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

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

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

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

Robert Preston, Gregory Peck, and Joan Bennett

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

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

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

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

 

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The Macomber Affair trivia

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

Discussion Questions

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

 

A Symphony of Obsession and Sacrifice: “Humoresque”

 Directed by Jean Negulesco, Humoresque (1946) is a sweeping, emotionally charged melodrama that chronicles the turbulent rise of a classical musician and the destructive romance that threatens his career. The story centers on Paul Boray, played with fierce intensity by John Garfield, a talented violinist from a working-class immigrant family in New York City. Despite his father’s skepticism, Paul is fiercely dedicated to his craft, supported by his mother and his cynical, wisecracking pianist friend, Sid Jeffers, played by real-life piano virtuoso Oscar Levant.

Paul’s big break arrives when Sid introduces him to Helen Wright, portrayed by Joan Crawford in one of her most iconic, glamorous, and tragic roles. Helen is a wealthy, unstable, and heavily drinking socialite trapped in a hollow marriage of convenience. Fascinated by Paul's brooding confidence and raw talent, she becomes his patroness, using her immense wealth and high-society connections to launch him into national stardom. However, their professional relationship quickly spirals into a passionate, volatile affair that forces Paul to constantly choose between his absolute devotion to music and his consuming love for Helen.

As Paul's fame grows, the power dynamics in their relationship shift, and Helen’s deep-seated insecurities take over. Overwhelmed by the realization that she can never truly compete with his first love—the violin—and devastated by the pain their toxic relationship causes, Helen makes a heartbreaking sacrifice.

Joan Crawford and John Garfield

Born in Romania, Jean Negulesco (1900–1993) originally trained as a painter in Paris before translating his keen visual sense to Hollywood cinema. He gained renown at Warner Bros. in the 1940s, helming moody, atmospheric film noirs like The Mask of Dimitrios (1944) and sweeping melodramas like Humoresque (1946) that brilliantly showcased powerful female leads and lush, artful cinematography. Later moving to 20th Century Fox, Negulesco successfully transitioned into the widescreen era, directing the studio’s very first CinemaScope comedy blockbuster, How to Marry a Millionaire (1953), and earning a Best Director Oscar nomination for the romantic classic Three Coins in the Fountain (1954).

Born Lucille LeSueur, Joan Crawford (1904–1977) rose from a hardscrabble childhood to become one of the most enduring and fiercely determined superstars of classical Hollywood. She initially gained fame at MGM in the late 1920s and 1930s as a vibrant flapper and the quintessential working-girl heroine, before orchestrating a spectacular mid-career comeback at Warner Bros. that earned her a Best Actress Oscar for the definitive film noir melodrama Mildred Pierce (1945). Renowned for her striking, expressive eyes, razor-sharp cheekbones, and intense dedication to her craft, Crawford successfully reinvented herself across five decades, effortlessly transitioning into mature, volatile dramatic roles in classics like Humoresque (1946) and late-career cult horror films like What Ever Happened to Baby Jane? (1962).

Born Jacob Julius Garfinkle, John Garfield (1913–1952) rose from a rough-and-tumble upbringing in the Bronx to become the definitive precursor to the rebellious, anti-hero Method actors of the 1950s. After honing his natural, gritty acting style with New York’s prestigious Group Theatre, he exploded onto the Hollywood scene with a searing, Oscar-nominated debut in Four Daughters (1938), quickly establishing himself as Warners Bros.’ go-to streetwise underdog. Revered for his intense, brooding masculinity and raw vulnerability, Garfield delivered definitive performances in classic post-war noirs and melodramas like The Postman Always Rings Twice (1946), Humoresque (1946), and Body and Soul (1947)—the latter earning him a Best Actor Academy Award nomination—before his brilliant career was tragically cut short at age 39

 

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Humoresque trivia

• To pull off the illusion of John Garfield playing the violin like a virtuoso, a unique visual trick was engineered on set. Two professional violinists stood hidden on either side of the actor just outside the camera frame; one tucked his arm through Garfield’s tuxedo to do the complex fingerwork on the strings, while the other handled the bow.
• While Garfield mimed the body movements, the actual flawless violin music heard on the soundtrack was recorded by a 25-year-old Isaac Stern, who also served as the film’s musical adviser and provided his own hands for the extreme, tight close-ups.
• Joan Crawford performed her own stunt for a scene where she falls off a galloping horse, though the sequence had to be entirely reshot because the studio censors initially deemed it “too racy” to have Garfield's character land on top of her during the fall, prompting a layout reversal where Crawford landed on top instead.
• During production, Garfield’s intense commitment to Method acting led him to stare deeply into Crawford’s eyes to build an authentic emotional bond for their scenes, a technique that so thoroughly unnerved the seasoned actress that she eventually complained to the director and asked him to make Garfield stop. 

