2026 #TCMFF Wrap-Up

Another Turner Classic Film Festival (TCMFF) is in the books. This year’s festival was held from April 30 to May 3. The anticipation for the TCMFF is huge. Thinking about the film festival helps get me through the Chicago winters.

At this festival, I saw 11 movies. This total is the lowest of all my festivals, dating back to 2015. There were so many movies I wanted to see that I had to be strategic, so I passed on some films to guarantee that I’d get into the ones I really wanted to see and the ones I knew would be the most popular.

 

What did I see?

Thursday, April 30

Out of the Past (1947) I love this classic film noir starring Robert Mitchum and Jane Greer, co-starring Kirk Douglas and Rhonda Fleming. The movie was introduced by Eddie Muller and Dana Delany. The film we saw at the Egyptian Theatre was a 4K restoration by Warner Bros. Discovery. Not as famous as Double Indemnity (1944), but every bit as good. A must-see on any screen.

Man Hunt (1941). This World War II drama stars Walter Pidgeon and Joan Bennett. Pidgeon stars as a big-game hunter whose failure at assassinating Hitler puts him on the run. He meets up with Bennett, a Cockney streetwalker who helps to hide him from his Nazi pursuers. Directed by Fritz Lang, this is the beginning of his collaboration with Bennett that included The Woman in the Window (1944), Scarlet Street (1945), and The Secret Beyond the Door (1947). The film was screened in Chinese Multiplex #6.

Friday, May 1

Letty Lynton (1932). The movie that everyone has been dying to see for over 90 years. If you’re a classic movie fan, you’ve heard of this film. Presented in a beautiful 4K restoration by Warner Bros. Discovery. The film stars Joan Crawford and Robert Montgomery. The other star is the clothes designed for Crawford by the legendary M-G-M costume designer, Adrian. The film was introduced by Eddie Muller, George Feltenstein, and Casey LaLonde, Joan Crawford’s grandson. According to Muller and LaLonde, this was the movie that made Joan Crawford, Joan Crawford. At the screening, we learned that the film will be released on Blu-Ray in June. The film was screened in the Egyptian Theatre.

Joan Crawford in the Letty Lynton dress

Strangers on a Train (1951) As soon as Letty Lynton let out, I was back on line at the Egyptian Theatre. Strangers on a Train was the beginning of Alfred Hitchcock’s amazing string of classic movies. After a series of box-office disappointments like Rope (1948), Under Capricorn (1949), and Stage Fright (1950), many people thought Hitchcock had lost his touch. Strangers on a Train put that idea to rest. Hitchcock would produce a string of classics, including Rear Window (1954), The Man Who Knew Too Much (1956), Vertigo (1958), North by Northwest (1959), Psycho (1960), and The Birds (1963). The film was introduced by Alicia Malone with special guest Carol Burnett. She was an usher at the old Warner Bros. Theatre on Hollywood Blvd. while on summer break from college. Strangers was playing, and in the old days, movies ran continuously. You could walk into the theater during the middle of the movie, sit down, watch, and then when the movie got to the part where you came in, you’d leave. While Carol was working as an usher, an old couple came during the film’s finale and wanted to be seated. Carol tried to convince the couple that they should wait until the film started again because it would spoil their enjoyment. The manager overheard this “discussion,” and Carol was fired on the spot. When she became famous, and she was asked where she’d like her star on the Hollywood Walk of Fame, she asked for it to be right in front of the old movie theater. Years later, when Alfred Hitchcock heard about Carol’s firing, he sent her a framed copy of the movie poster. He wrote, “Dear Carol, I’m sorry. Alfred Hitchcock.”

Fred MacMurray and Carole Lombard

The Princess Comes Across (1936) is a forgotten screwball comedy/mystery starring Carole Lombard and Fred MacMurray. This was the second of four films the stars made together. Alicia Malone interviewed Kate MacMurray, the daughter of Fred MacMurray and June Haver. Kate spoke lovingly of her father and his friendship with Lombard. She said he was his favorite leading lady, although I heard her say at the screening of The Egg and I at an earlier festival that Claudette Colbert was his favorite. In any event, it was a delightful movie shown in a packed Theater #4. Kate had never seen the movie on the big screen, so she stayed and watched it with us. She was sitting right behind me.

Saturday, May 2

Phantom Lady (1944) Saturday morning was relaxing. I decided to skip all the early-morning movies and have a nice breakfast at 25 Degrees, inside the Hollywood Roosevelt Hotel. I wanted to get into see Phantom Lady in Theater #4, so that was one of the reasons I passed on the earlier films. After breakfast, I went to the Multiplex and was first in line for Phantom. The theater was totally sold out, so my strategy worked. Eddie Muller interviewed Christina Lane, the author of her 2020 biography, Phantom Lady: Hollywood Producer Joan Harrison. It was a great introduction, but the 35mm print was not the best, which was a bit disappointing. Fortunately, the film is good enough that you could get past the less-than-perfect print. I’m glad I got to see it on the big screen.

Ella Raines and Alan Curtis in the shadows

There’s Always Tomorrow (1956) is a classic Douglas Sirk melodrama starring Barbara Stanwyck, Fred MacMurray, and Joan Bennett. MacMurray is a married (to Bennett) father of three children and feels like his life is dull and meaningless. When Stanwyck surprises MacMurray with a visit while she’s in town, he begins to think that life with Stanwyck, an old colleague, would be better than the life he’s currently living. How will it all end? The movie was introduced by Dana Dalany and former child actress Gigi Perreau, who starred in the film as the older daughter of MacMurray and Bennett’s characters. Perreau had some interesting stories about the making of the film, including the fact that she felt that Stanwyck was in total control of the movie and not in a bad way. She said she, “Missy,” played cards and smoked cigarettes with the crew, which was something she would never have been allowed to do as a teenager on the set. Another packed house in Theater #4.

The Devil and Miss Jones (1941) is a delightful comedy starring Jean Arthur, Robert Cummings, Spring Byington, Edmund Gwenn, and Charles Coburn. It’s a tale of labor versus management. Charles Coburn is a rich industrialist who owns a New York City department store. He’s so rich that he didn’t even know he owned it, until he was hanged in effigy by a disgruntled department store staff that includes Arthur, Cummings, and Byington. Cummings is an organizer fighting for better treatment for employees. Coburn is convinced that he can get things under control by going undercover as a department store employee. Much to his own surprise, he becomes friendly with the “agitators” and becomes their champion. I don’t remember who introduced this film, but it attracted a good crowd in Multiplex Theater #1.

