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.

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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?

Martinis, Mystery, and Marriage: William Powell and Myrna Loy in “The Thin Man”

Directed by W.S. Van Dyke, the 1934 classic The Thin Man introduces audiences to Nick and Nora Charles, played by the incomparable William Powell and Myrna Loy. Nick is a retired detective who prefers mixing martinis to solving crimes, while Nora is a wealthy, witty socialite with a thirst for adventure. Along with their high-energy wire-haired fox terrier, Asta, the couple is enjoying a holiday in New York City when they are pulled into a baffling missing person case involving an eccentric inventor.

The mystery begins when Dorothy Wynant approaches Nick to find her father, Clyde Wynant—the “Thin Man” of the title—who has mysteriously vanished before her wedding. The situation turns grim when Wynant’s mistress is found murdered, and the inventor becomes the prime suspect. While Nick is content to remain retired and focus on his next drink, Nora’s infectious curiosity and the mounting clues eventually convince him to take the case, leading them into a world of shady characters and family secrets.

As they navigate the investigation, the film highlights the revolving door of suspects, ranging from disgruntled family members to hardened gangsters. The true heart of the movie, however, isn’t just the whodunit; it’s the sparkling, sophisticated chemistry between Powell and Loy. Their effortless banter and modern, companionable marriage redefined the portrayal of onscreen couples, proving that solving a murder could be as stylish as it was suspenseful.

The film reaches its climax at a famous dinner party where Nick, in classic detective fashion, gathers all the suspects to unmask the killer. With the police watching and the tension high, the mystery is solved with the same dry wit and elegance that defines the rest of the film. This masterful blend of screwball comedy and hard-boiled detective fiction became an instant sensation, launching a beloved franchise and cementing Powell and Loy as one of Hollywood’s most iconic duos.

 

W.S. Van Dyke (1889–1943), nicknamed “One-Take Woody” for his legendary speed and efficiency on set, was one of the most reliable and versatile directors during the Golden Age of Hollywood. After getting his start as an assistant to D.W. Griffith, he became a mainstay at MGM, where he demonstrated a remarkable ability to jump between genres, directing everything from the gritty adventure The Pagan (1929) and the Academy Award-nominated Eskimo (1933) to the sophisticated urbanity of The Thin Man (1934). His career was defined by a preference for natural, spontaneous performances—often captured in a single take—which helped define the effortless chemistry between stars like William Powell and Myrna Loy. A colonel in the Marine Corps Reserve, Van Dyke's disciplined approach allowed him to complete high-quality features in a fraction of the time used by his contemporaries, ensuring his status as a studio favorite until his untimely death at the age of 53.

William Powell (1892–1984) was the epitome of debonair sophistication during the Golden Age of Hollywood, transitioning from a successful stage career and a string of silent film heavy roles to become one of the era's most beloved leading men. Known for his impeccably groomed mustache, resonant voice, and a unique ability to blend high-society elegance with a mischievous sense of humor, he reached the pinnacle of his fame at MGM. His career was defined by his legendary partnership with Myrna Loy, most notably as the martini-loving detective Nick Charles in The Thin Man (1934), a role that earned him the first of three Academy Award nominations. Despite facing personal tragedies and health struggles in the late 1930s, Powell remained a top box-office draw in classics like My Man Godfrey (1936) and Life with Father (1947), eventually retiring from the screen after a memorable final performance in Mister Roberts (1955) to live a long, quiet life in Palm Springs:

Myrna Loy (1905–1993) was famously dubbed the Queen of Hollywood and “The Perfect Wife,” a title that reflected her transformation from a silent-film exotic—often cast in  vamp or oriental roles—into the screen’s ultimate symbol of sophisticated, modern womanhood. Her career reached a defining peak at MGM when she was paired with William Powell in The Thin Man (1934), where her portrayal of Nora Charles revolutionized the depiction of marriage by proving a wife could be just as witty, independent, and cocktail-loving as her husband. Beyond her twelve-film partnership with Powell and successes in hits like The Best Years of Our Lives (1946), Loy was a dedicated activist and humanitarian, serving as a tireless worker for the Red Cross during World War II and later becoming a prominent representative for UNESCO. Despite never receiving a competitive Academy Award nomination during her prime, her enduring charm and naturalistic acting style earned her an Honorary Oscar in 1991.

Maureen O’Sullivan (1911–1998) was famously discovered in her native Ireland at age 18 and quickly became one of MGM’s most versatile and enduring stars of the 1930s. While she gained international immortality as the definitive, sophisticated Jane opposite Johnny Weissmuller in the Tarzan series, her career was defined by a naturalistic charm that allowed her to shine in prestigious literary adaptations like David Copperfield (1935) and Pride and Prejudice (1940). As Dorothy Wynant in The Thin Man (1934), she provided the emotional catalyst for the film’s mystery, holding her own against the high-society wit of William Powell and Myrna Loy. After stepping away at the height of her fame to raise her seven children—including actress Mia Farrow—she made a successful mid-century return in the noir classic The Big Clock (1948) and continued to perform into her later years, notably in Hannah and Her Sisters (1986), leaving behind a legacy of grace, intelligence, and Irish-American spirit.

