A Five-Million-Dollar Slander: The High-Stakes Romance and Hilarious Hoaxes of “Libeled Lady”

Libeled Lady (1936) directed by Jack Conway, is a breathless, high-stakes MGM screwball comedy that weaponizes romance to avert a devastating legal crisis. The chaos begins when the unscrupulous, high-society heiress Connie Allenbury (Myrna Loy) files a staggering $5 million libel lawsuit against The New York Evening Star after the paper mistakenly publishes a scandalous, fabricated story branding her a husband-snatcher. Desperate to save his publication from financial ruin, the paper’s frantic managing editor, Warren Haggerty (Spencer Tracy), concocts a convoluted, wildly unethical scheme to turn the false rumor into a reality before the case can ever reach a courtroom.

The lynchpin of Warren’s desperate plan is Chandler “Bill” Chandler (William Powell), a smooth-talking, cynical fixer and former journalist with a reputation for smoothly navigating impossible situations. Warren hires Bill to track down Connie on a cruise ship and insinuate himself into her life, with the ultimate goal of staging a compromising romantic situation that will force her to drop the lawsuit. However, to ensure Bill appears thoroughly off the market and capable of ruining a marriage, Warren must first convince his own long-suffering, perpetually jilted fiancée, Gladys Benton (Jean Harlow), to enter into a temporary, strictly platonic marriage of convenience with Bill.

The narrative engine kicks into high gear as the four principles converge at an upscale fishing resort, where the meticulously planned scheme rapidly disintegrates into a web of unexpected emotional entanglements. As Bill deploys his considerable charm to ensnare Connie, he unexpectedly finds himself genuinely falling for the elegant heiress, while Connie begins to let down her guarded exterior. Meanwhile, a fiercely jealous Gladys begins to take her faux-marriage to Bill far more seriously than Warren ever anticipated, resulting in a frantic, razor-sharp battle of wits where professional survival, shifting loyalties, and genuine romance collide.

 

Jack Conway (1887–1952), born Hugh Ryan Conway, was a highly dependable, prolific contract director who became a foundational pillar of the MGM studio system during its Golden Age. A former actor who transitioned behind the camera during the silent era, Conway developed a reputation as a consummate craftsman who could seamlessly handle any genre, specialize in fast-paced storytelling, and keep massive productions on schedule and under budget. He possessed a remarkable talent for directing top-tier star power, helming seminal pre-Code hits like Red-Headed Woman (1932) and Viva Villa! (1934), as well as spectacular commercial blockbusters like the definitive 1935 adaptation 1935 adaptation of A Tale of Two Cities and the sophisticated four-star screwball comedy Libeled Lady (1936). Conway remained a loyal, top-tier asset to MGM for over two decades, delivering reliable box-office hits well into the 1940s before retiring from filmmaking and ultimately passing away from a heart ailment on October 11, 1952, at the age of 65.

Jean Harlow (1911–1937), born Harlean Harlow Carpenter, was the definitive screen siren of the 1930s and Hollywood’s original “Blond Bombshell.” After breaking out in Howard Hughes’s aviation epic Hell's Angels (1930), she signed with MGM and quickly became one of the decade's top box office draws by subverting the traditional vamp archetype with a unique blend of street-smart toughness and brilliant comedic timing. Her electric chemistry with Clark Gable solidified them as one of cinema's most celebrated on-screen pairings in hits like Red Dust (1932) and China Seas (1935), while her sharp satirical skills shone brightly in classics like Dinner at Eight (1933) and Bombshell (1933). Tragically, her life and career were cut short at the absolute pinnacle of her fame when she died of kidney failure on June 7, 1937, at the age of 26, leaving behind an enduring legacy as an ultimate icon of classic Hollywood glamour.

Myrna Loy, William Powell, and Walter Connolly

William Powell (1892 – 1984) was an American actor who was most famous for the Thin Man series, in which he co-starred with Myrna Loy. Loy and Powell made 14 films together. Powell was nominated for the Academy Award for Best Actor three times: The Thin Man (1934), My Man Godfrey (1936), and Life With Father (1947). Powell was under contract to Paramount, Warner Bros., and Metro-Goldwyn-Mayer, where he had his greatest success. Some of Powell’s popular films include Manhattan Melodrama (1934), The Great Ziegfeld (1936), Libeled Lady (1936), The Last of Mrs. Cheney (1937), Love Crazy (1941), Life with Father (1947), The Senator Was Indiscreet (1947), Dancing in the Dark (1949), How to Marry a Millionaire (1953), and Mister Roberts (1955).