Sunday, May 3

The Best Years of Our Lives (1946) is one of my favorite movies. I’ve always wanted to see it on the big screen, and it was a great experience. What we saw was a restored version of the film that looked brand new. I was a special guest of author Alison Macor, who introduced the movie. She wrote a book, The Making of The Best Years of Our Lives: The HollywoodClassic That United a Nation. Seeing it with an audience was special. When two of the main characters got together, the audience applauded. Thanks to Alison, I got a “golden ticket,” which meant I didn’t have to wait in line and had a reserved seat! Not bad. There was a good crowd, although I think it should have been packed in Multiplex Theater #1.

Dana Andrews and Teresa Wright

From Song to Scene was an event in Club TCM with a trio of music supervisors, with Eddie Muller moderating. The job of the music supervisor is to work with the director to make sure the music used in a film matches the narrative. One of the three music supervisors, Maureen Crowe, graduated from high school with me. We both graduated from Holy Trinity High School, Hicksville, Long Island, New York. We last saw each other at our high school reunion in October and planned on seeing each other during the festival. However, she wasn’t on the TCM schedule at that time. It was great seeing her in action, and she and her colleagues were thrilled by the positive reaction.

Maureen and me

Trouble in Paradise (1932) I have to admit that I don’t think I’ve seen this pre-Code classic from beginning to end. I’ve seen parts of it over the years, so seeing it on the big screen in a beautiful 4K digital restoration was a real treat. Director Ernst Lubitsch was a master of pre-Code comedies, and Trouble may be his best film from this period. The movie was introduced by Julia Sweeney, a true Lubitsch fan. Her introduction was funny, informative, and brief. Translation: it was perfect! I think Multiplex #1 was sold out for this showing.

Kay Francis, Herbert Marshall, and Miriam Hopkins

Lady Windemere’s Fan (1925) was a silent film version of the Oscar Wilde play, directed by Ernst Lubitsch (two Lubitsch films in one day). It starred a very young Ronald Colman. The film was accompanied by the Molto Alto Motion Picture Orchestra. The film, restored by The Museum of Modern Art, was beautiful. It looked as good as it probably looked in 1925 when it first premiered. The last three festivals, I’ve ended with a silent film (last year’s silent, Beau Geste (1926), also starred Ronald Colman).  The film was introduced by TCM host Jacqueline Stewart in the Egyptian Theatre.

Another great festival is in the books.

I’m already thinking of next year!

 

 

 

“Jezebel”: A Southern Firebrand’s Descent from Scandal to Redemption

Released in 1938 and directed by William Wyler, Jezebel is a classic Southern melodrama set in 1850s New Orleans. The story follows Julie Marsden (played by Bette Davis), a headstrong and defiant socialite whose fiery temperament often clashes with the rigid codes of the Antebellum South. The film’s central conflict is ignited when Julie, in an act of social rebellion intended to pique the jealousy of her fiancé, Preston “Pres” Dillard (Henry Fonda), insists on wearing a scandalous red dress to the exclusive Olympus Ball, where tradition dictates that unmarried women wear only white.

This act of defiance backfires spectacularly, as Pres, feeling humiliated and pressured by societal expectations, forces Julie to dance through the crowd’s visible disdain before ultimately breaking off their engagement. Following the scandal, Pres leaves New Orleans for the North, leaving a heartbroken Julie to retreat into isolation at her plantation. She spends a year in seclusion, fueled by the hope that he will return and forgive her. However, when Pres finally reappears, he is accompanied by his new Northern wife, Amy, shattering Julie’s illusions and driving her to desperate, spiteful attempts to win him back.

The film reaches its emotional and literal fever pitch as a deadly yellow fever epidemic sweeps through the city. When Pres falls ill, the crisis forces a transformation in Julie’s character.

Will Julie redeem herself in Press’s eye and restore her reputation with her family and friends?

 

Bette Davis, born Ruth Elizabeth Davis (1908 – 1989) was a towering figure of the Golden Age of Hollywood, renowned for her intense acting style and willingness to play unsympathetic, complex characters. Over a career spanning more than six decades, she became the first person to accrue ten Academy Award nominations for acting, winning Best Actress twice for Dangerous (1935) and Jezebel (1938). Her sharp wit and distinctive delivery made her an icon in classics like Dark Victory and All About Eve, while her fierce independence led to a landmark legal battle against the studio system for better creative control. Davis continued to work across film, television, and theater until her death leaving behind a legacy as one of the most decorated and influential performers in cinematic history.

Henry Fonda (1905 – 1982) was a definitive icon of American cinema, celebrated for a career that spanned five decades and a screen presence characterized by quiet integrity and understated strength. After honing his craft in the theater, Fonda transitioned to Hollywood, where he became a favorite of director John Ford, delivering an Oscar-nominated performance as Tom Joad in The Grapes of Wrath (1940) and portraying the steadfast Juror 8 in the classic courtroom drama 12 Angry Men (1957). While he was often cast as the moral everyman in films like Young Mr. Lincoln and Mister Roberts, he demonstrated his range with a chilling turn as a ruthless villain in Once Upon a Time in the West (1968). Fonda eventually earned a long-awaited Academy Award for Best Actor for his final film role in On Golden Pond (1981), capping off a legacy that solidified him as one of the most respected performers in the history of the silver screen.

George Brent (1899 – 1979) was a versatile and prolific leading man of the Golden Age, best remembered as one of Hollywood’s most dependable “woman's director” favorites and a frequent collaborator with the era’s top actresses. Born in Ireland, he eventually made his way to Warner Bros., where he became the quintessential sophisticated foil to stars like Barbara Stanwyck, Ruth Chatterton, and most famously, Bette Davis, with whom he appeared in eleven films, including Dark Victory (1939) and The Great Lie (1941). Though he often played the role of the steady, gentlemanly love interest, Brent’s career also featured notable turns in adventurous fare and noir thrillers such as The Spiral Staircase (1946). After appearing in scores of features through the 1930s and 40s, he transitioned into television during the 1950s before retiring from the screen to focus on his interests in horse racing and ranching.