 

The Thin Man trivia

• The 12-Day Wonder: Director W.S. Van Dyke was famously nicknamed “One-Take Woody” for his efficiency. He shot the entire film in just 12 to 14 days. MGM executives originally viewed the project as a B-movie filler, but Van Dyke’s rapid-fire pace captured a spontaneous, high-energy chemistry between the leads that a longer schedule might have stifled.
• The Mystery of the “Thin Man”: Despite the franchise eventually being known as The Thin Man series, the title actually refers to the murder victim in the first film—the eccentric inventor Clyde Wynant. Because audiences began associating the nickname with William Powell’s character, Nick Charles, the studio kept the Thin Man branding for all five sequels.
• Asta’s Stardom: The wire-haired fox terrier who played Asta was a canine superstar named Skippy. He was so popular that he earned a salary of $250 per week, which was significantly higher than many of the human bit-players in the film. Skippy was so well-trained that Myrna Loy once remarked the actors weren't allowed to play with him off-camera because it would break his professional concentration.
• Redefining Marriage: Before 1934, most Hollywood depictions of marriage were either overly sentimental or burdened by domestic drama. The Thin Man revolutionized the on-screen couple by showing Nick and Nora as best friends who drank, flirted, and genuinely enjoyed each other's company. This dynamic was so influential that it directly inspired the screwball comedy genre and decades of future TV duos.

 

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Discussion questions

1. In 1934, most cinematic portrayals of marriage were either overly sentimental or defined by domestic conflict. How do Nick and Nora Charles redefine the husband and wife dynamic for the era? Do you find their relationship—built on mutual respect, shared wit, and a sense of adventure—to feel more modern than other films from the 1930s?
2. The Thin Man is often credited with perfecting the comedy-mystery hybrid. Does the film’s constant banter and high-society charm ever undermine the stakes of the murder investigation, or does the humor actually make the suspense more effective? How does the tone compare to a straight noir or a classic whodunit?
3. Director W.S. Van Dyke was famous for his speed, filming this entire movie in just about 12 days. Can you see evidence of this spontaneous style in the performances of William Powell and Myrna Loy? Do you think the film would have lost some of its spark if it had been subjected to a longer, more meticulous production schedule?
4. Nick Charles is a retired professional, but Nora is the one who often pushes him back into the world of crime-solving for the thrill of it. How does their high social status and wealth change the way they interact with the police and the suspects? Would the story be as appealing if the characters were struggling to make ends meet during the Great Depression?

 

 

 

 

 

 

 

William Powell and Myrna Loy search for “The Thin Man” one martini at a time!

Based on the classic Dashiell Hammett novel, The Thin Man (1934), directed by W.S. Van Dyke, introduces audiences to Nick and Nora Charles, cinema’s most sophisticated and spirited detective duo. Nick Charles (William Powell) is a former ace detective who has happily traded his badge for a life of leisure, managing his wife’s fortune and consuming a steady stream of martinis. His retirement is interrupted during a Christmas visit to New York City when the daughter of an eccentric, missing inventor—Clyde Wynant, the titular "Thin Man"—pleads with Nick to locate her father before his impending daughter’s wedding.

Despite Nick’s insistence that he is strictly retired, his curiosity is piqued when Wynant’s secretary is found murdered, and the police, led by Lieutenant Guild, name the missing inventor as the prime suspect. Encouraged by his wealthy and adventurous wife Nora (Myrna Loy)—who views the investigation as a thrilling diversion from their social calendar—and accompanied by their wire-haired fox terrier, Asta, Nick reluctantly steps back into the underworld. The couple navigates a labyrinth of suspects that includes shady nightclub owners, deceitful family members, and local gangsters, all while maintaining a relentless flow of witty banter.

The film distinguishes itself not just through its intricate whodunit plot but through the electrifying chemistry between Powell and Loy, who blend screwball comedy with the murder mystery genre.

 

Woodbridge Strong “W.S.” Van Dyke II (1889–1943), affectionately known in Hollywood as “One-Take Woody” for his legendary efficiency and speed, was a versatile and prolific American director who became one of MGM’s most reliable hit-makers during the 1930s. Born in San Diego and raised in the vaudeville tradition, Van Dyke honed his craft as an assistant to D.W. Griffith before successfully transitioning to sound films, where his loose, improvisational style coaxed natural performances from actors and helped propel stars like William Powell, Myrna Loy, and Johnny Weissmuller to fame. His directorial portfolio was incredibly diverse, ranging from the jungle adventure Tarzan the Ape Man (1932) and the disaster epic San Francisco (1936) to the sophisticated screwball mystery The Thin Man (1934), the latter two earning him Academy Award nominations for Best Director. Despite his shortened life—he committed suicide at age 53 while battling cancer and heart disease—Van Dyke left an indelible mark on the Golden Age of Hollywood as a craftsman who prioritized entertainment, pace, and spontaneity over meticulous perfectionism.

William Powell (1892 – 1984) was an American actor who was most famous for the Thin Man series, in which he costarred 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).

 

The Thin Man trivia

1. The Title is a Misnomer

The most famous piece of trivia concerning the film is that Nick Charles (William Powell) is not the “Thin Man.”

• The title actually refers to the murder victim, Clyde Wynant (played by Edward Ellis), who is described as a “thin man” with white hair.
• However, because the film was such a massive hit, the studio (MGM) branded the sequels with the same name (After the Thin Man, Another Thin Man, etc.). Audiences eventually just assumed the nickname referred to the slender William Powell.

2. The Studio Didn't Want the Stars

It is hard to imagine anyone else in the roles now, but MGM executives originally fought against casting both leads:

• William Powell was considered too old and "stiff" to play a lighthearted comedic lead. He had mostly played villains and straight-laced detectives in silent films.
• Myrna Loy was typecast as an "exotic femme fatale" (often playing Asian or vamp characters) and was not seen as "wife material."
• Director W.S. Van Dyke fought for them after seeing their chemistry in a previous film, Manhattan Melodrama. He allegedly proved Loy could play the role by pushing her into a swimming pool at a party to test her reaction—she handled it with grace and humor, convincing him she was Nora.

3. Filmed in Record Time

True to his nickname, W.S. "One-Take Woody" Van Dyke shot the entire movie in roughly 12 to 16 days.