Myrna Loy (1905 - 1993) was an American film, television, and stage actress. Loy was a trained dancer but decided to concentrate on acting, appearing in silent films before becoming a major star with the advent of sound. Perhaps Loy is most famous for playing Nora Charles opposite William Powell in The Thin Man (1934) and its subsequent sequels. Loy and Powell were one of the screen’s most popular acting teams; they appeared in 14 films together. Loy starred opposite the top leading men of the day, including Clark Gable, Spencer Tracy, Tyrone Power, and Cary Grant. Some of her films include Wife vs. Secretary (1936), Libeled Lady (1936), The Great Ziegfeld (1936), Test Pilot (1938), Too Hot to Handle (1938), The Rains Came (1939), Love Crazy  (1941), The Bachelor and the Bobby-Soxer (1947), and Mr. Blandings Builds His Dream House (1948).

Spencer Tracy (1900–1967) was a titan of Hollywood’s Golden Age, revered by his peers as the “actor’s actor” for a naturalistic, understated style that made him one of the screen’s greatest realists. Born in Milwaukee, Wisconsin, Tracy rose from the Broadway stage to become a dominant force at MGM, where he became the first person to win back-to-back Academy Awards for Best Actor for his roles in Captains Courageous (1937) and Boys Town (1938). Though his off-screen life was often marked by a private battle with alcoholism and a complex, decades-long romantic partnership with actress Katharine Hepburn, his professional consistency was unmatched, earning him a total of nine Oscar nominations over a career that spanned nearly four decades. He delivered his final performance in Guess Who's Coming to Dinner (1967), passing away just weeks after filming concluded and leaving behind a legacy as one of the most versatile and enduring figures in cinematic history.

Loy, Powell, Jean Harlow, and Spencer Tracy

Libeled Lady trivia

• A Real-Life Romance On Screen: At the time of filming, William Powell and Jean Harlow were one of Hollywood's most high-profile real-life couples. Despite their off-screen romance, the studio cast them as the pair who don't end up together, instead pairing Powell with his most famous and frequent on-screen partner, Myrna Loy. This dynamic created an electric, unique tension on set, as Harlow had to play a woman furiously trying to keep Powell away from Loy
• The Famous Fishing Sequence: The hilarious sequence where William Powell’s character clumsily attempts to fly-fish to impress Connie’s father was entirely authentic in its physical comedy. Powell was actually an avid, highly skilled fisherman in real life. To pull off the scene, he had to meticulously choreograph his movements to look as uncoordinated and inept as possible, nearly falling into the rushing river multiple times for the sake of the gag.
• A Four-Star Powerhouse Nomination: The film is one of the rare screwball comedies to achieve ultimate industry recognition, earning an Academy Award nomination for Best Picture. Much of this success was attributed to its perfectly balanced marquee; it represents a pinnacle of the MGM studio system, successfully juggling four of the studio's absolute biggest top-tier stars at the height of their individual box-office drawing power.
• The Title Confusion: While the film is widely celebrated today as a definitive 1930s classic, its release year often causes minor confusion in filmographies. Though production wrapped and preview screenings were held in late 1936—earning its official Academy Award eligibility for that year's cycle—the movie did not see its full, wide national theatrical release across the country until early 1937, making it a staple of both cinematic calendar years.

Click HERE to watch the movie online.

Click HERE to join the discussion online on June 15, 2026, at 6:30 p.m. Central Time. Once you RSVP, you will receive an email with an invitation and a link to join the discussion on Zoom.

Discussion questions

1. How does Libeled Lady utilize the classic screwball comedy trope of class warfare, and does the film ultimately side with the working-class journalists or the ultra-wealthy Allenbury family?
2. Given the legendary on-screen chemistry between William Powell and Myrna Loy, how does the inclusion of Jean Harlow alter the traditional romantic dynamic of the film? Does her presence elevate the stakes or shift the audience's loyalty?
3. Warren Haggerty’s willingness to compromise his fiancée's marital status to save his newspaper is a radical narrative choice. How does Spencer Tracy’s performance keep a fundamentally manipulative character likable and sympathetic to the audience?
4. In what ways does the film satirize the ethics of 1930s journalism, and do you see any parallels between the sensationalized yellow journalism depicted in the film and modern media culture?