Discussion questions

1. How does the film define the concept of an artist's sacrifice? Do you believe Paul's absolute obsession with his music justifies his emotional neglect of the people around him, or is it presented as a character flaw?
2. Helen Wright is a complex, deeply insecure character wrapped in a shell of wealth and high-society confidence. In what ways does her alcoholism and self-destructive behavior stem from the rigid gender and social expectations of the 1940s?
3. Compare the two central maternal/guiding figures in Paul's life: his working-class mother, who fiercely protects his talent, and Helen, who uses her wealth to patronize and control it. How do their conflicting versions of love shape Paul's identity?
4. The climax of the film juxtaposes Helen's tragic walk into the ocean with the sweeping, dramatic notes of Wagner's Tristan und Isolde playing on the radio. How does the choice of classical music function as a narrative voice in this scene, and does it elevate or romanticize her suicide?

Unlocking the Subconscious: The Nested Secrets of John Brahm’s “The Locket” (1946)

Directed by John Brahm, The Locket (1946) is a psychologically dense film noir that unpeels its narrative mystery through a uniquely complex structure of nested flashbacks. The story begins on the wedding day of the wealthy John Willis, played by Gene Raymond, who is preparing to marry the beautiful and seemingly serene Nancy, portrayed by Laraine Day. The celebratory atmosphere is shattered when an uninvited guest, a psychiatrist named Dr. Blair, played by Brian Aherne, arrives with a shocking warning. Blair claims to be Nancy’s former husband and insists that her elegant facade conceals a deeply fractured, highly dangerous psychological state.

To prove his unsettling allegations, Dr. Blair guides John—and the audience—into the past, recounting how his own marriage to Nancy unraveled. This memory gives way to an even deeper layer of the past when Blair recalls his confrontation with an artist named Norman Clyde, played by Robert Mitchum. Norman, who was Nancy’s passionate lover before Blair, introduces yet another flashback, tracing the roots of Nancy’s behavior all the way back to her childhood. Through this intricate chain of recollections, the film explores how a traumatic childhood accusation involving a priceless diamond locket sparked an obsessive undercurrent of kleptomania and deception.

As the layers of memory converge back onto the wedding day, the film creates a brilliant atmosphere of psychological suspense. The central tension rests on whether Nancy is a genuinely malicious femme fatale orchestrating the ruin of the men around her, or a tragic victim of a deeply buried childhood trauma beyond her control. John Brahm masterfully employs expressionistic shadows and a shifting subjective perspective to keep the audience guessing about the true nature of Nancy’s mind right up until the wedding march begins to play.

 

Laraine Day and Robert Mitchum

John Brahm (1893–1982), Born Hans Brahm in Hamburg, Germany, director John Brahm established himself as a master of moody, atmospheric psychological thrillers during the classic Hollywood era. Coming from a prominent theatrical family, he directed stage productions across Europe before fleeing the rise of the Nazi regime in the 1930s. After a brief filmmaking stint in England, Brahm arrived in Hollywood, where his sharp eye for expressionistic lighting and tense, claustrophobic pacing found a perfect home at 20th Century-Fox and RKO. He is celebrated for directing a trio of stylish, macabre melodramas in the mid-1940s—The Lodger (1944), Hangover Square (1945), and The Locket (1946)—before successfully transitioning to television in the 1950s and 1960s, where he directed memorable, atmospheric episodes of The Twilight Zone and Alfred Hitchcock Presents.

Laraine Day (1920 – 2007), born LaRaine Johnson in Roosevelt, Utah, was a versatile leading lady whose wholesome beauty and sharp acting instincts made her a major contract star at MGM and RKO. She first achieved widespread popularity as the dedicated Nurse Mary Lamont in MGM's beloved, long-running Dr. Kildare film series opposite Lew Ayres. Eager to break out of purely ingenue roles, Day delivered standout dramatic performances in Alfred Hitchcock’s Foreign Correspondent (1940) and the psychological noir The Locket (1946), where she brilliantly played against type as a complex, deceptive kleptomaniac. Off-screen, she was famously dubbed the “First Lady of Baseball” during her high-profile marriage to prominent New York Giants manager Leo Durocher, and she remained a beloved Hollywood figure through her extensive television appearances and humanitarian work.

Brian Aherne (1902 – 1986) born William Brian de Lacy Aherne in King's Norton, Worcestershire, England, Brian Aherne brought a dashing, aristocratic charm and impeccable stage diction to classical Hollywood cinema. After establishing himself as a formidable stage actor on the West End and Broadway—frequently starring opposite Katharine Cornell—Aherne transitioned effortlessly into American talkies, often playing refined, honorable gentlemen, romantic leads, and intellectual figures. He earned an Academy Award nomination for Best Supporting Actor for his regal portrayal of Emperor Maximilian in Juarez (1939) and showcased his sophisticated dramatic range as the concerned, analytical psychiatrist Dr. Blair in The Locket (1946). Aherne divided his later career between elegant character roles in Hollywood and a return to the theatrical stage, notably touring extensively in My Fair Lady as Professor Henry Higgins.