• MGM viewed the project as a "B-picture" (a low-budget filler movie) and gave it a budget of roughly $230,000.
• Van Dyke encouraged improvisation and spontaneity to keep things moving. This loose shooting style is largely credited for the natural, overlapping dialogue that makes the film feel modern even today.

 

4. Asta Earned More Than the Actors (Sort of)

The dog, a Wire Fox Terrier named Skippy, was a major star in his own right.

• Because he was highly trained (he also starred in Bringing Up Baby and The Awful Truth), Skippy earned $250 per week.
• While this wasn't more than the lead stars, it was significantly more than many human background actors and set hands were making during the Depression.
• Trivia Twist: In Dashiell Hammett's original novel, Asta was a female Schnauzer. The movie changed the breed to a Wire Fox Terrier, sparking a massive craze for the breed in America.

 

Click HERE to watch the film on the Internet Archive.

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Discussion questions

1. Genre Blending and Tone: The Thin Man is famous for successfully blending the gritty, hardboiled detective genre (inherited from Dashiell Hammett's novel) with the lighthearted, screwball comedy popular in the 1930s. How does director W.S. Van Dyke maintain a balance between the serious elements of murder and the nearly constant stream of witty banter, drinking, and slapstick? Do you feel one genre dominates the other, or does the fusion create a unique tone?
2. The Nick and Nora Dynamic: Analyze the marriage of Nick and Nora Charles. In what ways does Nora subvert the traditional role of a female lead in 1930s cinema (especially her wealth, agency, and casual comfort with crime and danger)? How does their dynamic—equal parts mutual respect, teasing, and affection—act as the emotional core of the film, and how does it influence Nick’s decision to solve the case?
3. Historical and Cultural Context: Released shortly after the end of Prohibition (1933), the film showcases a pervasive and casual culture of drinking. What role does alcohol—specifically the martini—play in the film? Does it function merely as a character trait, a symbol of post-Prohibition celebration, a plot device, or does it serve a deeper function in establishing the film’s sophisticated, devil-may-care tone?
4. Style and Influence: W.S. Van Dyke earned the nickname “One-Take Woody” for his rapid, improvisational shooting style, which encouraged actors like William Powell and Myrna Loy to overlap dialogue and rely on natural chemistry. How did this production style contribute to the film’s signature rhythm and enduring charm, and how did it influence the development of the detective or screwball comedy genres that followed?

 

 

William Powell and Carole Lombard in “My Man Godfrey”.

My Man Godfrey (1936) is an American screwball comedy directed by Gregory La Cava and starring William Powell and Carole Lombard. The film is based on a short novel, 1101 Park Avenue by Eric S. Hatch. My Man Godfrey is considered one of the best screwball comedies of all time. In 1999, the film was deemed “culturally significant” by the United States Library of Congress and selected for preservation in the National Film Registry.

Carole Lombard and William Powell

During the Great Depression, two socialite sisters, Cornelia and Irene Bullock (Gail Patrick and Carole Lombard respectively) are competing in a charity scavenger hunt and need to find a “forgotten man.” They come across a man living in a New York City dump, but Cornelia gets to him first. She offers Godfrey Smith (William Powell) $5 if he will come play along and help her win the scavenger hunt. Godfrey finds Cornelia’s attitude annoying and backs her up into an ash pile. Irene who has been watching the whole episode ends up speaking with Godfrey who finds her to be kind, but a little bit crazy, and decides to help her. Irene drives the two of them to the Waldorf-Ritz Hotel where she presents Godfrey as her forgotten man. Irene wins the scavenger hunt and is so grateful that she offers Godfrey a job as a butler in her family’s home. Little does Godfrey realize that the Bullock family is quite eccentric and hasn’t been able to keep a butler for more than a few days. 

Gregory La Cava (1892 – 1952) was an American film director best known for several landmark films from the 1930s including My Man Godfrey and Stage Door (1937). La Cava was born in Pennsylvania and studied at the Art Institute of Chicago. La Cava directed many of the top stars during his heyday including Irene Dunne, Helen Hayes, Constance Bennett, Charles Boyer, Claudette Colbert, Joel McCrea, Melvin Douglas, and Katharine Hepburn. LaCava directed Ginger Rogers in three films in three years: Stage Door, Fifth Avenue Girl (1939), and Primrose Path (1940).

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 Many 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).

Clark Gable and Carole Lombard on their wedding day

Carole Lombard (1908 – 1942) was an American film actress who gained great fame starring in screwball comedies. So popular was she as a comedic actress that Life magazine dubbed her “The Screwball Girl.” He got her start in silent films as a child and progressed to more important roles when a car accident almost ended her career. Glass from the car’s windshield cut up her face leaving her with a small scar. She eventually hit the big time in 1934 with her breakout performance in Twentieth Century co-starring John Barrymore. The film directed by Howard Hawks (a distant cousin of Lombard’s) lead to better roles and eventually superstardom. In Lombard’s short career, she appeared in several iconic films including My Man Godfrey, Nothing Sacred (1937), Mr. & Mrs. Smith (1941) directed by Alfred Hitchcock, and To Be or Not to Be (1942). At the height of her career, Lombard died in a plane crash while returning from a bond tour. At the time of her death, she was married to Clark Gable. Together they were one of Hollywood’s original power couples.

The excellent supporting cast includes Alice Brady, Gail Patrick, Jean Dixon, Eugene Pallette, Alan Mowbray, Mischa Auer, and Franklin Pangborn. 

My Man Godfrey trivia:

• It was the first movie to be nominated in all four acting categories.
• Marion Davies, Constance Bennett, and Miriam Hopkins were all considered for the role of Irene.
• William Powell and Carole Lombard were once husband and wife and had been divorced for three years when they made the film.
• Jane Wyman has an uncredited role standing in the crowd at the Waldorf-Ritz Hotel.
• Gail Patrick (Cornelia) played Irene’s (Lombard) older sister, but in reality, she was almost three years younger.