 

Jezebel trivia

The "Consolation" Prize: Many film historians believe Bette Davis was offered the role of Julie Marsden as a consolation prize from Jack Warner after she failed to land the role of Scarlett O'Hara in Gone with the Wind. Ironically, Davis won her second Academy Award for Jezebel, beating out the competition a year before Vivien Leigh’s iconic win.

The Scandalous Red Dress: Although the famous dress Julie wears to the Olympus Ball is described as red to signify her defiance and shame, the film was shot in black and white. To achieve the correct level of dark, satiny contrast against the white gowns of the other extras, the costume department actually used a rust-colored bronze or deep black fabric for the dress during filming.

A Master of Perfection: Director William Wyler was notoriously nicknamed “40-Take Wyler” due to his perfectionism. This film marked the beginning of a legendary (and often volatile) professional and personal relationship between Wyler and Davis; she later credited him with being the director who helped her realize her full potential as an actress.

The Legend of the Fever: While the film’s climax focuses on a yellow fever epidemic, the production itself was quite healthy. However, the film is credited with being one of the first major Southern Belle dramas to focus heavily on the gritty reality of nineteenth-century medical crises, blending high-society melodrama with a survivalist medical thriller.

 

Click HERE to watch the movie on the Internet Archive.

Click HERE to join the discussion on May 18, 2026, at 6:30 p.m. CDT. Once you RSVP, you will receive an invitation with a link to join the discussion on Zoom.

 

Discussion questions

The Symbolism of the Red Dress: In the context of 1850s New Orleans society, the red dress incident serves as the film's catalyst. How does Julie’s decision to wear the dress reflect her character’s internal conflict between her desire for independence and her need for social validation? Was her act one of genuine bravery or merely a self-destructive whim?

Gender Roles and Social Codes: Pres Dillard represents a more modern, Northern-influenced perspective on business, yet he adheres strictly to Southern codes of honor regarding women’s behavior. How do the era's shifting social expectations create the friction that drives Julie and Pres apart? Does the film suggest that these rigid codes are ultimately more dangerous than the yellow fever epidemic?

The Nature of Redemption: By the end of the film, Julie makes the ultimate sacrifice to nurse Pres on the fever island. Is this transformation a believable character arc, or is it a desperate attempt to maintain control over him one last time? Does the film view her redemption as a triumph of her spirit or a tragic submission to the Jezebel label?

Amy vs. Julie: Amy is often portrayed as the perfect Northern wife—composed, forgiving, and rational—in contrast to Julie’s fire-and-brimstone Southern personality. In the final confrontation between the two women, who holds the true power? Discuss how the film handles the dynamic between the traditional wife and the fallen woman.

 

A Whimsical Experiment in Altruism: Margaret Sullavan as “The Good Fairy”

Directed by William Wyler and released in 1935, this sparkling screwball comedy features a screenplay by the legendary Preston Sturges. The story follows Luisa Ginglebusher (Margaret Sullavan), a naive and wide-eyed orphan released from her sheltered upbringing into the bustling streets of Budapest. Armed with an unwavering belief in human goodness and a self-appointed mission to act as a “good fairy” to those she encounters, Luisa quickly finds that her innocent meddling has complicated consequences after she lands a job as a movie theater usherette.

The plot thickens when Luisa catches the eye of Konrad (Frank Morgan), a wealthy and predatory meat-packing tycoon. To deflect his aggressive romantic advances while still hoping to use his resources for a charitable cause, Luisa fabricates a story that she is already married. When Konrad insists on rewarding her “husband” with a lucrative business contract to prove his supposed high-mindedness, Luisa realizes she must quickly find a real person to inhabit the role before her web of white lies collapses.

Luisa decides to pick a name at random from the telephone book, landing on Dr. Max Sporum (Herbert Marshall), a struggling, ethically upright lawyer living in near-poverty. Without Max’s knowledge, Luisa maneuvers Konrad into bestowing a sudden windfall of legal work and wealth upon the unsuspecting attorney. As Max’s life transforms overnight, he becomes convinced that his own merit is finally being recognized, while Luisa—aided by her cynical but protective waiter friend Detlaff (Reginald Owen)—struggles to maintain the charade.

As the “good fairy” finds herself increasingly entangled in the lives of these two very different men, the film explores the comedic friction between cynical ambition and pure-hearted idealism. Under Wyler’s sophisticated direction, Luisa must navigate a series of misunderstandings and narrow escapes to ensure her quest to do good doesn’t end in disaster. The result is a witty exploration of whether one can truly change the lives of others without causing a little bit of delightful chaos along the way.

 

William Wyler (1902 - 1981) was a titan of Hollywood’s Golden Age, renowned for his meticulous craftsmanship and an uncompromising perfectionism that earned him the nickname “40-Take Wyler.” Born in Alsace, Germany (now France), he moved to the United States in the early 1920s and rose through the studio system to become one of the most decorated directors in history, garnering a record twelve Academy Award nominations for Best Director. Wyler was a master of diverse genres, helming timeless classics such as the sweeping epic Ben-Hur (1959), the poignant post-war drama The Best Years of Our Lives (1946), and the sophisticated romance Roman Holiday (1953). His legacy is defined by his innovative use of deep focus cinematography and his uncanny ability to guide actors—including Margaret Sullavan, Bette Davis, and Audrey Hepburn—to career-defining performances.

Margaret Sullavan (1909 - 1960) was a luminous and fiercely independent star of the 1930s and 40s, celebrated for her husky, tremulous voice and a naturalistic acting style that set her apart from the stylized glamour of her contemporaries. Born in Norfolk, Virginia, she initially balked at the Hollywood studio system, preferring the discipline of the Broadway stage, yet she eventually became one of the screen's most poignant leading ladies. Sullavan is best remembered for her heart-wrenching performances in dramas like Three Comrades (1938), for which she received an Academy Award nomination, and her quintessential turn as the feisty Klara Novak in the holiday classic The Shop Around the Corner (1940). Despite a relatively brief filmography and a tumultuous personal life, her ability to blend fragile vulnerability with a sharp, intelligent wit ensured her legacy as one of the most respected performers of her generation.