Robert Mitchum (1917 – 1997), born in Bridgeport, Connecticut, rose from a rugged, nomadic youth during the Great Depression to become one of Hollywood's most enduring icons and the definitive face of film noir. With his distinctively heavy-lidded eyes, casual swagger, and laconic, deadpan delivery, Mitchum projected a unique brand of cynical, effortless masculinity. He earned his sole Academy Award nomination for The Story of G.I. Joe (1945), which catapulted him into top-tier stardom just before he filmed his vulnerable role as the tragic artist Norman Clyde in The Locket (1946). Mitchum went on to cement his legendary status in timeless noir masterpieces like Out of the Past (1947) and delivered chilling, unforgettable performances as terrifying villains in The Night of the Hunter (1955) and Cape Fear (1962), sustaining a prolific acting career that spanned over five decades.

Gene Raymond (1908 – 1998), born Raymond Guion in New York City, was a charismatic, platinum-blonde actor, director, and producer who enjoyed a multifaceted career across stage, screen, and military service. A prolific child actor on Broadway, Raymond transitioned to Hollywood in the early 1930s, where his athletic build and sunny charm made him a popular romantic lead in glossy musicals and light comedies, famously starring alongside Dolores del Río in Flying Down to Rio (1933). During World War II, he paused his thriving entertainment career to serve as a decorated bomber pilot in the U.S. Army Air Forces, later returning to Hollywood to take on more mature, dramatic roles, such as the wealthy, unsuspecting bridegroom John Willis in The Locket (1946). Raymond, who was married to Hollywood superstar Jeanette MacDonald for nearly three decades, spent his later years directing for television, producing theater, and rising to the rank of Colonel in the Air Force Reserve.

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The Locket Trivia

• Screenwriter Sheridan Gibney originally structured the script’s intricate, four-layer-deep flashback sequence as a bold narrative experiment. Still, RKO studio executives initially panicked and feared that mainstream theater audiences in 1946 would find the story completely impossible to follow.
• Cinematographer Nicholas Musuraca utilized heavily diffused lighting and delicate compositions for Laraine Day’s close-ups to emphasize her character’s outward innocence, deliberately contrasting her angelic appearance with the dark, moody shadows cast over her male co-stars.
• This film marked one of Robert Mitchum’s final performances before his definitive breakthrough into elite Hollywood stardom later that same year, showcasing an atypical, sensitive vulnerability as the tortured artist Norman Clyde just prior to cementing his cynical, tough-guy noir persona.
• The striking psychological paintings featured in Norman Clyde’s art studio were actually created by prominent real-life artists hired by RKO to give the production an authentic, sophisticated bohemian aesthetic that reflected the avant-garde art scene of the post-war era.

Discussion Questions

1. How does the film’s highly unusual nesting-doll flashback structure affect our perception of narrative truth, considering that we are viewing Nancy’s life entirely through a chain of subjective memories recounted by the men who loved her?
2. In what ways does the film challenge the traditional definition of a film noir femme fatale by framing Nancy’s destructive behavior as a compulsory psychological illness rooted in childhood trauma rather than pure, calculated malice?
3. Consider the symbolic weight of the locket itself, exploring how a single physical object functions simultaneously as a token of romantic affection, a trigger for childhood shame, and a manifestation of social class envy.
4. Does the film imply that the men in Nancy’s life are genuinely trying to save her, or are they trapped by their own obsessions with controlling, diagnosing, and capturing her elusive image on canvas and in marriage?

Shadow of Suspicion: Out of the Foxhole and Into the Noir Light with “Crossfire”

Directed by Edward Dmytryk, Crossfire (1947) opens in the shadows of a dimly lit Washington, D.C. apartment, where a Jewish civilian named Joseph Samuels is beaten to death. Police Captain Finlay (Robert Young) is assigned to investigate the seemingly motiveless crime and quickly zeroes in on a group of demobilized, world-weary U.S. Army soldiers who were seen drinking with Samuels earlier that evening. Among them is Corporal Keeley (Robert Mitchum), a cynical but level-headed soldier who realizes the prime suspect is his sensitive friend, Mitch Mitchell. Terrified and confused, Mitch has vanished into the city’s neon-lit nightlife, crossing paths with a disillusioned dance hall hostess named Ginny Tremaine (Gloria Grahame) while Keeley desperately tries to find him before the police do.

