic in the Streets (1950) is an American film noir directed by Elia Kazan and starring Richard Widmark, Paul Douglas, and Barbara Bel Geddes. The film expertly blends elements of crime thriller and medical drama. Set in the gritty, bustling port of New Orleans, the story begins when a mysterious man is found dead with a lethal, highly contagious plague. Dr. Clint Reed, a dedicated and tenacious Public Health Service officer, is tasked with identifying the victim and finding anyone he may have infected. He’s given a mere 48 hours to prevent a city-wide epidemic, a ticking clock that intensifies the film's suspense. Despite his medical authority, Dr. Reed faces skepticism and outright hostility from the police and the city’s underbelly, who are more concerned with their criminal activities than public health.

The film’s tension escalates as Dr. Reed, with the reluctant help of police Captain Warren, delves into the city's seedy criminal world to find the two men who were with the victim before he died. They navigate through a labyrinth of dock workers, shady characters, and back-alley dealings. The main antagonists, a cruel and paranoid gangster named Blackie and his dim-witted accomplice, find themselves on the run, oblivious to the fact that they are carriers of the deadly disease. Their desperation and fear, combined with Dr. Reed’s frantic search, create a thrilling and nail-biting chase through the city.

Panic in the Streets stands out for its realistic, on-location shooting in New Orleans, which lends an authentic, documentary-like feel to the film. Its blend of a high-stakes medical mystery with the classic noir aesthetic makes it a compelling and timeless thriller.

 

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 of the theater and movies. 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.

Richard Widmark (1914- 2008) had a sensational movie debut playing the crazy villain Tommy Udo in director Henry Hathaway’s Kiss of Death (1947). His performance won him a Golden Globe Award for New Star Of The Year – Actor. He was also nominated for the Academy Award for Best Supporting Actor for his performance as Udo. Widmark was under contract to Twentieth Century-Fox, where he played mostly villains. Later in his career, he started playing more heroic roles in films like Slattery’s Hurricane and Down to the Sea in Ships (both 1949).

Paul Douglas (1907 – 1959) was an American actor. Douglas starred on Broadway and in film. He is mostly known for his comedic performances in films like It Happens Every Spring (1949), Angels in the Outfield (1951), and Never Wave at a WAC (1953). Other Douglas films include A Letter to Three Wives (1949), The Big Lift (1950), Love That Brute (1951), and Clash by Night (1952). Douglas was set to play the role of Mr. Sheldrake in The Apartment (1960), but died of a heart attack right before production was to start. He was replaced by Fred MacMurray.

Barbara Bel Geddes (1922 – 2005) was an American stage and screen actress. She starred as Maggie in the original Broadway production of Cat on a Hot Tin Roof (1955). She played Irene Dunne’s daughter in I Remember Mama (1948), and was Midge, James Stewart’s on-again-off-again girlfriend in Vertigo (1958). Bel Geddes also worked on television during the 1950s and 1960s. In 1978, she starred as Miss Ellie Ewing Farlow on Dallas (1978 – 1990), the role for which she is most famous.

 

Panic in the Streets trivia

• The feature film debut of Jack Palance.
• The on-location filming in New Orleans impacted the film’s success at the box office.
• According to a press report in 1949, Dana Andrews and Linda Darnell were originally cast in the film.
• Director Elia Kazan has a cameo as a mortuary assistant.
• Won an Academy Award for Best Writing, Motion Picture Story (1951).

 

Click HERE to join the online discussion on September 22, 2025, at 6:30 p.m. Central Time. Once you RSVP, you’ll receive an invitation with a link to join the discussion on Zoom.

Click HERE to watch the movie on the Internet Archive.

 

Richard Widmark and Paul Douglas

Discussion questions

1. The Role of Public Health and Law Enforcement: How does the film portray the dynamic and often conflicting relationship between Dr. Reed, representing public health, and Captain Warren, representing law enforcement? In a real-world scenario, what are the ethical and practical challenges of this collaboration, especially when a crisis requires them to work together?
2. Fear, Panic, and the Public: The film’s title, Panic in the Streets, points to a central theme. How do the various characters—from the criminals to the ordinary citizens—react to the threat of a plague? What does the film suggest about the human response to an unseen danger and the role of fear in a public crisis?
3. Filming Location and Atmosphere: Elia Kazan chose to film on location in the gritty, real-life streets of New Orleans. How does this decision impact the film’s tone and sense of urgency compared to if it had been shot on a soundstage? What specific elements of the city’s environment contribute to the film’s noir aesthetic and overall atmosphere?
4. Moral Responsibility vs. Self-Preservation: The film features characters who are either unaware of or choose to ignore the public health threat for their own benefit. What is the film’s commentary on individual moral responsibility versus the instinct for self-preservation? How do the actions of the film’s antagonists, Blackie and his accomplice, serve as a cautionary tale about the consequences of prioritizing personal gain over the collective good?
5. Moral Responsibility vs. Self-Preservation: The film features characters who are either unaware of or choose to ignore the public health threat for their own benefit. What is the film's commentary on individual moral responsibility versus the instinct for self-preservation? How do the actions of the film's antagonists, Blackie and his accomplice, serve as a cautionary tale about the consequences of prioritizing personal gain over the collective good?