Herbert Marshall (1890 - 1966) was the quintessence of the urbane British gentleman, beloved by audiences for his resonant, velvet voice and a quiet dignity that became his cinematic trademark. Born in London, he initially pursued a career in accounting before finding his true calling on the stage, a path briefly interrupted by his service in World War I, where he suffered a combat injury that resulted in the amputation of his leg. Despite this, his seamless grace and charm allowed him to transition effortlessly to Hollywood, where he became one of the most sought-after leading men of the 1930s. Marshall is perhaps best remembered for his sophisticated turn as the gentleman thief Gaston Monescu in Ernst Lubitsch’s Trouble in Paradise (1932) and for his poignant performances as the steady, often-betrayed husband in classic dramas like The Letter (1940) and The Little Foxes (1941). A versatile performer who navigated both sparkling comedies and somber melodramas with equal poise, he remained a distinguished presence on screen for over three decades, leaving an indelible mark as a symbol of resilience and refined elegance.

Frank Morgan (1890 - 1949) was a master of the flustered, well-meaning eccentric, a quintessential character actor whose stammering delivery and bewildered charm made him a beloved fixture of Hollywood’s Golden Age. Born Francis Phillip Wuppermann in New York City, he followed his brother Ralph into the acting profession, honing his craft on the Broadway stage before transitioning to a prolific film career spanning over thirty years. Though he was a versatile performer capable of dramatic depth—earning Academy Award nominations for his work in the 1934 version of The Affairs of Cellini and the 1942 drama Tortilla Flat—Morgan is eternally immortalized for his multifaceted performance in the 1939 masterpiece The Wizard of Oz. As the titular Wizard, along with several other colorful roles in the Land of Oz, he perfectly balanced humbug bluster with a deeply touching sense of humanity. A mainstay at MGM, his presence in classics like The Shop Around the Corner (1940) and The Three Musketeers (1948) cemented his reputation as a performer who could steal a scene with a single befuddled glance, leaving behind a legacy as one of cinema's most endearing and recognizable figures.

 

The Good Fairy trivia

• A Turbulent Romance: Director William Wyler and star Margaret Sullavan were notorious for clashing on set, with Sullavan frequently walking off in a temper. However, in a surprising twist, Wyler realized her acting improved on the days they didn’t fight; he began treating her with more patience, the two fell in love, and they actually eloped to Yuma, Arizona, in the middle of production.
• A “Sanitized” Script: The film was one of the first major productions to be heavily affected by the strict Hays Code censorship rules implemented in 1934. Writer Preston Sturges had to rewrite the original Ferenc Molnár play extensively to remove “objectionable” material, including a scene where the orphanage head explains the “facts of life” and the removal of a sofa from a bachelor's apartment to avoid risqué implications.
• The “Wizard” Connection: Four years before he became world-famous as the titular character in The Wizard of Oz (1939), Frank Morgan played the wealthy Konrad in this film. In a prophetic bit of dialogue, his character actually refers to himself as a “wizard” while offering to use his checkbook to perform “magic” for Luisa.
• Sturges’ Creative Frustration: Preston Sturges was kept under immense pressure during filming, often finishing script pages only a day before they were shot. His frustration with how directors (including Wyler) handled his dialogue in this and later films eventually led him to become a director himself, culminating in his legendary run of 1940s comedies.

 

Click HERE to watch the movie online.

Click HERE to join the online discussion on March 16, 2025, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation with a link to join the discussion on Zoom.

 

Discussion questions

1. The Ethics of Deception: Luisa Ginglebusher begins her journey with a vow to be a “good fairy,” yet her primary method of doing good is through a complex web of lies. Does the film suggest that white lies are a necessary tool for survival in a cynical world, or does the resulting chaos prove that her naive meddling is actually irresponsible?
2. The Power of the “Self-Made” Myth: When Dr. Max Sporum receives his sudden windfall, he immediately attributes his success to his own unrecognized merit rather than luck or outside intervention. What does this say about the human ego, and how does his transformation from a humble, starving lawyer to a wealthy man change his character?
3. A “Hays Code” Heroine: Given that the film was produced under the strict moral guidelines of the 1934 Production Code, how does the script balance Luisa’s perceived “innocence” with the predatory nature of the men around her? Does the film’s humor effectively subvert the censors, or does it feel restrained by them?
4. Wyler vs. Sturges: The film features a unique collision of styles: the sophisticated, visual storytelling of director William Wyler and the fast-talking, cynical wit of writer Preston Sturges. Can you identify moments where these two styles clash or complement each other? For instance, does the romance feel sincere (Wyler) or purely satirical (Sturges)?

Greer Garson is “Mrs. Miniver”

Mrs. Miniver (1942) is an American drama directed by William Wyler and starring Greer Garson, Walter Pigeon, and Teresa Wright. Others in the case include Dame May Whitty, Reginald Owen, Henry Wilcoxon, Richard Ney, and Henry Travers.

The film introduces us to the idyllic life of an upper-middle-class family in a quiet English village just before the outbreak of World War II. Mrs. Kay Miniver (Garson) is a resourceful wife and mother who lives with her architect husband, Clem (Pigeon), their three children, and their home on the Thames. This peaceful existence is about to change in ways the Minivers could never have imagined.

William Wyler (1902 - 1981) was an American (born in Mulhouse, Alsace, then part of Germany) film director and producer. He won the Academy Award for Best Direction three times: Mrs. Miniver (1942), The Best Years of Our Lives (1946), and Ben-Hur (1959). Wyler was nominated 12 times for Best Director, an Academy Award history. Wyler started working in the movie business during the silent era, eventually making a name for himself as a director in the early 1930s. He would go on to direct Wuthering Heights (1939), The Westerner (1940), and The Little Foxes (1941). Actress Bette Davis received three Oscar nominations under Wyler’s direction, winning her second Oscar for her performance in Jezebel (1938). Other popular films directed by Wyler include The Heiress (1949), Roman Holiday (1954), Friendly Persuasion (1956), The Big Country (1958), and Funny Girl 1968).