Click HERE to watch the film on YouTube.

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Questions for discussion:

1. Is there a serious message amidst all the comedy? If yes, what is it?
2. What do you think motivated Godfrey to get back on his feet?
3. Did you have a favorite supporting character?
4. Did Lombard and Powell have believable screen chemistry?
5. Why do you think the film has remained a classic 85 years after its initial release?

William Powell is Philo Vance in "The Kennel Murder Case"

The Kennel Murder Case (1933) is an American pre-Code murder-mystery film directed by Michael Curtiz, and starring William Powell and Mary Astor. Powell plays detective Philo Vance, a sophisticated sleuth, one year before he would play another sophisticated sleuth in The Thin Man. The supporting cast includes, Eugene Pallette, Ralph Morgan, Etienne Girardot, and Helen Vinson.

Philo Vance’s dog is entered into the Long Island Kennel Club’s dog show comes up short—he doesn’t make it to the finals. This disappoints fellow competitor Archer Coe (Robert Barrat) who was hoping to celebrate a victory over Vance. The next day, Coe is found dead, locked inside his bedroom.

What or who killed Coe? Was it suicide or murder? Philo Vance is determined to find out.

The Kennel Murder Case trivia

• Asta, the dog in The Thin Man series has an uncredited role as a terrier in a cage in the Kennel Club scene.
• This was Powell’s last time playing Philo Vance. He would move from Warner Bros. to M-G-M the next year.
• Philo Vance movies were made at Paramount, Warner Bros., and M-G-M.
• The watch the movie on YouTube, click the link below.

 

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

Discussion questions

1. Do you see any similarities between Powell’s characterization of Philo Vance and Nick Charles?
2. Any differences between Philo Vance and Nick Charles?
3. What did you think of Mary Astor’s characterization?
4. Do you think Powell an Astor had good screen chemistry?
5. Is murder-mystery the best way to describe this film? Would you categorize it another way?
6. Did you have a favorite character actor?

Ann Harding and William Powell share a "Double Harness"

 Double Harness (1933) is a pre-Code melodrama directed by John Cromwell (Of Human Bondage) and starring Ann Harding and William Powell. The screenplay was written by Jane Murfin (What Price Hollywood?, Alice Adams), and the music was by Max Steiner.

The plot concerns Joan Colby (Harding), the sensible older sister who decides to get married not for love but for her own betterment. She sets her sights on rich playboy, John Fletcher (Powell) who owns a shipping line that is floundering due to his indifference in working for a living.

Joan tricks John into marrying her but she turns out to be a great asset. She encourages him to take an interest in the family business which he does to great success. Everything comes undone when John discovers the truth surrounding their marriage. Will Joan be able to convince her husband that their marriage wasn’t a mistake?

William Powell and Ann Harding

John Cromwell (1886 – 1979) was an American film and stage director. Cromwell started his career as an actor on the stage and in the early days of talking pictures. He was under contract to Paramount where he directed many pre-Code films. Some of the stars he directed during this time included Kay Francis, William Powell, and Jean Arthur. In 1933, he moved to RKO and directed Irene Dunne in Ann Vickers (1933), Spitfire (1934) with Katharine Hepburn, and Of Human Bondage (1934) with Leslie Howard and Bette Davis. Of Human Bondage was a tremendous box office success and made Cromwell a top director in Hollywood. Other films he directed include Little Lord Fauntleroy (1936), The Prisoner of Zenda (1937), Since You Went Away (1944), Anna and the Kind of Siam (1946), and Dead Reckoning. He is the father of actor James Cromwell.

The Strand Theatre in Plainfield, NJ promotes Double Harness

Ann Harding (1901 - 1981) was an American stage, radio, movie, and television actress. She acted on Broadway and with other theater companies before going to Hollywood. Harding arrived in Hollywood just as the sound era in movies was beginning. Due to her stage training and perfect diction, Harding was one of the first major stars to emerge in the early days of talking pictures. Harding was under contract to Pathe, which was eventually taken over by RKO Pictures where she became one of its top female stars alongside Helen Twelvetrees and Constance Bennett. Harding received an Academy Award nomination for Best Actress for her performance in Holiday (1930). Katharine Hepburn played the same role in the 1938 version, and like Hepburn, Harding attended Bryn Mawr College. Other popular films starring Harding include The Animal Kingdon (1932), When Ladies Meet (1933), and Peter Ibbetson (1935). After the end of the 1930s, Harding’s popularity as a leading lady waned and she started playing secondary leads and character roles. She continued to act on the stage, radio, and television until her retirement in 1965.

William Powell (1892 – 1984) was an American actor who was most famous for the Thin Man series in which he costarred 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 Many 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 Millionare (1953), and Mister Roberts (1955).

Double Harness trivia:

• The $5000  (each) set aside for Joan and Valerie to be used for their wedding is equal to over $92,000 today.
• The newspaper announcing the home of Valerie and Dennis at being at 2200 Lombard Street in San Francisco was home to a pizzeria in 2016.
• The film had been out of circulation for decades due to a dispute with the producer’s estate. TCM acquired the rights to six films from RKO in 2007. Double Harness was one of the six.
• The film played Radio City Music Hall in New York City.

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

To join the discussion on Zoom on February 23, 2021, at 6:30 p.m. Central Time, click on the link here. Once you RSVP, you will get an email with a Zoom link.

Questions for discussion:

1. What do you think is the significance of the title?
2. What did you think of Joan’s plan to trap John into marriage?
3. Why do you think Joan acted so diligently on behalf of John’s business?
4. What do you think made John return to Joan and their marriage?
5. Ann Harding was a favorite of actress Barbara Stanwyck.What do you think Stanwyck saw in Harding’s acting style?