Jeanne Crain, Linda Darnell, and Ann Sothern receive “A Letter to Three Wives”

A Letter to Three Wives (1949) is an American romantic comedy-drama film directed by Joseph L. Mankiewicz and starring Jeanne Crain, Linda Darnell, and Ann Sothern. The supporting cast includes Kirk Douglas, Paul Douglas, Jeffrey Lynn, Connie Gilchrist, Barbara Lawrence, and Thelma Ritter.

The film is based on the novel A Letter to Five Wives (1945) by John Klempner. Mankiewicz wrote the screenplay based on an adaptation by Vera Caspary (Laura). The cinematography was by Arthur C. Miller, with music by Alfred Newman. A Letter to Three Wives was one of Twentieth Century-Fox’s most important productions of the year.

The movie tells the story of a woman (Addie Ross) who sends a letter to three of her “dearest friends” (Crain, Darnell, and Sothern) informing them that she has run off with one of their husbands but not revealing which one. The letter is delivered while the women board a riverboat to chaperone a group of underprivileged children. While they cruise up the river and spend the day picnicking with the children, each wife reflects on her marriage and wonders if their husband has run off with Ross.

Linda Darnell, Anne Sothern, and Jeanne Crain

Joseph L. Mankiewicz (1929 – 1972) was an American film director, screenwriter, and producer. Mankiewicz won Academy Awards for directing and writing A Letter to Three Wives (1949), and All About Eve (1950). He is the only director to win back-to-back Academy Awards for writing and directing. Other films directed by Mankiewicz include Dragonwyck (1946), The Ghost and Mrs. Muir (1947), Julius Caesar (1953), The Barefoot Contessa (1954), and Guys and Dolls (1955). He directed the 1963 crisis-plagued production of Cleopatra which negatively affected his career as a director.

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.

Paul Douglas and Linda Darnell

Linda Darnell (1923 – 1965) was an American film actress. She signed a contract with 20th Century-Fox at age 15 and became a star almost overnight. She was immediately cast opposite Tyrone Power in Day-Time Wife (1939). She made two films with Power in 1940: Brigham Young and The Mark of Zorro. In 1941, she was again paired with Power in Blood and Sand, which also starred an up-and-coming Rita Hayworth. Darnell’s most famous role was that of Amber St. Clair in Forever Amber (1946), which turned out to be the biggest hit of the year. The role of Amber was the most sought-after female role since the casting of Scarlett O’Hara in Gone with the Wind (1939). Other important films she starred in include Unfaithfully Yours (1948), A Letter to Three Wives (1949), and No Way Out (1950). She died tragically at age 41 in a fire while visiting friends in Glenview, Illinois.

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 she earned her only Best Supporting Academy Award nomination.

Jeanne Crain, Jeffrey Lynn, Kirk Douglas, and Ann Sothern

A Letter to Three Wives trivia

• Originally, the film was going to be called A Letter to Four Wives with the fourth wife being Anne Baxter, but her character wasn’t considered as strong as the other three so her segment was cut.
• Joseph L. Mankiewicz won the Best Director and Best Screenplay Academy Awards for his work on this film and would repeat the wins the next year with All About Eve. No one has ever achieved this feat.
• One of Thelma Ritter’s early roles, so early in fact she doesn't even receive on-screen billing.
• Tyrone Power, Joan Crawford, Gene Tierney, Dorothy McGuire, Maureen O’Hara, and Ida Lupino were all considered for roles.
• Linda Darnell and Mankiewicz were involved in an affair during the production.
• Darnell and Barbara Lawrence played sisters the year before in Unfaithfully Yours.
• Silent film star Mae Marsh has a small role as the women’s washroom attendant at the country club.

Click HERE to watch the movie on YouTube, or click on the link below.

