Showing posts with label Robert Preston. Show all posts
Showing posts with label Robert Preston. Show all posts

Tuesday, October 27, 2026

Under the African Sun: A Psycho-Safari in “The Macomber Affair” (1947)

Directed by legendary filmmaker Zoltán Korda, The Macomber Affair is a psychological drama set against the breathtaking, perilous backdrop of an African safari in the 1930s. The film opens with the tense aftermath of a lion hunt, where Robert Wilson (Gregory Peck), a seasoned and weary white hunter, is brought in to manage the explosive dynamics of a wealthy American couple. Francis Macomber (Robert Preston), a wealthy and insecure businessman, has recently disgraced himself by fleeing in terror from a wounded lion, prompting his bitterly unhappy wife, Margaret (Joan Bennett), to openly display her contempt and begin a flirtation with Wilson.

As the expedition moves deeper into the wilderness to hunt big game, the power dynamics shift dramatically as Francis attempts to reclaim his self-respect. Encouraged by Wilson, Francis faces his fears and courageously confronts a charging cape buffalo, transforming overnight from a humiliated coward into an assertive, confident man. However, this sudden metamorphosis threatens Margaret’s control over him and exposes the deep-seated resentment eating away at their loveless marriage.

Through framing flashbacks and intense moral interrogation, the film explores the corrosive nature of cowardice, ambition, and the dark complexities of human jealousy in the wild.

Robert Preston, Gregory Peck, and Joan Bennett

Zoltán Korda (1895 – 1961) was a Hungarian-born British film director, producer, and screenwriter celebrated for his adventurous storytelling, striking visual compositions, and unflinching moral explorations of imperialism and human conflict. Alongside his brothers Alexander and Vincent, he became a powerhouse in British cinema, directing acclaimed and politically daring international classics such as Sanders of the River (1935), The Four Feathers (1939), and Sahara (1943). In The Macomber Affair, Korda brought his signature eye for tension and complex character psychology to the sun-scorched African savanna, crafting a deeply atmospheric and suspenseful adaptation of Ernest Hemingway's classic short story.

Gregory Peck (1916 – 2003) was one of the most prominent and beloved American film stars of Hollywood's Golden Age, renowned for his towering physical presence, deep resonant voice, and portrayal of characters of uncompromising moral integrity. He earned five Academy Award nominations for Best Actor—winning once for his iconic performance as Atticus Finch in To Kill a Mockingbird (1962)—and starred in cinematic classics such as Gentleman’s Agreement (1947), Spellbound (1945), and Roman Holiday (1953). In The Macomber Affair, Peck stepped into the role of the rugged, world-weary British white hunter, adopting an English accent for the part.

Joan Bennett (1910 – 1990) was an accomplished American stage and screen actress who successfully transitioned from playing wholesome ingénues to defining the dark, complex archetype of the classic Hollywood femme fatale. Her luminous screen presence and sharp dramatic range shone brightly in a string of acclaimed 1940s film noirs directed by Fritz Lang, including Man Hunt (1940), The Woman in the Window (1944), and Scarlet Street (1945), as well as her later memorable role in the gothic television serial Dark Shadows. In The Macomber Affair, Bennett delivered a chillingly nuanced performance as the cold, aristocratic, and fiercely independent Margaret Macomber.

Robert Preston (1918 – 1987) was a charismatic American actor and singer celebrated for his explosive energy, theatrical versatility, and captivating screen and stage presence. Best known and immortalized for his legendary Tony Award-winning portrayal of Professor Harold Hill in the stage and film versions of The Music Man (1962), Preston also proved his dramatic chops in gritty Westerns and noir thrillers throughout his decades-long career. In The Macomber Affair, Preston delivered a deeply sympathetic and complex performance as Francis Macomber, charting his heartbreaking descent from arrogant cowardice to a fragile, hard-won bravery.

 


Click HERE to watch the movie online.

Click HERE to join the online discussion on Monday, November 3, 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.

 

The Macomber Affair trivia

  • Ernest Hemingway wrote the original 1936 short story upon which the film is based, drawing inspiration from his own actual big-game hunting expeditions in East Africa during the 1930s.
  • Director Zoltán Korda and producer Benedict Bogeaus faced considerable challenges filming on location and used a mixture of authentic African footage combined with extensive studio set work and rear projection in Hollywood to complete the production.
  • Screenwriter Casey Robinson worked closely with Ernest Hemingway during the adaptation process, and Hemingway reportedly praised the film adaptation as one of the very few cinematic versions of his work that stayed completely true to the spirit of his original prose.
  • Gregory Peck was initially hesitant to take on the role of Robert Wilson because he had to master a British hunting accent, but the challenge ultimately resulted in one of his most subtle and praised character portrayals of the 1940s.