William Powell and Carole Lombard in “My Man Godfrey”

My Man Godfrey (1936) is an American screwball comedy directed by Gregory La Cava and starring William Powell and Carole Lombard. The film is based on a short novel, 1101 Park Avenue by Eric S. Hatch. My Man Godfrey is considered one of the best screwball comedies of all time. In 1999, the film was deemed “culturally significant” by the United States Library of Congress and selected for preservation in the National Film Registry.

Carole Lombard and William Powell

During the Great Depression, two socialite sisters, Cornelia and Irene Bullock (Gail Patrick and Carole Lombard respectively) are competing in a charity scavenger hunt and need to find a “forgotten man.” They come across a man living in a New York City dump, but Cornelia gets to him first. She offers Godfrey Smith (William Powell) $5 if he will come play along and help her win the scavenger hunt. Godfrey finds Cornelia’s attitude annoying and backs her up into an ash pile. Irene who has been watching the whole episode ends up speaking with Godfrey who finds her to be kind, but a little bit crazy, decides to help her. Irene drives the two of them to the Waldorf-Ritz Hotel where she presents Godfrey as her forgotten man. Irene wins the scavenger hunt and is so grateful that she offers Godfrey a job as a butler in her family’s home. Little does Godfrey realize that the Bullock family is quite eccentric and hasn’t been able to keep a butler for more than a few days. 

Myrna Loy and Powell in The Thin Man

Godfrey is a success as a butler impressing the entire family especially Irene who finds herself falling in love with him. But Godfrey has a secret and Cornelia, who has held a grudge since she fell in the ash pile, is determined to expose it.

Gregory La Cava (1892 – 1952) was an American film director best known for several landmark films from the 1930s including My Man Godfrey and Stage Door (1937). La Cava was born in Pennsylvania and studied at the Art Institute of Chicago. La Cava directed many of the top stars during his heyday including Irene Dunne, Helen Hayes, Constance Bennett, Charles Boyer, Claudette Colbert, Joel McCrea, Melvin Douglas, and Katharine Hepburn. LaCava directed Ginger Rogers in three films in three years: Stage Door, Fifth Avenue Girl (1939), and Primrose Path (1940).

William Powell (1892 – 1984) was an American actor who was most famous for the Thin Man series in which he costarred 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 Many 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 Millionare (1953), and Mister Roberts (1955).

Clark Gable and Carole Lombard on their wedding day

Carole Lombard (1908 – 1942) was an American film actress who gained great fame starring in screwball comedies. So popular was she as a comedic actress that Life magazine dubbed her “The Screwball Girl.” He got her start in silent films as a child and progressed to more important roles when a car accident almost ended her career. Glass from the car’s windshield cut up her face leaving her with a small scar. She eventually hit the big time in 1934 with her breakout performance in Twentieth Century co-starring John Barrymore. The film directed by Howard Hawks (a distant cousin of Lombard’s) lead to better roles and eventually superstardom. In Lombard’s short career, she appeared in several iconic films including My Man Godfrey, Nothing Sacred (1937), Mr. & Mrs. Smith (1941) directed by Alfred Hitchcock, and To Be or Not to Be (1942). At the height of her career, Lombard died in a plane crash while returning from a bond tour. At the time of her death, she was married to Clark Gable. Together they were one of Hollywood’s original power couples.

The excellent supporting cast includes Alice Brady, Gail Patrick, Jean Dixon, Eugene Pallette, Alan Mowbray, Mischa Auer, and Franklin Pangborn.

My Man Godfrey trivia:

• Was the first movie to be nominated in all four acting categories.
• Marion Davies, Constance Bennett, and Miriam Hopkins were all considered for the role of Irene.
• William Powell and Carole Lombard were once husband and wife and had been divorced for three years when they made the film.
• Jane Wyman has an uncredited role standing in the crowd in the Waldorf-Ritz Hotel.
• Gail Patrick (Cornelia) played Irene’s (Lombard) older sister, but in reality, was almost three years younger.

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

To join us for a discussion on Zoom on January 19, 2021, at 6 p.m. Central Time, click here. Once you RSVP, you will receive an email with an invitation to the discussion with the appropriate links. 

Questions for discussion:

1. Is there a serious message amidst all the comedy? If yes, what is it?
2. What do you think motivated Godfrey to get back on his feet?
3. Did you have a favorite supporting character?
4. Did Lombard and Powell have believable screen chemistry?
5. Why do you think the film has remained a classic 85 years after its initial release?

2017 Turner Classic Movies Film Festival (#TCMFF) Recap: The First Day

Hollywood, Thursday April 6, 2017
The first day of the 2017 Turner Classic Movies Film Festival started for me as a reunion of sorts. After checking into my room, I headed toward the Hollywood Roosevelt Hotel and Club TCM to catch up with #TCMParty friends. Then it was a mad dash to the hotel pool for the annual #TCMParty “class photo.” The last two years I’ve missed the photo, but this year I was determined. After some confusion about the pool area being closed, I made it! I guess three’s a charm.

Since I had the Classic Pass, I wasn’t able to attend the 50th anniversary screening of In the Heat of the Night (1967). So my choices were Love Crazy (1941), Some like it Hot (1959), Jezebel (1938), the documentary Dawson City: Frozen in Time (2016), and the poolside screening of Willy Wonka and the Chocolate Factory (1971). For me, the choice was pretty easy. I decided on Love Crazy with William Powell and Myrna Loy at the Egyptian. Actress Dana Delaney introduced the film and she was excited to do so, being a big Powell/Loy fan. This movie was new to me and it was hilarious. As always, Powell and Loy didn’t disappoint, but the movie featured great support from Gail Patrick, playing the other woman, of course, and Florence Bates, the mother-in-law from hell. And then there’s the always dependable Jack Carson on loan from Warner Bros. as the “other man.” This was a great pick to open my festival and a chance to appreciate the exceptional comic abilities of Powell and Loy, the perfect screen team.