Greer Garson (1905 – 1996) was a British-American film actress and singer. Garson was a top box office star from 1942 to 1946. She received seven Academy Award nominations for Best Actress, winning for her performance in Mrs. Miniver (1942). A favorite of M-G-M’s studio head Louis B. Mayer, Garson was cast in some of the most popular pictures the studio produced, including Pride and Prejudice (1940), Blossoms in the Dust (1941), Random Harvest (1942), Madame Curie (1943), Mrs. Parkington (1944), and The Valley of Decision (1945). Later in her career, she was nominated for her seventh Best Actress Award for Sunrise at Campobello (1960), playing Eleanor Roosevelt.

Walter Pidgeon (1897 - 1984) was a Canadian-American actor. During his long career, he was nominated for two Best Actor Academy Awards—Mrs. Miniver (1942) and Madame Curie (1943). Pidgeon worked on the stage before he entered films, making his Broadway debut in 1925. When he started working in film, he starred in musicals. Once the interest in musicals declined, he began making a name for himself in dramas and comedies during the mid-1930s. His lead role in How Green Was My Valley restored his popularity. He was first paired with Greer Garson in Blossoms in the Dust (1941). They made a total of eight films together, making them one of the screen’s most popular acting teams. Some of their other films include Mrs. Miniver (1942), Mrs. Parkington (1944), Julia Misbehaves (1948), and That Forsyte Woman (1949). Pidgeon has success on his own in films like Week-End at the Waldorf (1945), The Bad and the Beautiful (1952), and the science fiction classic, Forbidden Planet (1956). One of Pidgeon’s last film roles was Funny Girl (1968) where he portrayed Florenz Ziegfeld.

Teresa Wright (1918 - 2005) was an American stage, film, and television actress. She received Academy Award nominations in her first three films, a record that holds today. In 1942, she was nominated for Best Supporting Actress for Mrs. Miniver and for Best Actress in The Pride of the Yankees. She won the Supporting Oscar for Mrs. Miniver; her co-star, Greer Garson, won Best Actress. Today, Wright is most famous for playing Lou Gehrig’s wife in The Pride of the Yankees, The Best Years of Our Lives, and Alfred Hitchcock’s Shadow of a Doubt (1943). Wright was a popular star throughout the 1940s, starring opposite Robert Mitchum, Ray Milland, Gary Cooper, and David Niven. She starred opposite Marlon Brando in his first film role in The Men (1950). Wright continued working in film, with her last role as Miss Birdie in The Rainmaker (1997). Wright is the only non-baseball player to be honored by the New York Yankees when she passed away at age 86. 

Teresa Wright and Greer Garson

Mrs. Miniver trivia

• Propaganda Value: British Prime Minister Winston Churchill famously said that the film was “more powerful to the war effort than the combined work of six military divisions.” U.S. President Franklin D. Roosevelt also believed in the film's power and ordered its rousing final speech—delivered by the vicar—to be printed on leaflets and dropped over Europe as a morale booster.
• A Historic Oscar Speech: The film's star, Greer Garson, won the Academy Award for Best Actress. Her acceptance speech is legendary for its length, lasting an incredible 5½ minutes and setting a Hollywood record for the longest Oscar speech ever.
• On-Screen Son, Real-Life Husband: In the film, actor Richard Ney played Greer Garson’s son, Vin Miniver. The two fell in love during production and married the following year, though their marriage would end in divorce in 1947.
• Box Office and Awards Success: Mrs. Miniver was a massive hit, becoming the highest-grossing film of 1942 and the second-biggest box-office hit of the decade, after Gone with the Wind. It was also a critical darling, receiving twelve Academy Award nominations and winning six, including Best Picture, Best Director, and the first-ever five acting nominations for a single film.

Click HERE to watch the film on the Internet Archive.

Click HERE to join the online discussion on Monday, August 18, 2025, at 6:30 p.m. Once you RSVP, you will receive an invitations with a link to join the discussion on Zoom.

Discussion questions

1. How does the film portray the gradual shift from peaceful, everyday life to the full-scale reality of war? What specific scenes or events illustrate this change most effectively?
2. The film was a powerful piece of Allied propaganda. In what ways do you see it trying to influence its audience's opinion on the war? Consider the portrayal of the Miniver family, the German pilot, and the vicar's final speech.
3. Discuss the role of women in the film. How does Mrs. Miniver's character challenge or conform to the traditional gender roles of her time, particularly in her actions during the Dunkirk evacuation and her confrontation with the German pilot?
4. The final scene, where the surviving townspeople gather in the bombed-out church, is one of the most famous in cinema history. What is the message of this scene, and why do you think it resonated so strongly with audiences during World War II?
5. How does the film use both grand, epic moments (like the Dunkirk evacuation) and intimate, personal moments (like the Minivers' family life) to tell its story? How do these two scales of storytelling work together to create an emotional impact?

Kirk Douglas, Eleanor Parker, and William Bendix star in “Detective Story”

Detective Story (1951) is an American drama directed by William Wyler and starring Kirk Douglas, Eleanor Parker, and William Bendix. The supporting cast includes Cathy O’Donnell, George Macready, Lee Grant, and Joseph Wiseman. This was the film debut for both Grant and Wiseman.

The film takes place over one day at a New York City police station. Kirk Douglas plays a tough detective who, in his pursuit of criminals, leads him to discover a secret that could destroy his marriage and career.

Click HERE to watch the film on the Internet Movie Archive

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Click HERE to join the online discussion on May 5, 2025, at 6:30 p.m. Central Time. Once you RSVP, you will receive an email with a link to join the discussion on Zoom.

Kirk Douglas and Eleanor Parker

Detective Story trivia

• The film was nominated for four Academy Awards, including Best Actress for Eleanor Parker and Best Supporting Actress for Lee Grant.
• Alan Ladd was originally offered the role of Detective McLeod.
• The film is based on the Broadway play that ran for 581 performances. Ralph Bellamy starred as Detective McLeod.
• Joseph Wiseman and Lee Grant recreated their stage roles.
• Cathy O’Donnell and Gladys George were directed by William Wyler in The Best Years of Our Lives.

Discussion questions

1. Do you think the play transferred to film successfully?
2. Eleanor Parker is on screen for just over 20 minutes but it was enough for her to get a Best Actress nod. Do you think she deserved it?
3. What did you think of Kirk Douglas’s performance as the detective?
4. The movie has an amazing supporting cast. Did any one performance stand out to you?
5. Did anything about the film surprise you
6. Would you recommend this movie to a friend?