Spency Tracy and Irene Dunne star in “A Guy Named Joe”

A Guy Named Joe (1943) is an American romantic drama directed by Victor Fleming and starring Spencer Tracy, Irene Dunne, and Van Johnson in a breakout performance. Also in the cast are Lionel Barrymore, Ward Bond, James Gleason, Barry Nelson, Don Defore, and Esther Williams.

During the height of World War II, Pete Sandidge (Spencer Tracy) is a reckless but talented B-25 bomber pilot stationed in England. Despite the pleas of his devoted girlfriend, Women Airforce Service Pilot (WASP) Dorinda Durston (Irene Dunne), Pete continues to take unnecessary risks in the air. His luck eventually runs out during a perilous mission when he sacrifices himself to destroy a German aircraft carrier. Pete dies in the crash, leaving a devastated Dorinda behind to mourn the man she couldn’t convince to fly safely.

Pete awakens in a celestial “pilot’s heaven,” where he meets his “General”—a high-ranking officer who explains that deceased pilots have a new mission: to act as unseen guardians and mentors to the next generation of fliers. Pete is assigned to guide Ted Randall (Van Johnson), a young, green pilot who reminds Pete of his own younger, impulsive self. As Pete whispers advice and maneuvers into Ted’s subconscious, the novice pilot blossoms into an ace, but the situation becomes complicated when Ted is reassigned to the Pacific and falls deeply in love with a still-grieving Dorinda.

The film reaches its emotional climax as Pete must overcome his own ghostly jealousy to help Dorinda find happiness again. Realizing that his final duty is to let her go, Pete uses his spiritual influence to guide Dorinda through a dangerous solo bombing mission, ensuring her safety and giving her the closure she needs to embrace a future with Ted. Pete finally accepts his place in the afterlife, understanding that his legacy lives on through the lives he saved and the love he fostered, embodying the soldier’s creed that no one truly dies as long as their spirit guides those who follow.

 

Victor Fleming (1889 – 1949) was a quintessential “man’s man” of Hollywood’s Golden Age, a former auto racer and cameraman whose rugged, masculine energy translated into a reputation for being a master of large-scale, high-stakes productions. Known for his ability to handle difficult personalities and complex sets, he achieved the unprecedented feat of directing the two most iconic films of 1939: the whimsical fantasy The Wizard of Oz and the sprawling historical epic Gone with the Wind, for which he won the Academy Award for Best Director. Though he was often viewed as a “studio craftsman” rather than a stylistic auteur, Fleming possessed a unique talent for extracting legendary performances from stars like Clark Gable and Vivien Leigh, ultimately shaping the visual language of American escapism before his sudden death in 1949.

Spencer Tracy (1900–1967) was a titan of Hollywood’s Golden Age, revered by his peers as the “actor’s actor” for a naturalistic, understated style that made him one of the screen’s greatest realists. Born in Milwaukee, Wisconsin, Tracy rose from the Broadway stage to become a dominant force at MGM, where he became the first person to win back-to-back Academy Awards for Best Actor for his roles in Captains Courageous (1937) and Boys Town (1938). Though his off-screen life was often marked by a private battle with alcoholism and a complex, decades-long romantic partnership with actress Katharine Hepburn, his professional consistency was unmatched, earning him a total of nine Oscar nominations over a career that spanned nearly four decades. He delivered his final performance in Guess Who's Coming to Dinner (1967), passing away just weeks after filming concluded and leaving behind a legacy as one of the most versatile and enduring figures in cinematic history.

Irene Dunne (1898–1990) was often called the “First Lady of Hollywood,” a title earned through her unparalleled versatility and a reputation for being one of the most gracious and professional stars in the industry. Born in Louisville, Kentucky, she transitioned from a successful career in musical theater and opera to film, where she became one of the few actresses to excel equally in heavy melodramas, sophisticated screwball comedies, and lavish musicals. Over her two-decade career, she earned five Academy Award nominations for Best Actress for diverse roles in films such as Cimarron (1931), The Awful Truth (1937), and I Remember Mama (1948), yet she never won the elusive trophy. A woman of deep Catholic faith and a happy, 40-year marriage to dentist Francis Griffin, Dunne retired from the screen in 1952 at the height of her powers to focus on philanthropy and international diplomacy, passing away at her home in Los Angeles at the age of 91.