Next up was a choice between The Man Who Knew Too Much (1934), Harold and Maude (1971), Requiem for a Heavyweight (1962), and I’m All Right Jack (1959). Again, this was a pretty easy choice for me. I’ve seen The Man Who Knew Too Much before, but the chance to see this early Hitchcock classic featuring a nitrate print, sealed the deal for me. Martin Scorsese introduced the film, which was a big surprise since no introduction was mentioned in the printed program. He was excited to be able to share the nitrate print of this film with us. The Man Who Knew Too Much was also presented at the Egyptian (all the nitrate screenings were shown there) which made it really easy to just exit after Love Crazy and get on line for the Hitchcock classic! Nitrate prints boast a “luminous quality and higher contrast than the cellulose acetate film that replaced it,” but honestly, without a comparison, it was hard for me to notice any real difference. But it didn’t ruin my enjoyment of the film. Even though I prefer the remake to the original, the 1934 version has a lot to offer in the way of suspense. We also get to see Edna Best as a leading lady before she started playing character parts like Martha Huggins in The Ghost and Mrs. Muir (1947). Plus the way the villain is dispatched is amazingly cool and completely Hitchcockian!

Alfred Hitchcock directing The Man Who Knew Too Much (1934)

After that is was bedtime. Friday would be the first full day and the first films screened at 9 a.m. And my choices would be: Rafter Romance (1933), The Maltese Falcon (1941), Cry, The Beloved Country (1951), Beyond the Mouse, The 1930s Cartoons of UB Iwerks, and It’s a Mad, Mad, Mad, Mad World (1963). What film did I choose?

What film would you choose?

Classic Movie Man’s Favorite Christmas Movies: 2014 Edition

It’s Christmastime again. And it’s time for some more classic Christmas films to enjoy during the holidays. Some of these films you might not associate with Christmas, but all feature the holiday prominently. Make some hot chocolate, light up the fireplace and get cozy on the couch or your favorite chair to watch some great classic movies!


Lady for a Day—1933 This early Frank Capra classic (released a year before It Happened One Night) is about Apple Annie (May Robson), a poor woman who sells fruit on the streets of New York City to support her daughter’s education in a Spanish convent school. Her daughter is coming to visit her mother, who she thinks is a society lady. Annie needs a Christmas miracle to keep up the charade when her daughter arrives with her fiancé Carlos and his father, Count Romero. Will Annie’s street friends and gambler Dave the Dude (Warren William) come to her aid? What do you think? It’s great classic entertainment from one of Hollywood’s great masters.

Backstory: Capra wanted Robert Montgomery (it was written with Montgomery in mind), James Cagney or William Powell to star as Dave the Dude and Marie Dressler to star as Annie, but their respective studios wouldn’t loan them out.

The Thin Man—1934 The first of the classic films featuring Nick and Nora Charles (William Powell and Myrna Loy) includes several scenes during the Christmas holiday. Nick, a former detective and Nora, his rich wife, solve murders for the fun of it. The film combines comedy, mystery, and slapstick (check out Myrna Loy’s terrific pratfall at the beginning of the movie). The Thin Man basically invented the comedy murder-mystery genre. It’s fast and furious, featuring some of the best dialogue of all time. Nora utters my favorite: “Waiter, will you serve the nuts? I mean, will you serve the guests the nuts?”

Backstory: The very efficient W. S. Van Dyke reportedly shot the film in only two weeks. The Thin Man was the first of six movies featuring the sleuthing Nick and Nora Charles, all starring Powell and Loy.

Bright Eyes—1934 This was the first film developed for Shirley Temple. Temple is Shirley Blake who lives with her mother Mary, (Lois Wilson) a maid in the house of the Smythe family. When she becomes an orphan on Christmas morning, Shirley’s future is uncertain. Her bachelor godfather and pilot, James “Loop” Merritt (James Dunn) would like to adopt the orphan, but wheelchair-bound Uncle Ned Smythe (Charles Sellon) wants Shirley to live with him. His snooty relatives, Anita and J. Wellington Smythe and their obnoxious daughter Joy (Jane Withers) reluctantly agree to his wishes, hoping to stay in his good graces financially. This is the film that features the song “On The Good Ship Lollipop,” a tune forever identified with Temple. Bright Eyes established Temple as a top box office star. Temple would continue to be a major fan favorite throughout the 1930s.

Backstory: Temple won a special juvenile Academy Award in 1935, the first year it was presented, for her work in Bright Eyes and Little Miss Marker. Shirley’s dog, Rags (Terry) was the same dog that played Totto in The Wizard of Oz.

Love Affair—1939 One of the great films from that amazing year stars Irene Dunne as singer Terry McKay and Charles Boyer as painter and playboy Michel Marnet. The two, both engaged to other people, meet on a trans-Atlantic liner and fall in love. Terry and Michel decide to meet at the top of the Empire State Building (the closest place to heaven) six months later. When the date arrives, Terry is hit by a car crossing the street and is badly injured. It is uncertain if she will ever be able to walk. Not wanting to gain Michel’s sympathy or be a burden, Terry refuses to contact him and tell him the reason she didn’t’ show up. The two accidentally meet at a theater, but it isn’t obvious to Michel that Terry cannot walk. Michel visits Terry on Christmas, gifting her with his mother’s shawl, something Terry had admired when she met the old woman who is now deceased. Michel finds out about Terry’s injury, but decides it doesn’t matter; they will be together whatever the diagnosis.