Why watch this movie?

• Another great example of what the studio system could produce at its peak.
• One of writer-director Joseph L. Mankiewicz’s best films.
• It’s a showcase for the talents of Jeanne Crain, Linda Darnell, and Ann Sothern.
• It boasts early performances from Kirk and Paul Douglas and Thelma Ritter.

To join us for a discussion on Zoom, June 1, 2021, at 6:30 p.m. Central Time, click on the link here. Once you RSVP, you’ll receive an email with a link to the discussion on Zoom.

Discussion Questions

1. What did you think of the ensemble cast?
2. Do you think this film is still relevant in the 21st Century?
3. Did you have a favorite wife?
4. A favorite scene or piece of dialogue?
5. How does this film compare with All About Eve released the next year?

Judy Holliday and Paul Douglas drive away in “The Solid Gold Cadillac”

The Solid Gold Cadillac (1956) is an American comedy directed by Richard Quine and starring Judy Holliday and Paul Douglas. The supporting cast includes Fred Clark, John Williams, Ray Collins, Neva Patterson, and Arthur O’Connell.

Laura Patridge (Holliday) attends the board meeting for International Projects, a billion-dollar corporation. John T. Blessington (Williams) announces that he is replacing Edward L. McKeever (Douglas) who founded the company and served as president and chairman of the board. McKeever is resigning to serve as Secretary of Defense in Washington, D.C. Laura is a stockholder with just ten shares who frustrates the arrogant and dishonest executives by asking them questions during the meeting which is her right as a stockholder.

To get Laura out of their hair, Blessington hires her for the position of director of shareholder relations. The job has no real duties, but to make sure Laura stays in check, Blessington assigns her a private secretary named Amelia (Patterson) to keep an eye on things. With nothing to do, Laura writes letter to the stockholders. She and Amelia become friends and Laura helps her in her romance with the office manager (O’Connell).

The board of International Projects is distraught because they’ve received no government contracts. McKeever is a straight-shooter and refuses to give preference to his former company. In a move to help them get business, Blessington sends Laura to Washington, outfitted in a new wardrobe to try and convince McKeever to throw some business their way. 

When Laura tells McKeever what’s been happening at International Projects, he decides to return to his old position, but there’s only one catch. He has no controlling stock in the company which leaves him powerless to act.  

Will Laura and McKeever come up with a plan to take the company back and run it honestly and honorably?

 

Richard Quine (1920 – 1989) was an American director, actor, and singer. As a child, he had roles in several films throughout the 1930s including Cavalcade (1933), Dames (1934), and Dog of Flanders (1935). Quine transitioned to adult roles but his career as an actor began to wane after World War II. He decided to switch to directing and producing and became a very successful director during the 1960s and 1970s. Some of his films as director include Bell, Book and Candle (1958), The World of Suzie Wong (1960), Paris When it Sizzles (1964), How to Murder Your Wife (1965), and The Prisoner of Zenda (1979).

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

Paul Douglas (1907 – 1959) was an American actor. Douglas starred on Broadways as in film. He is mostly known for his comedic performances in films like It Happens Every Spring (1949), Angels in the Outfield (1951), and Never Wave at a WAC (1953). Other Douglas films include A Letter to Three Wives (1949), The Big Lift (1950), Love That Brute (1951), and Clash by Night (1952). Douglas was set to play the role of Mr. Sheldrake in The Apartment (1960) but died of a heart attack right before production was to start. He was replaced by Fred MacMurray.

 

Paul Douglas and Judy Holliday

The Solid Gold Cadillac trivia

• The final scene was filmed in color to show of the “solid gold” Cadillac.
• Holliday and Douglas starred together in Born Yesterday on Broadway.
• Producer Hal Wallis tried to purchase the film rights as a vehicle for Shirley Booth.
• The $225 sheer black nightgown would cost about $2500 today.

 

Click HERE to watch the film on YouTube.

 

 

Click HERE to join the discussion on March 11, 2024, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation via email with a link to the discussion on Zoom.

 

Discussion questions

1. Do you think the film had a serious message underneath the comedy?
2. Was this role similar to Holliday’s role in Born Yesterday?
3. Did Holliday and Douglas have good screen chemistry?
4. Would you have liked to have been on the board of International Projects?
5. Does the film remind you of any other films you’ve seen?
6. Did you have a favorite scene or piece of dialogue?