Van Johnson (1916–2008) was the quintessential “boy next door’ of the WWII era, whose sunny personality, athletic build, and shock of red hair made him one of MGM's biggest stars and a premier idol for the “bobby-soxer” generation. Born in Newport, Rhode Island, he worked his way from Broadway choruses to Hollywood, where his career nearly ended before it truly began due to a near-fatal car accident during the filming of A Guy Named Joe (1943). The accident left him with a metal plate in his forehead and rendered him unfit for military service, ironically allowing him to become the screen’s most ubiquitous soldier while real-life actors were away at war. Known for his “all-American” reliability in hits like Thirty Seconds Over Tokyo (1944) and the gritty Battleground (1949), Johnson successfully navigated the transition to musicals and television in later years, maintaining a busy career on stage and screen until his death at the age of 92.

Ward Bond, Irene Dunne, and Spencer Tracy

A Guy Named Joe trivia

• The “Saved” Career of Van Johnson - The film was nearly recast when Van Johnson was involved in a horrific car accident during production. He suffered a skull fracture so severe that the studio wanted to replace him to stay on schedule. However, stars Spencer Tracy and Irene Dunne refused to let that happen. They insisted on a production hiatus until Johnson was healthy enough to return, effectively saving his career and turning him into a major star.
• A “Spiritual” Connection to Steven Spielberg - If the plot sounds familiar, it’s because Steven Spielberg remade the film in 1989 as Always. Spielberg was a lifelong fan of the original and even watched it multiple times during the production of Jaws for inspiration. In his version, he swapped the WWII planes for firefighting planes and cast Audrey Hepburn in her final film role as the “celestial” guide (the role originally played by Lionel Barrymore).
• The Real-Life Tragedy of the “P-38” - During the filming of the aerial sequences, a real-life tragedy occurred that mirrored the film's somber themes. A P-38 Lightning pilot, Major James P. Murphy, was involved in a deadly crash while performing stunts for the movie. This somber reality hung over the set, reinforcing the film’s status as a tribute to the very real dangers faced by Allied pilots.
• Patriotic Title Origins - The title A Guy Named Joe comes from a common piece of American military slang from the era. It was based on the sentiment that any “average Joe” could be a hero. In fact, General Claire Chennault, leader of the “Flying Tigers,” once remarked that “A guy named Joe” was the backbone of the American air effort, a quote that served as the primary inspiration for the movie’s name and its focus on the common soldier.

Click HERE watch the movie online.

Click HERE to join the online discussion on February 23, 2026, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation with a link to the discussion on Zoom.

 

Spencer Tracy, Irene Dunne, and Van Johnson

Discussion questions

1. The Morality of the “Invisible Guide” - Pete’s role in the afterlife is to “whisper” guidance to young pilots, but he often struggles with his own personal feelings, especially regarding Ted’s pursuit of Dorinda. Does Pete’s interference in the lives of the living represent a selfless act of mentorship, or does it cross an ethical line by manipulating the free will of those he left behind?
2. Propaganda vs. Grief - Released in 1943, the film served as a morale booster for a nation in the midst of heavy casualties. How does the film’s depiction of “Heaven” as a military bureaucracy serve the needs of a wartime audience? Does the idea that “no one truly dies” provide a genuine comfort, or does it risk trivializing the finality of the soldiers’ sacrifice?
3. The “Reckless Hero” Archetype - At the beginning of the film, Pete is criticized for his individualism and “hot-dogging” in the air. By the end, he is teaching Ted the importance of discipline and teamwork. How does this shift reflect the military’s real-world transition from the “lone wolf” pilots of WWI to the highly coordinated, bureaucratic air power required for success in WWII?
4. Dorinda’s Agency and the Ending - In the film’s climax, Pete “allows” Dorinda to take on a dangerous mission to find her own closure. Some viewers argue that Pete is still the one in control, even in death. Does the ending empower Dorinda as a pilot and a woman, or does it reinforce the idea that her life and safety are ultimately guided by the men—living or dead—in her life?

Irene Dunne in “The White Cliffs of Dover”

By 1944, Irene Dunne was one of the top female stars in Hollywood. A four-time Academy Award nominee for Best Actress, she was in demand by all the major Hollywood studios. In 1943, Dunne signed on to star in a picture at Metro Goldwyn Mayer. A Guy Named Joe paired the actress with Spencer Tracy and a young newcomer named Van Johnson. During filming Johnson was involved in a serious car accident. Dunne and Tracy didn’t want to replace Johnson, so production was delayed while he recuperated. Since Dunne was already on the lot, M-G-M scooped her up for The White Cliffs of Dover.