Olivia de Havilland is “The Heiress”

The Heiress (1949) is an American drama produced and directed by William Wyler and starring Olivia de Havilland, Montgomery Clift, and Ralph Richardson. The supporting cast included Miriam Hopkins, Mona Freeman, Selena Royle, and Vanessa Brown.

The film takes place in New York City in 1849 and concerns one Catherine Sloper (de Havilland), a shy young woman, who lives with her wealthy father Dr. Austin Sloper (Richardson). Dr, Sloper and Catherine live in the prestigious Washington Square neighborhood.

When Catherine is introduced to Morris Townsend (Clift) at a ball, she is charmed by the handsome young man. Catherine falls madly in love with Morris. He seems gracious and caring…and loving. However, Catherine’s stern father disapproves of the relationship, concerned that Morris is only interested in Catherine because of her wealth.

Will Catherine and Morris’s relationship thrive or die over her father’s objections?

 

Montgomery Clift, Olivia de Havilland, and Ralph Richardson

William Wyler (1902 - 1981) was an American (born in Mulhouse, Alsace, then part of Germany) film director and producer. He won the Academy Award for Best Direction three times: Mrs. Miniver (1942), The Best Years of Our Lives (1946), and Ben-Hur (1959). Wyler was nominated 12 times for Best Director, an Academy Award history. Wyler started working in the movie business during the silent era, eventually making a name for himself as a director in the early 1930s. He would go on to direct Wuthering Heights (1939), The Westerner (1940), and The Little Foxes (1941). Actress Bette Davis received three Oscar nominations under Wyler’s direction, winning her second Oscar for her performance in Jezebel (1938). Other popular films directed by Wyler include The Heiress (1949), Roman Holiday (1954), Friendly Persuasion (1956), The Big Country (1958), and Funny Girl 1968).

Olivia de Havilland (1916 – 2020) was a British-American actress and two-time Best Actress Academy Award winner. De Havilland’s career spanned more than five decades. She was one of the leading actresses of the 1940s and was the last major surviving star from Hollywood’s Golden Age. Some of de Havilland’s classic films include The Adventures of Robin Hood (1938), Gone with the Wind (1939), Hold Back the Dawn (1941), To Each His Own (1946), The Snake Pit (1948), and The Heiress (1949).

Montgomery Clift (1920 – 1966) was an American actor. He was a four-time Academy Award nominee for Best Actor. Like Marlon Brando and James Dean, Clift was considered one of the original method actors. Clift got his start on the stage as a young man and starred opposite the likes of Tallulah Bankhead, Frederic March, and Alfred Lunt and Lynn Fontanne. Clift’s first movie role was in Howard Hawks’s Red River (1949), starring opposite John Wayne. He went on to co-star with Olivia de Havilland in William Wyler’s The Heiress (1949). He reached superstar status in the role of George Eastman in the George Stevens production of A Place in the Sun (1951), starring opposite Elizabeth Taylor. Clift would later star in Alfred Hitchcock’s I Confess (1953) and Fred Zinnemann’s From Here to Eternity (1953). Other films followed, including Raintree County (1956), The Young Lions (1958), Lonelyhearts (1958), Suddenly, Last Summer (1959), and Wild River (1960).

Ralph Richardson (1902 – 1983) was an English stage and screen actor. Along with John Gielgud and Laurence Olivier, he dominated the British theatre for most of the 20^th century. Richardson worked in movies in Britain and the United States throughout his long career. Some of his famous films include The Fallen Idol (1948), The Heiress (1949), Long Day’s Journey into Night (1962), Women of Straw (1965), and Doctor Zhivago (1965).

 

Olivia de Haviland and Ralph Richardson

The Heiress trivia

• After seeing The Heiress on the Broadway stage, de Havilland approached William Wyler about directing her in a screen adaptation.
• Wyler became a fan of de Havilland’s acting talent and was annoyed by Clift’s disdain for her performance and for Ralph Richardson’s attempt to scene-steal through improvisation.
• Clift was so disappointed by his performance that he walked out of the premiere.
• Basil Rathbone played Dr. Sloper on the stage and hoped to recreate the role for the film version.
• De Havilland won her second Best Actress Academy Award for her performance.
• Wyler originally wanted Errol Flynn to play Morris.

 

Click HERE to watch the film at the Internet Archive

Click HERE to learn more about the film and preview the discussion questions. Once you RSVP, you will receive an email with a link to the discussion on Zoom.

 

Discussion questions

1. Many consider Olivia de Havilland’s performance as one of the greatest of the 20^th century. Do you agree?
2. When do you think Catherine’s personality began to become imbittered?
3. Montgomery Clift was unhappy with his performance. What did you think? Was he wrong to be unhappy about it?
4. What did you think of Ralph Richardson’s characterization as Dr. Sloper? Do you think he loved Catherine?
5. Do you think Morris was interested in Catherine only for her money?
6. Would Catherine have been happy with Morris if they had married?

Walter Huston and Ruth Chatterton star in William Wyler’s production of “Dodsworth”

Dodsworth (1936) is an American drama film directed by William Wyler, and starring Walter Huston, Ruth Chatterton, Paul Lukas, Mary Astor, and David Niven. The screenplay by Sidney Howard is based on the stage adaptation of the 1929 novel by Sinclair Lewis. Houston starred in the stage version and recreated his role on film.

The film centers on the marriage of retired auto magnate Samuel Dodsworth (Huston) and his wife Fran (Chatterton). While on a trip to Europe, the couple discovers they want different things. On the RMS Queen Mary, Sam meets divorcee Edith Cortright (Astor). Edith and Sam hit it off but their relationship is one of friendship. As Sam and Fran arrive in Europe, their marriage is strained, partly due to Fran’s dissatisfaction with what she considers their dull social life. Fran decides to stay in Europe while Sam returns to America.

While in America, Sam is confronted with the “gossip” about Fran and playboy Arnold Iselin (Lukas). Same returns to Europe to see if he and Fran have a future together.