Backstory: Love Affair was nominated for six Academy Awards, including Best Picture and Best Actress (Dunne). The film was remade twice: An Affair to Remember (1957) starring Cary Grant and Deborah Kerr and Love Affair (1994), starring Warren Beatty and Annette Benning.


My Reputation—1946 Barbara Stanwyck plays Jessica Drummond, a young widow and mother of two sons from Chicago’s North Shore. Jess is mourning the loss of her husband as well as attempting to navigate the demands of being an upper class society woman. Her mother, Mary (Lucille Watson) is no help at all. She’s shocked when her daughter refuses to dress in black and makes Jess feel guilty for not following her example—Mary, a widow herself has been wearing black for decades. Fortunately for Jess, she has a great friend in Gina Abbott (Eve Arden) whom she confides in. Gina invites Jess to spend a week at Lake Tahoe with her husband. While skiing she meets Major Scott Landis (George Brent) who takes an immediate interest in her. Jess likes Scott and enjoys his company, but is reluctant to get too involved. The plot thickens when a friend of Jess’s mother sees her enter Scott’s apartment. It doesn’t take long for the society gang to spread rumors about Jess and her reputation, now seemingly tarnished. When Jess’s boys Kim (Scotty Beckett) and Keith (Bobby Cooper) come home from a Christmas party after hearing the gossip about their mother, things take an interesting turn. Stanwyck gives a subtle and sensitive performance as Jess and is ably supported by Brent and the rest of the cast. My Reputation is so well done and it’s a wonderful film to watch during the holidays.

Backstory: Made in 1944, the movie wasn’t released until 1946. The movie premiered in England to the Armed Forces. My Reputation was the first movie since the production code—enforced in 1934—to feature a double bed in a married couple’s bedroom.

In the Good Old Summertime—1949 Don’t let the title fool you! This musical remake of the Ernst Lubitsch classic, The Shop Around the Corner has several critical scenes that take place during the Christmas holidays and features the song “Merry Christmas.” Veronica Fisher (Judy Garland) and Andrew Larking (Van Johnson) are battling coworkers in a music store owned by Otto Oberkugen (S.Z. Sakall). Unbeknownst to Veronica and Andrew is the fact that they are each other’s secret pen pal. Garland is absolutely charming as Veronica and Johnson is perfect as Andrew. The supporting cast is a film buff’s delight that features the talents of Sakall, Spring Byington, Clinton Sundberg, and Buster Keaton, making his first film at M-G-M since being fired from the studio in 1933.

Backstory: Judy Garland replaced June Alyson who had to drop out of the movie due to pregnancy. Liza Minnelli made her film debut as the child of Veronica and Andrew in the closing shot.

Room for One More—1952 This heartwarming family film was a favorite of my family, especially around Christmastime. The movie stars Cary Grant and Betsy Drake (who were married at the time) as George “Poppy” and Anna Rose, a middle-class family who foster children who eventually become permanent members of their family. Anna is the softy of the two, or so it seems. The Roses have three children of their own, but after visiting an orphanage, Anna feels compelled to help at least one child. Poppy who is reluctant and grumpy about his wife’s willingness to bring strange children into their home, eventually warms up to the idea. Room for One More is a wonderfully entertaining film that demonstrates the importance of family, love, forgiveness, and reconciliation.

Backstory: The words “under God” are missing from the Pledge of Allegiance the schoolchildren recite because they weren’t added until 1954.

What do you think these of these choices? I would love to hear from you. Merry Christmas!

There are so many great classic movies to watch during the holidays. The above are just a small sampling. For a list of some other classic Christmas movies, click on the links below.

Classic Movie Man's Favorite Christmas Movies: 2010 Edition
Classic Movie Man's Favorite Christmas Movies: 2011 Edition

Classic Movie Man's Favorite Christmas Movies: 2012 Edition

Classic Movie Man's Favorite Christmas Movies: 2013 Edition

Screwball Comedy and the Feminine Mystique—New Film Club series begins in September

Henry Fond and Barbara Stanwyck in The Lady Eve

The 2013-14 Film Club is back at The Venue 1550 at the Daystar Center, 1550 S. State St., Chicago. Hosted by Stephen Reginald, the film club will feature seven classic screwball comedies, including The Awful Truth and The Lady Eve. Movies will be screened at 6:30 p.m. on the second Tuesdays* of the month, starting September 10, 2013. Reginald will introduce each film giving background information before screenings, with discussion afterward. Reginald is a freelance writer/editor and popular instructor at Facets Film School in Chicago. He was also the original host of Meet Me at the Movies.

Screwball Comedy and the Feminine Mystique will feature seven screwball comedies, featuring these icons of the genre: Irene Dunne, Katherine Hepburn, Barbara Stanwyck, Claudette Colbert, and Carole Lombard.

Production Code births the Screwball Comedy
With the enforcement of the Motion Picture Production Code in 1934, movie studios were restricted in their depiction of certain “unacceptable” activities on screen. Prior to the code, the studios produced a string of provocative films that, for the time, were quite sexually explicit.

Life Magazine dubbed Carole Lombard (left) “The Screwball Girl,”
while Clark Gable rarely made comedies
like It Happened One Night.

Once the self-censorship began, the major studios had to come up with clever ways to entertain audiences without going outside the boundaries of the code. Out of these new constraints came the screwball comedy. The use of snappy dialogue filled with double entendres substituted for more straightforward “sex talk,” with the female lead becoming the dominant sex talker, if you will. Professor and film historian, Maria DiBattista calls these women “fast-talking dames.”