Verse Novel Source for Film
The White Cliffs of Dover is based on a verse novel The White Cliffs by Alice Duer Miller published in 1940. The novel was an instant success and sold almost a million copies. Duer Miller was a popular writer and screenwriter. In fact one of her stories was made into the musical Roberta starring Dunne in 1935.



War-Time Romance

Elizabeth Taylor and Roddy McDowell

The White Cliffs of Dover focuses on a young American woman, Susan Dunn, played by Dunne and her father (the irascible Frank Morgan) who are touring London before the outbreak of World War I. She meets a young British aristocrat and army officer, Sir John Asherwood (Alan Marshall). After a whirlwind courtship they marry, but their honeymoon and marriage is cut short. Susan Dunn Asherwood remains in her adopted country and has a son, John Jr.

Serene and Dignified
The film is told in flashback as Dunne’s character recalls her younger days, while serving as a nurse during World War II. At the beginning of the movie, Dunne plays a young girl of 20, which was quite a stretch since she was 46 years old when the film was released. Even though it’s obvious that Dunne isn’t in her 20s, she captures the spirit of a young woman in both her mannerisms and speech. As the older woman, Dunne is serene and dignified. In his May 12, 1944 review of the film, New York Times critic Bosley Crowther said, “Miss Dunne gives to her character a nice glow of American charm...”

Alan Marshall and Dunne

Like Mrs. Miniver (1942), The White Cliffs of Dover was popular with wartime audiences on both sides of the Atlantic. The novel on which it is based, cemented the relationship between the United States and The United Kingdom, during the war years. The movie cost $2,343,000 to produce, earned $4,045,000 in the U.S. and another $2,249,00 in foreign receipts making it a blockbuster hit and a good choice as the M-G-M 20th Anniversary film.

In a famous photograph of M-G-M movie stars, commemorating its 20th anniversary, Dunne, technically not a studio contract player, is seated in the front row two seats to the right of studio chief, Louis B. Mayer. It’s a tribute to Dunne’s popularity (and Mayer’s keen marketing sense) that she was included in this iconic image.

More stars than are in the heavens: M-G -M celebrates 20 years.
Dunne is in the front row fourth from right.

This post corresponds with the class Elegant and Madcap: The Incredible Versatility of Irene Dunne—Class starts November 16, 2011. Meets on Wednesdays from 7p.m. - 10 p.m. for six weeks. Classes are held at Facets Film School on Fullerton Ave. in Chicago, IL.

Joan Bennett: Almost Scarlett O'Hara, But Always a Movie Star

Joan Bennett (1910-1990) had a long career in Hollywood. Starting out as a movie ingenue in the silent era, Bennett made the transition to sound without missing a beat. A scandal in the early 1950s put an abrupt end to her movie career, but she continued to work on the stage and on television. Bennett became something of a pop icon when she portrayed Elizabeth Collins Stoddard on the daytime TV cult classic Dark Shadows.

A studio portrait of Joan Bennett, a natural blond

Theatrical Roots
Born to a family with theatrical roots going back to 18th-century England, Joan was the youngest of three sisters born to Richard Bennett, a popular stage and silent film actor and Adrienne Morrison, an actress, and literary agent. Her eldest sister, Constance, was once the highest-paid movie actress in Hollywood. Barbara, the second Bennett sister, was an actress and dancer.

Joan (left) with older sister Constance Bennett

From Ingenue to Major Movie Star
In the early 1930s, under contract to Fox Film Corporation, she costarred with other bright newcomers like Spencer Tracy (twice). In 1932 she married movie producer Gene Markey—her first marriage to John M. Fox lasted from 1926-1928. Bennett’s marriage to Markey only lasted five years. Before her marriage to Markey ended, Joan left Fox and costarred in Little Women (1933) at RKO. As Katharine Hepburn’s self-centered younger sister Amy, Bennett was noticed by producer Walter Wanger. In 1935, Wanger had her cast as Sally McGregor, a character with mental health issues in Private Worlds. The film starred Claudette Colbert, Charles Boyer, and Joel McCrea. The picture was a hit and Bennett earned good notices; she was on her way.

Little Women was an important film for Bennett.

Winds of Change
In 1938, Bennett, a natural blond, became a brunette for her role as Kay Kerrigan in Trade Winds, co-starring Fredric March. As a brunette, Bennett took on a whole new persona and was now being compared to the dark-haired beauty Hedy Lamarr. Bennett and Lamarr had more in common than their hair color. Lamarr married Gene Markey in 1939, two years after Bennett and Markey divorced. In 1940, Bennett and Wanger married.