Discussion Questions

  1. Did Margaret Macomber ever love her husband?
  2. How does the vast, unforgiving African wilderness function as a mirror for the internal emotional isolation and moral decay festering within the American couple's marriage?
  3. In what ways does Robert Wilson’s position as an outside observer and professional hunter complicate the moral authority and ethical judgments he passes on Francis and Margaret?
  4. How does Francis Macomber’s rapid transformation from a coward into a confident man challenge traditional mid-century definitions of masculinity and class privilege?

 

Tuesday, October 7, 2025

Robert Mitchum, Barbara Bel Geddes, and Robert Preston star in “Blood on the Moon”

A classic “noir Western,” Blood on the Moon (1948) is an American Western noir directed by Robert Wise and starring Robert Preston, Barbara Bel Geddes, and Robert Preston. The supporting cast includes Walter Brennan, Frank Faylen, and Phyllis Thaxter.

The film centers on Jim Garry (Mitchum), a drifter and a hired hand. He’s called to a remote part of the American West by an old friend, Tate Riling (Preston), who’s involved in a dispute with a local cattle rancher. Initially, Garry agrees to take on a role in what he believes is a straightforward business deal, but he quickly discovers a complex web of deceit, betrayal, and violence.

The film’s plot thickens as Garry becomes entangled in the conflict between the cattleman and a group of homesteaders. The rancher's spirited daughter, Amy Lufton (Bel Geddes), immediately distrusts Garry, suspecting he’s on the side of her family’s enemies. As Garry begins to question his friend’s true intentions and the morality of his own involvement, he finds himself caught between opposing sides, each with their own secrets and hidden agendas. He learns that the stakes are much higher than he first believed and that he’s a pawn in a much larger, more dangerous game.

Torn between loyalty to his past and a growing sense of justice, Garry must navigate a treacherous landscape of shifting allegiances and constant danger. His journey to uncover the truth and choose a side forces him to confront his own cynical nature and determine where his true loyalties lie.



Blood on the Moon trivia

  • After seeing the film, Howard Hughes canceled Barbara Bel Geddes’s contract. He said she wasn’t sexy enough.
  • For the night scenes, director Robert Wise and cinematographer Nicholas Musuraca chose to use infrared film, despite the problems it could cause with the tones of clothes and makeup.
  • According to some pre-production press, James Stewart was set to star in the Mitchum role.
  • Walter Brennan thought Robert Mitchum looked like an authentic cowboy.

 

Click HERE to watch the film on the Internet Archive.

Click HERE to join the online discussion on Monday October 13, 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. Noir Western or Traditional Western? Blood on the Moon is often called a “Noir Western.” What elements of film noir does it incorporate? Do you think the film ultimately adheres more to the conventions of film noir or the traditional Western genre?
  2. The Morality of Jim Garry: At the start of the film, Jim Garry is a hired hand, a man for hire with no clear moral compass. How does his character evolve throughout the film? What events or interactions, particularly with Amy Lufton, lead to his shift from a cynical opportunist to a man of principle?
  3. Trust and Betrayal: The film’s plot is driven by a complex web of deceit. Discuss the theme of trust as it applies to the relationships between Jim Garry and Tate Riling, Jim and Amy, and even Amy and her father. In this world, who can be trusted, and why?
  4. Symbolism of the Setting: The film’s desolate, rugged landscapes serve as more than just a backdrop. How does the setting—the canyons, the isolated ranches, the moonlit nights—reflect or enhance the film’s themes of moral ambiguity, isolation, and conflict?

 

Wednesday, July 16, 2025

Veronica Lake, Robert Preston, and Alan Ladd in “This Gun for Hire”

Release date: May 13, 1942

Director: Frank Tuttle

Story by: Graham Greene

Adapted from: A Gun for Sale

Veronica Lake and Alan Ladd

This Gun For Hire, based on the novel by Graham Greene, was released in 1942, long before the label “film noir” was invented. As an early film in the genre, some of the plot devices that we associate with film noir are here: A killer who is a major protagonist, a cool female lead, an honest-by-the-book cop, and a double-crossing villain.