 

Jeanne Crain, Linda Darnell, and Ann Sothern receive “A Letter to Three Wives”

A Letter to Three Wives (1949) is an American romantic comedy-drama film directed by Joseph L. Mankiewicz and starring Jeanne Crain, Linda Darnell, and Ann Sothern. The supporting cast includes Kirk Douglas, Paul Douglas, Jeffrey Lynn, Connie Gilchrist, Barbara Lawrence, and Thelma Ritter.

The film is based on the novel A Letter to Five Wives (1945) by John Klempner. Mankiewicz wrote the screenplay based on an adaptation by Vera Caspary (Laura). The cinematography was by Arthur C. Miller, with music by Alfred Newman. A Letter to Three Wives was one of Twentieth Century-Fox’s most important productions of the year.

The movie tells the story of a woman (Addie Ross) who sends a letter to three of her “dearest friends” (Crain, Darnell, and Sothern) informing them that she has run off with one of their husbands but not revealing which one. The letter is delivered while the women are getting on board a riverboat to chaperone a group of underprivileged children. While they cruise up the river and spend the day picnicking with the children, each wife reflects on her marriage and wonders if it’s their husband who has run off with Ross.

Linda Darnell, Anne Sothern, and Jeanne Crain

Joseph L. Mankiewicz (1929 – 1972) was an American film director, screenwriter, and producer. Mankiewicz won Academy Awards for directing and writing A Letter to Three Wives (1949), and All About Eve (1950). He is the only director to win back-to-back Academy Awards for writing and directing. Other films directed by Mankiewicz include Dragonwyck (1946), The Ghost and Mrs. Muir (1947), Julius Caesar (1953), The Barefoot Contessa (1954), and Guys and Dolls (1955). He directed the 1963 crisis-plagued production of Cleopatra which negatively affected his career as a director.

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.

Paul Douglas and Linda Darnell

Linda Darnell (1923 – 1965) was an American film actress. She signed a contract with 20th Century-Fox at age 15 and became a star almost overnight. She was immediately cast opposite Tyrone Power in Day-Time Wife (1939). She made two films with Power in 1940: Brigham Young and The Mark of Zorro. In 1941, she was again paired with Power in Blood and Sand, which also starred an up-and-coming Rita Hayworth. Darnell’s most famous role was that of Amber St. Clair in Forever Amber (1946), which turned out the be the biggest hit of the year. The role of Amber was the most sought-after female role since the casting of Scarlett O’Hara in Gone with the Wind (1939). Other important films she starred in include Unfaithfully Yours (1948), A Letter to Three Wives (1949), and No Way Out (1950). She died tragically at age 41 in a fire while visiting friends in Glenview, Illinois.

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.

Jeanne Crain, Jeffrey Lynn, Kirk Douglas, and Ann Sothern

A Letter to Three Wives trivia

• Originally, the film was going to be called A Letter to Four Wives with the fourth wife being Anne Baxter, but her character wasn’t considered as strong as the other three so her segment was cut.
• Joseph L. Mankiewicz won the Best Director and Best Screenplay Academy Awards for his work on this film and would repeat the wins the next year with All About Eve. No one has ever achieved this feat.
• One of Thelma Ritter’s early roles, so early in fact she doesn't even receive on-screen billing.
• Tyrone Power, Joan Crawford, Gene Tierney, Dorothy McGuire, Maureen O’Hara, and Ida Lupino were all considered for roles.
• Linda Darnell and Mankiewicz were involved in an affair during the production.
• Darnell and Barbara Lawrence played sisters the year before in Unfaithfully Yours.
• Silent film star Mae Marsh has a small role as the womens’ washroom attendant at the country club.

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

Why watch this movie?

• Another great example of what the studio system could produce at its peak.
• One of writer-director Joseph L. Mankiewicz’s best films.
• It’s a showcase for the talents of Jeanne Crain, Linda Darnell, and Ann Sothern.
• It boasts early performances from Kirk and Paul Douglas and Thelma Ritter.

To join us for a discussion on Zoom, June 1, 2021, at 6:30 p.m. Central Time, click on the link here. Once you RSVP, you’ll receive an email with a link to the discussion on Zoom.

Discussion Questions

1. What did you think of the ensemble cast?
2. Do you think this film is still relevant in the 21st Century?
3. Did you have a favorite wife?
4. A favorite scene or piece of dialogue?

Take "A Letter to Three Wives"

A  Letter to Three Wives (1949) is based on a novel by John Klempner. His novel was entitled A Letter to Five Wives. Writer-director Joseph L. Mankiewicz thought the novel was too long and would be difficult to transfer to the screen. So, he shortened it to four wives and then shortened it again to three. Mankiewicz adapted the screenplay with author and screenwriter Vera Caspary (Laura).