This film defined Bennett's movie persona for the rest of her career.

Almost Scarlett
Bennett was one of the dozens of actresses David O. Selznick tested for the role of Scarlett O’Hara in Gone With the Wind. Until Vivien Leigh showed up, the coveted role was between Paulette Goddard and Bennett, with Goddard having the edge. Bennett’s screen tests still exist and suggest she might have been an interesting choice for the role. In spite of not being cast as Scarlett, Bennett’s career was on an upward arch. In 1939, the same year Gone With the Wind was released, Bennett made a beautiful Princess Maria Theresa opposite Louis Hayward in The Man in the Iron Mask. In 1940, she starred in four films including House Across the Bay opposite George Raft and The Son of Monte Cristo, again cast opposite Hayward.

Bennett in one of her screen tests as Scarlett O'Hara; David O. Selznick called her tests "magnificent."

 
Lang's Favorite Noir Heroine
Probably Bennett’s most productive period was her work with director Fritz Lang. Under his direction, Bennett gave some of the best performances of her career. She played a prostitute in Lang’s Man Hunt (1940) opposite Walter Pigeon, Alice Reed in The Woman in the Window (1944), and the slutty Kitty March in Scarlet Street (1945), both co-starring Edward G. Robinson. The late 1940s brought continued success. She co-starred with Gregory Peck in The Macomber Affair (1947) an adaptation of Ernest Hemmingway’s The Short Happy Life of Francis Macomber. That same year Bennett worked with Jean Renoir in The Woman on the Beach. She was under Lang’s direction again for the psychological melodrama Secret Beyond the Door (1948). In 1949, she worked with Max Ophuls as blackmail victim Lucia Harper in The Reckless Moment.

Bennett and Gregory Peck in a publicity still for The Macomber Affair

From Femme Fatale to Perfect Wife and Mother
In 1950, Bennett starred in Father of the Bride with Spencer Tracy and Elizabeth Taylor. The movie was such a hit that it spawned a sequel, Father’s Little Dividend the next year. Bennett’s new image as the perfect wife and mother looked like it would continue through the rest of the 1950s, but a scandal all but destroyed her movie career.

Bennett, like Myrna Loy, became the perfect wife and mother on film.

Notes on a Scandal
On December 13, 1951, while Bennett was talking with her long-time agent Jennings Lang, Wanger shot Lang, thinking the two were having an affair. Both Lang and Bennett denied any personal involvement. The scandal put the brakes on Bennett’s film career. Supposedly, a third Father of the Bride movie had been planned but was scrapped.

Bennett played matriarch Elizabeth Collins Stoddard on TV's Dark Shadows.

Pop Icon
Bennett managed to keep her name before the public by appearing on the legitimate stage and TV. It would be through TV that her career would take an unusual turn, making her a household name once again. In 1966, Bennett starred in the gothic daytime drama Dark Shadows, a cult hit that featured vampires, witches, warlocks, and werewolves. Bennett played family matriarch Elizabeth Collins Stoddard for the show's entire five-year run.

Bennett and Jack Albertson in an episode of Love American Style

Later Career and Death
After the end of Dark Shadows, Bennett guest-starred on popular TV shows like Love American Style, as well as starring in occasional TV movies. Bennett had another chance at screen stardom in 1985 when she was offered the role of Bess McCarthy in Ron Howard’s Cocoon. The role eventually went to Gwen Verdon but had Bennett taken the role, it would have reunited her with frequent Hollywood "Golden Age" costar Don Ameche. The story goes that David Wilde, Bennett’s fourth husband, didn’t think the role was dignified enough and talked her out of taking it. In 1990, Bennett suffered a heart attack and died. She is buried next to her parents in Lyme, Connecticut.

A beautiful and glamorous movie star, Joan Bennett left a body of work that classic film fans will be studying for generations to come.

April 5 Movie Star Birthday Palooza!

Spencer Tracy (1900-1967)
Two-time Academy Award Winner: Best Actor, Captains Courageous (1938); Best Actor, Boy's Town (1939)

Bette Davis (1908-1989)

Two-time Academy Award Winner: Best Actress, Dangerous (1936), Best Actress, Jezebel (1939)

Gregory Peck (1916-2003)

Academy Award Winner: Best Actor, To Kill a Mockingbird (1963)

Melvyn Douglas (1901-1981)

Two-time Academy Award Winner: Best Supporting Actor, Hud (1964); Best Supporting Actor, Being There (1980)