 

William Wyler (1902 - 1981) was an American (born in Mulhouse, Alsace, then part of Germany) film director and producer. He won the Academy Award for Best Direction three times: Mrs. Miniver (1942), The Best Years of Our Lives (1946), and Ben-Hur (1959). Wyler was nominated 12 times for Best Director, an Academy Awards history record. Wyler started working in the movie business during the silent era, eventually making a name for himself as a director in the early 1930s. He would go on to direct Wuthering Heights (1939), The Westerner (1940), and The Little Foxes (1941). Actress Bette Davis received three Oscar nominations under Wyler’s direction, winning her second Oscar for her performance in Jezebel (1938). Other popular films directed by Wyler include The Heiress (1949), Roman Holiday (1954), Friendly Persuasion (1956), The Big Country (1958), and Funny Girl 1968).

Walter Huston (1883 - 1950) was a Canadian singer, stage, and film actor. He is also the patriarch of the Huston clan which includes his writer-director son John, and his granddaughter, actress Anjelica. Huston worked in the theater, with roles on Broadway where he debuted in 1924. Once talking pictures began in Hollywood, Huston worked as both a leading man and also a character actor. Some of Huston’s films include The Virginian (1929), Rain (1932), Gabriel Over the White House (1933), The Devil and Daniel Webster (1941), and The Treasure of the Sierra Madre (1948) for which he won the Academy Award for Best Supporting Actor, directed by his son John. Huston’s last film was The Furies (1950) co-starring Barbara Stanwyck and Wendell Corey.

Ruth Chatterton (1892 – 1961) was an American stage, film, and television actress. She was also an aviator and novelist. She was one of the few female pilots in the 1930s and was a close friend of Amelia Earhart. Chatterton started her film career in 1929 and established herself as a major movie star with her role in Madame X. For her work in that film, she received her first Best Actress Academy Award nomination. In 1930, Chatterton was voted as the second favorite star of the year behind Norma Shearer, in a poll of West Coast film exhibitors. Chatterton’s film career was at its height during the mid-1930s. By the end of the decade, she basically retired from film. She continued to work on the stage and was an early performer on television in the late 1940s.

Paul Lukas (1894 – 1971) was a Hungarian actor. He won the Academy Award for Best Actor for his performance in the film Watch on the Rhine (1943), reprising the role he created on Broadway stage. Before coming to American, Lukas had a successful stage and movie career in Europe. Some of the movies Lukas starred in include Little Women (1933), Ladies in Love (1936), The Lady Vanishes (1938), The Ghost Breakers (1940), Berlin Express (1948), and Fun in Acapulco (1963) with Elvis Presley.

Mary Astor (1906 – 1987) was an American actress. She won a Best Supporting Actress Academy Award for her role in The Great Lie (1941) but is perhaps best remembered for her performance as Brigid O’Shaughnessy in The Maltese Falcon (1941) opposite Humphrey Bogart. Astor was a silent film star—she starred in over 40 silent films—in her teens but when talkies arrived, her voice was considered too masculine. After a successful stage performance, film roles started coming her way. A divorce and child custody scandal involving Astor and playwright George S. Kaufman almost destroyed her career. During the 1940s, Astor, under contract to M-G-M, specialized in character roles. Other film roles include Red Dust (1932), The Kennel Murder Case (1933), The Prisoner of Zenda (1937), Midnight (1939), The Palm Beach Story (1942), Meet Me in St. Louis (1944), Little Women (1949), and Hush…Hush, Sweet Charlotte (1964).

David Niven (1910 - 1983) was a British actor. He won the Academy Award for Best Actor for his performance in Separate Tables (1958). Niven’s film career started in the 1930s with small roles in films like Mutiny on the Bounty  (1935). He soon signed a contract with Samuel Goldwyn and his career took off. He had a supporting role in Wuthering Heights (1939). The film was a major success and increased his profile as an actor. He next co-starred with Ginger Rogers in Bachelor Mother (1939), another big hit. He played a safe-cracker in Raffles (1939) co-starring Olivia de Havilland. Niven worked constantly in film throughout the next four decades. Other films he starred in include Enchantment (1948), Soldiers Three (1951), Around the World in 80 Days (1956). Bonjour Tristesse (1958), Please Don’t Eat the Daisies (1960), and The Pink Panther (1963).

 

Walter Huston and Mary Astor

Dodsworth trivia

• During the filming, Mary Astor was involved in a very public child custody case. Ruth Chatterton was a character witness for Astor.
• David Niven didn’t like working with William Wyler. He acknowledged that Wyler could be “kind, fun, and cozy” off set, but when he sat in that director’s chair he became a bit of a tyrant.
• Mary Astor said that Edith Cortright was her favorite film role.
• William Wyler, Ruth Chatterton, and Walter Huston fought over Chatterton’s performance. Chatterton felt that she should be portrayed as a villainess; Wyler and Huston thought she should be portrayed more sympathetically.

 

Click HERE to watch the film on YouTube.

 

Click HERE to join the discussion on February 5, 2024, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation and a link to join the discussion on Zoom.

 

Ruth Chatterton and Walter Huston

Discussion questions

1. Ruth Chatterton thought that there should be little sympathy for Fran. Did you think she deserved any?
2. Do you think the marriage conflict between Fran and Sam was realistic?
3. Do you think that Sam and Fran were ever in love with each other?
4. What did you think of the performances of Huston, Chatterton, and Astor?
5. Where you surprised by the film’s ending or did you expect it? Do you think Sam and Edith will eventually get married? Sam is still married to Fran at the film’s end.

"The Best Years of Our Lives" is the Best Picture of 1946

The Best Years of Our Lives (1946) is an American drama directed by William Wyler and starring Myrna Loy, Fredric March, Dana Andrews, Teresa Wright, and Virginia Mayo. The screenplay was written by Robert E. Sherwood, based on a novella, Glory for Me by MacKinlay Kantor. The cinematography was by Greg Toland.

The plot of the movie concerns three United States servicemen returning home after World War II and the struggle they have re-adjusting to civilian life. The movie is almost a time capsule of what life was like after the war and the changes it brought to American society. Apart from winning the Best Picture Academy Award, it was the top-grossing film of the year and the top-grossing film of the decade. Adjusted for inflation, it is one of the top 100 grossing films in the United States.

The movie lobby card downplays the seriousness of the film.