The plot revolves around three wives who, just before going on a boat ride and picnic with some disadvantaged children, receive a letter from a society friend named Addie Ross. In the letter, Addie says she’s run off with one of their husbands. While the women spend the afternoon volunteering, each looks back on her marriage and wonders if hers is the husband who ran off with Addie.

Is it Deborah Bishop’s (Jeanne Crain) husband Brad (Jeffrey Lynn)? Deborah, a poor farm girl, met her husband in the Navy during World War II. Somewhat insecure and naïve, she thinks Brad is attracted to Addie because she is beautiful and sophisticated. Is it Rita Phipps’s (Ann Sothern) husband George (Kirk Douglas)? Rita has a career writing radio soap operas, the quality of which, her schoolteacher-husband disapproves. She wonders if her job, which brings in some much-needed cash, is somehow intimidating to George and ruining their marriage. Is it Lora Mae Hollingsway’s (Linda Darnell) husband Porter (Paul Douglas)? Lora Mae is a girl literally from the wrong side of the tracks who tries her best to marry up by marrying her boss, in part, to help provide for her widowed mother (the wonderful Connie Gilchrist) and younger sister Babe (Barbara Lawrence).

Like Mankiewicz’s All About Eve a year later, A Letter to Three Wives has witty dialogue delivered by a cast of pros. Crain, Sothern, and Darnell are all wonderful as the three wives, with Darnell a standout. As Lora Mae, Darnell has a tough exterior, but in many ways is more vulnerable than either Crain or Sothern.

For Joseph L. Mankiewicz, 1949 was an extraordinary year. Not only did he win the Academy Award for Best Director, but he also won for Best Writing as well. Writing and directing was something Mankiewicz had always wanted to do and A Letter to Three Wives showcases Mankiewicz at the height of his creativity.

Classic film of the week: "A Letter to Three Wives" (1949)

A Letter to Three Wives (1949) is based on a novel by John Klempner. His novel was entitled A Letter to Five Wives. Writer-director Joseph L. Mankiewicz thought the novel was too long and would be difficult to transfer to the screen. So, he shortened it to four wives and then shortened it again to three. Mankiewicz adapted the screenplay with author and screenwriter Vera Caspary (Laura).

The plot revolves around three wives who, just before going on a boat ride and picnic with some disadvantaged children, receive a letter from a society friend named Addie Ross. In the letter, Addie says she’s run off with one of their husbands. While the women spend the afternoon volunteering, each looks back on her marriage and wonders if hers is the husband who ran off with Addie.

Is it Deborah (Jeanne Crain) Bishop’s husband Brad (Jeffrey Lynn)? Deborah, a poor farm girl, met her husband in the Navy during World War II. Somewhat insecure and naïve, she thinks Brad is attracted to Addie because she is beautiful and sophisticated. Is it Rita (Ann Sothern) Phipps’s husband George (Kirk Douglas)? Rita has a career writing radio soap operas, the quality of which, her schoolteacher-husband disapproves. She wonders if her job, which brings in some much-needed cash, is somehow intimidating to George and ruining their marriage. Is it Lora Mae (Linda Darnell) Hollingsway’s husband Porter (Paul Douglas)? Lora Mae is a girl literally from the wrong side of the tracks who tries her best to marry up by marrying her boss, in part, to help provide for her widowed mother (the wonderful Connie Gilchrist) and younger sister Babe (Barbara Lawrence).

Like Mankiewicz’s All About Eve a year later, A Letter to Three Wives has witty dialogue delivered by a cast of pros. Crain, Sothern, and Darnell are all wonderful as the three wives, with Darnell a standout. As Lora Mae, Darnell has a tough exterior, but in many ways is more vulnerable than either Crain or Sothern. Her battles with Paul Douglas are wonderfully scripted; they make a very believable married couple struggling to keep their relationship together. Also believable are character actresses Gilchrist and Thelma Ritter as Sadie Dugan, Rita and George’s maid.

For Joseph L. Mankiewicz, 1949 was an extraordinary year. Not only did he win the Academy Award for Best Director, but he also won for Best Writing as well. Writing and directing was something Mankiewicz had always wanted to do and A Letter to Three Wives showcases Mankiewicz at the height of his creativity.


Classic Movie Man Trivia: Who was set to play the fourth wife before her part was cut?
Answer: Ann Baxter