The plot concerns a hired gun named Raven (Alan Ladd) who has been double-crossed by a man named Willard Gates (Laird Cregar) who represents a chemical company that may be working with enemies abroad, selling them poison gas. To keep tabs on Gates, the U.S. government enlists a beautiful novelty entertainer named Ellen Graham (played by Veronica Lake). Ellen is a magician who sings while she performs her magic act. She auditions for Gates, who, in addition to his duties at the chemical company, owns a popular nightclub. Her audition captivates Gates, and he hires her.


Straight and vicious—that’s what this picture is. But it is a good cut above the average, both in its writing and its tensile quality. Bosley Crowther, The New York Times

While on a train to perform at Gates’s Neptune Club, she accidentally runs into Raven. Gates, also on the same train, sees the two sitting next to each other. He assumes they’re working together, which sets him on edge and puts Ellen’s life in danger. Ellen’s cop boyfriend, Michael (Robert Preston), does his best to save her and capture Raven.


Lake was an established star when the movie was released. Ladd, as Raven, gave a breakout performance, making him an overnight sensation. New York Times movie reviewer, Bosley Crowther, compared Ladd’s performance to James Cagney’s in The Public Enemy a decade earlier. In his 1942 review of the film, he said, “Keep your eye peeled for this Ladd fellow; he’s a pretty-boy killer who likes his work.” Crowther also complimented the leading lady: “Miss Lake is a competent customer, and handles her men with cool disdain.”

The chemistry between Lake and Ladd was noted by the public and the executives at Paramount. It didn’t hurt that Lake was 4'11" tall, making her the only leading lady Ladd worked with who was shorter than he was. Ladd was reported to be 5'5" tall. The two costarred in a total of four films, all of which were very popular with critics and 1940s film audiences.

Publicity photo with Ladd, Lake, and Preston



This Gun for Hire trivia

  • Ladd and Lake made six more movies after This Gun for Hire: The Glass Key (1942), The Blue Dahlia (1946), and Saigon (1947). They also appeared as themselves in  Star Spangled Rhythm (1942), Duffy’s Tavern (1945), and Variety Girl (1947). 
  • In the novel, Raven’s motivation for becoming a killer was due to his mother disfiguring his face. Paramount didn’t want Ladd’s handsome face to be maimed, so they had his aunt permanently cripple his wrist with a red-hot flatiron.
  • The film was released five months after the bombing of Pearl Harbor.
  • Nineteen-year-old Yvonne De Carlo appears as one of the showgirls at the Neptune Club. She’s uncredited.
  • Laird Cregar was borrowed by Paramount from 20th Century-Fox for this picture.

Click HERE to watch the movie on the Internet Archive.


Click HERE to join the online discussion on Monday, July 21, 2025, 6:30 p.m. Central Time. Once you RSVP, you will receive an email with a link to join the discussion on Zoom.

Discussion questions

  1. This is considered an early must-see film noir. Would you recommend this film to your friends?
  2. What did you think of the pairing of Alan Ladd with Veronica Lake? Do you see what audiences in 1942 saw?
  3. Some of the violence was shocking to audiences in 1942. Is any of the violence in the film shocking or surprising to you?
  4.  Was Laird Cregar convincing as Willard Gates?
  5. Robert Preston was originally up for the role of Raven. The director thought Ladd presented a more menacing characterization. Do you think the film would have been the same if the roles were reversed? 


Wednesday, April 5, 2017

Screening of “Union Pacific” at Daystar Center May 12

“Stanwyck on State Street” Series: Union Pacific
Where: Daystar Center, 1550 S. State Street
When: May 12, 2017
Time: 6:45 p.m.
Hosted by Stephen Reginald

Union Pacific (1939) is a rousing epic about the construction of the first intercontinental railroad. Directed by the master showman, Cecil B. DeMille, the movie is filled with plenty of action.

Jeff Butler (Joel McCrea) is hired by the Union Pacific to root out saboteurs who’ve been trying to destroy the railroad’s progress. Barbara Stanwyck plays Mollie Monahan, the railroad’s feisty postmistress who is courted by Dick Allen (Robert Preston).  Dick is working with the corrupt Sid Campeau (Brian Donlevy) who is bent on destroying the railroad and eliminating Butler’s railroad oversight. Although Mollie is betrothed to Dick, Jeff finds himself falling in love with her.

Every movie star needs to make a big-budget blockbuster epic at some point in their career and Union Pacific more than fills the bill for Stanwyck and McCrea. The large cast includes an early glimpse of Anthony Quinn as Jack Cordray, a henchman of Campeau.

This film is part of the “Stanwyck on State Street” series.

Joel McCrea, Barbara Stanwyck, and Robert Preston

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.

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.



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