William Wyler (1902 - 1981) was an American (born in Mulhouse, Alsace, then part of Germany) film director and producer. He won the Academy Award for Best Direction three times: Mrs. Miniver (1942), The Best Years of Our Lives (1946), and Ben-Hur (1959). Wyler was nominated 12 times for Best Director, an Academy Awards history record. Wyler started working in the movie business during the silent era, eventually making a name for himself as a director in the early 1930s. He would go on to direct Wuthering Heights (1939), The Westerner (1940), and The Little Foxes (1941). Actress Bette Davis received three Oscar nominations under Wyler’s direction, winning her second Oscar for her performance in Jezebel (1938). Other popular films directed by Wyler include The Heiress (1949), Roman Holiday (1954), Friendly Persuasion (1956), The Big Country (1958), and Funny Girl 1968).

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). Film character: Milly Stephenson.

Fredric March (1897 - 1975) was an American actor and two-time Best Actor Academy Award winner. Also a famous stage actor, March won two Tony Awards as well and is one of a few actors to have won both the Academy Award and the Tony Award twice. March was an immediate success in films receiving his first Best Actor nomination in 1930. He won his first Best Actor Oscar for Dr. Jekyll and Mr. Hyde (1932) and his second for The Best Years of Our Lives (1946). During the 1930s and 1940s, March was a popular leading man starring opposite Greta Garbo, Joan Crawford, Janet Gaynor, Norma Shearer, Katharine Hepburn, and Carole Lombard. March continued acting on stage and in films until 1973, two years before his death from cancer. Film character: Al Stephenson.

Actor Dana Andrews (standing) refuses to serve cinematographer Greg Toland (left) and director William Wyler (right) on the set.

Dana Andrews (1909 – 1992) was an American stage, film, and television actor. During the 1940s, Andrews was a major star and leading man starring in Laura (1944), State Fair (1945), A Walk in the Sun (1945), The Best Years of Our Lives (1946), Canyon Passage (1946), Boomerang! (1947), and Daisy Kenyon (1947) co-starring Joan Crawford and Henry Fonda; so popular was Andrews during the 1940s that he was billed above Fonda. During the 1950s, film roles were harder to come by, but he had success in Elephant Walk (1954) co-starring Elizabeth Taylor and Peter Finch, While the City Sleeps (1956), and Curse of the Demon (1957). In 1958 he replaced Henry Fonda on Broadway in Two for the Seesaw. Film character: Fred Derry.

Teresa Wright and Dana Andrews in a crucial scene from
The Best Years of Our Lives

Teresa Wright (1918 - 2005) was an American stage, film, and television actress. She received Academy Award nominations in her first three films, a record that still holds today. In 1942, she was nominated for Best Supporting Actress for Mrs. Miniver and for Best Actress in The Pride of the Yankees. She won the Supporting Oscar for Mrs. Miniver, and her co-star, Greer Garson won Best Actress. Today Wright is most famous for playing Lou Gehrig’s wife in The Pride of the Yankees, The Best Years of Our Lives, and Alfred Hitchcock’s Shadow of a Doubt (1943). Wright was a popular star throughout the 1940s starring opposite Robert Mitchum, Ray Milland, Gary Cooper, and David Niven. She starred opposite Marlon Brando in his first film role in The Men (1950). Wright continued working in film, with her last role as Miss Birdie in The Rainmaker (1997). Wright is the only non-baseball player to be honored by the New York Yankees when she passed away at age 86. Film character: Peggy Stephenson.

Virginia Mayo (1920 - 2005) was an American actress and dancer. She made a series of popular films with Danny Kaye while under contract to Samuel Goldwyn which made her a star. In the late 1940s, Warner Bros. bought her contract from Goldwyn and she became one of the studio’s top box office attractions. At Warners, Mayo made a variety of films including musicals, comedies, and dramas. She co-starred with James Cagney in White Heat (1949), The Flame and the Arrow (1950) opposite Burt Lancaster, Captain Horatio Hornblower R.N. co-starring Gregory Peck (1951), the studio’s biggest hit of the year. After her film career ended, Mayo guest-starred on much popular television series including Remington Steele, The Love Boat, and Murder, She Wrote. Film character: Marie Derry.

Harold Russell (1914 - 2002) was a Canadian-born American World War II veteran. Russell lost both hands in a training accident when a defective fuse detonated the explosives he was handling. He was given two hooks to serve as hands and he was featured in an Army rehabilitation film, Diary of a Sergeant. This film brought Russell to the attention of director Wyler who cast him in the film. Russell won two Academy Awards. He won an honorary award for bringing hope and courage to veterans and he also won the Best Supporting Actor award, something he was not predicted to win. Russell remains one of only two non-professional actors to win Academy Awards. Haing S. Ngor won a Best Supporting Actor Oscar for his performance in The Killing Field (1985). Film character: Homer Parrish.

Cathy O’Donnell (1923 - 1970) was an American actress best known for her roles in The Best Years of Our Lives, They Live by Night (1948), and Ben-Hur (1959) where she played Tirzah, the sister of Judah Ben-Hur (Charlton Heston). She appeared on the small screen on Perry Mason and Bonanza. She was married to director Wyler’s older brother Robert. She passed away after a long illness on her 22nd wedding anniversary. Film character: Wilma Cameron.

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

The Best Years of Our Lives trivia:

• The fictional Boone City was modeled after Cincinnati, Ohio.
• William Wyler hated the score by Hugo Friedhofer; it won the Oscar that year for the best film score.
• Myrna Loy was only 13 years older than Teresa Wright who played her daughter.
• The film includes four Oscar winners: Fredric March, Teresa Wright, Hoagy Carmichael (Uncle Butch), and Harold Russell.
• Future director Blake Edwards has an uncredited part as a Corporal and actor Sean Penn’s father, Leo, played a soldier working as a scheduling clerk at the beginning of the film.

To join the discussion on August 29, 2022, at 6:30 p.m. Central Time, click here. Once you RSVP, you'll receive an invitation and a link to join the discussion on Zoom.

Questions for discussion:

1. The film is a product of its time. Does it still have meaning for us today in 2022?
2. What if anything surprised you about the film?
3. Did you have a favorite scene or piece of dialogue that stood out to you?
4. Would you recommend this film to a friend to watch?
5. How do you think the acting holds up? Are the performances true to life?
6. Do you think the film had an anti-war message?
7. Why do you think this film resonated with audiences in 1946?