This fast-talking by the female protagonist is used not only to get laughs, which it most certainly does, but also to transform the male into a new man of her own creation. This reverse Pygmalion scenario, as noted by DiBattista and others, is at the heart of the screwball comedy and places women in the primary role. This genre produced many familiar female screen icons, including Irene Dunne, Katherine Hepburn, Carole Lombard, and Barbara Stanwyck. This series will examine the screwball comedy, in the context of the female protagonist and her very important place in the canon of American cinema.


Tuesdays* at 6:30 p.m (CST)

September 10 It Happened One Night (1934) When her father threatens to annul her marriage to oily fortune hunter King Westley, heiress Ellie Andrews hops on a cross-country bus to New York. On the trip to meet her new husband, she is befriended by a gruff newspaper reporter named Peter Warne. He agrees to help her on her journey in exchange for exclusive rights to her story. When Ellie and Peter find themselves falling in love, things get complicated, but don’t worry because there are plenty of laughs along the way. Director Frank Capra won the first of his three Oscars for his direction. Stars Clark Gable and Claudette Colbert won Oscars for Best Actor and Actress respectively. It also won awards for Best Picture and Best Writing, making it the first film to sweep all the major Oscar categories, a record it would hold for decades.

October 8 My Man Godfrey (1936) Considered the definitive screwball comedy by many, the plot centers on the actions of the wealthy and eccentric Bullock family. When one of the Bullock daughters (Carole Lombard) hires a “forgotten man” to be their new butler, things get interesting. The film features brilliant performances from Lombard and William Powell as Godfrey. It also features an excellent supporting cast that includes Alice Brady, Eugene Pallette, Gail Patrick, Mischa Auer, and Jean Dixon. My Man Godfrey was the first film to receive Academy Award nominations in all four acting categories. Also nominated for Academy Awards were director Gregory La Cava (Stage Door, Fifth Avenue Girl) and screenwriters Eric Hatch and Morrie Ryskind.

November 19 Theodora Goes Wild* (1936) Irene Dunne plays Theodora Lynn, a small-town girl who has written a racy best-selling novel under the pen name Caroline Adams. Raised by her two maiden aunts, of Lynnfield, Connecticut, Theodora tries to keep Adams’s true identity a secret. On a trip to New York to meet with her publisher, she meets an artist named Michael Grant (Melvyn Douglas) who threatens to expose her real identity. When Theodora discovers that Michael has a few secrets of his own, she turns the tables on him and goes “wild.” Released a few months after My Man Godfrey, Theodora Goes Wild was a huge box office hit. It also revealed that Dunne had a unique gift for comedy. So good was Dunne that she received her second Academy Award nomination for Best Actress—competing against fellow Hoosier, Carole Lombard who was nominated in the same category for My Man Godfrey.

*Theodora Goes Wild will be screened on the third Tuesday in November.

December 10 Christmas in Connecticut* (1945) A big hit when released, this holiday classic is sometimes overlooked in the lists of great Christmas movies. Made when Barbara Stanwyck was at her peak, the story is clever and genuinely funny. Stanwyck is Elizabeth Lane, a writer for Smart Housekeeping magazine, who delights her readers with recipes and homemaking hints. Her character is sort of a 1940s version of Martha Stewart, except, unlike Martha, she has no domestic skills whatsoever. When compelled by her magazine publisher to entertain a war hero, Stanwyck goes into high gear to present herself as the perfect domestic goddess the reading public and her publisher think she is. This holiday charmer fits right in with our screwball comedy series.

*Christmas in Connecticut will be screened on Saturday December 7 at 6:30 p.m.

January 14 The Awful Truth (1937) The first screen pairing of Irene Dunne and Cary Grant is an (Love Affair, Going My Way,) won the Academy Award for his direction.
absolute gem. This Academy Award winning comedy has everything: great acting, dialogue, and a wonderful cast of supporting players. Lucy (Dunne) and Jerry (Grant) Warriner are facing divorce, but do they really want to break up? Lucy finds herself involved with a rich oil tycoon and Jerry starts courting a young woman from a well-heeled aristocratic family. Both try to foil the others’ new romances, while refusing to face the awful truth that they’re still in love with each other. Nominated for five Academy Awards, including a third Best Actress nod for Dunne. Director Leo McCarey

February 11 Bringing Up Baby (1938) Katharine Hepburn is Susan Vance, a rich heiress who becomes infatuated with a mild-mannered paleontologist named David Huxley (Cary Grant). What follows is a roller coaster ride of madcap adventures all initiated by Susan with the weak-willed David along for the ride as her not-so-willing accomplice. And then there’s a dog named George and that leopard named Baby! Director Howard Hawks’s pacing is frenetic. The action and dialogue is nonstop. Don’t be surprised if you’re exhausted after watching this film…but you’ll be smiling, we guarantee it.

March 11 The Lady Eve (1941) Father and daughter con artists (Charles Coburn and Barbara Stanwyck) travel on transatlantic cruise ships swindling rich passengers in card games. When the two spot big fish Charles Poncefort Pike (Henry Fonda), heir to Pike Ale—“The ale that won for Yale”—they decide to take him for all he’s worth. But when the daughter falls in love with their mark, things get complicated and hilarious. Preston Sturges directed his first big-budget hit with amazing results. A critical and financial success, The New York Times declared The Lady Eve the best picture of 1941, above Citizen Kane! Once you see this film you’ll understand why they came to that amazing conclusion.

If you love classic cinema, you should join the Chicago Film Club. It’s free to join. Come share your love of the movies; it’s fun!



Daystar Center located at 1550 S. State St. works through a grassroots network of collaborations and partnerships with individuals and other nonprofit organizations. Through this web, they’re able to provide educational, cultural, and civic activities that enrich and empower their clients, guests, and community members. To learn more about classes and events offered at the Daystar Center, please visit their Web site.