As Captain Finlay digs deeper, the narrative shifts focus to Montgomery (Robert Ryan), another sergeant in the squad whose outward bravado masks a deeply virulent, simmering anti-Semitism. Through tense interrogations and shifting flashbacks, it becomes clear to both Finlay and Keeley that Montgomery is the true killer, having murdered Samuels out of pure, unadulterated bigotry and subsequently framing the vulnerable Mitch. 

Recognizing that he lacks the hard physical evidence to secure a conviction, Captain Finlay devises a clever psychological trap to expose the killer. Utilizing the assistance of Keeley and a southern soldier named Leroy, Finlay exploits Montgomery's intense hatred and deep-seated paranoia, baiting him into a midnight confrontation where he inadvertently reveals his guilt. Striking for its gritty chiaroscuro cinematography and bold social commentary, Crossfire stands out as a landmark film noir, confronting the poison of domestic prejudice in the immediate aftermath of World War II.

 

Edward Dmytryk (1908–1999) was a masterful filmmaker whose career embodied both the artistic heights and the political tragedies of mid-century Hollywood. Born in Canada to Ukrainian immigrants and raised in San Francisco, Dmytryk rose through the studio ranks from a teenage messenger boy to a premier director, helping to pioneer the gritty visual style of film noir with classics like Murder, My Sweet (1944) and the Oscar-nominated Crossfire (1947). His momentum was shattered in 1947 when he was jailed as one of the Hollywood Ten for refusing to cooperate with the House Un-American Activities Committee. After a period of exile and blacklisting, Dmytryk made the controversial decision to return and testify as a cooperating witness in 1951—a choice that allowed him to resume his career and direct major post-war successes like The Caine Mutiny (1954), but fractured his relationships within the film community for the rest of his life.

Robert Young (1907–1998) was a remarkably versatile actor whose career seamlessly transitioned from the glamorous studio system of classic Hollywood to the golden age of American television. Born in Chicago, Young signed with MGM in the early 1930s and spent two decades establishing himself as the quintessential, dependable leading man in over one hundred films, expertly navigating light comedies, romances, and occasional dramatic departures like his sharp, steady performance as Captain Finlay in the landmark film noir Crossfire (1947). In the 1950s, he achieved a new level of cultural icon status by pivoting to television, capturing the mid-century American zeitgeist as the patriarchal ideal Jim Anderson in Father Knows Best and later winning a new generation of fans as the compassionate, wise protagonist of Marcus Welby, M.D.—a rare, decades-long trajectory that earned him three Emmy Awards and cemented his legacy as one of the most comforting and enduring faces in entertainment history.

Robert Mitchum (1917–1997) was an iconic, effortlessly magnetic actor whose heavy-lidded gaze and rugged underplay defined the soul of American film noir. Born in Bridgeport, Connecticut, Mitchum lived a transient, rebellious youth during the Great Depression before drifting into acting, capturing an early Oscar nomination for The Story of G.I. Joe (1945) and quickly cementing his star status with a string of brooding, cynical performances in masterpieces like Crossfire (1947) and Out of the Past (1947). Even a highly publicized 1948 marijuana arrest—which would have destroyed a conventional career—only enhanced his authentic, dangerous anti-hero persona, endearing him further to a captivated public. Known for his laconic, self-deprecating attitude toward his craft, Mitchum possessed a vast dramatic range that allowed him to effortlessly transition from playing the laconic hero to embodying pure, bone-chilling villainy in classics like The Night of the Hunter (1955) and Cape Fear (1962), leaving behind a monumental legacy as one of the most uniquely subversive and enduring icons of classic cinema.

Robert Ryan (1909–1973) was a towering, exceptionally gifted actor whose onscreen specialty in playing deeply troubled, volatile, and bigoted characters stood in stark contrast to his real life as a deeply progressive pacifist and civil rights advocate. Born in Chicago, Ryan was an Ivy League boxing champion at Dartmouth before finding his way to Hollywood, where his breakout, Oscar-nominated performance as the fiercely anti-Semitic killer Montgomery in Crossfire (1947) permanently established him as one of the definitive faces of film noir. His imposing physical presence and intense, expressive eyes allowed him to bring profound psychological nuance to complex anti-heroes and menacing villains alike, anchoring masterpieces such as the visceral boxing drama The Set-Up (1949), On Dangerous Ground (1951), and Western classics like The Wild Bunch (1969).

 

Mitchum, Ryan, and Young

Crossfire trivia

The Dynamics of the Three Roberts

Crossfire features a rare, powerhouse casting trivia note: three of its top-billed stars shared the same first name—Robert Young, Robert Mitchum, and Robert Ryan. While Mitchum and Ryan were already well on their way to becoming definitive icons of the film noir genre, Robert Young’s casting as the sharp, intuitive Captain Finlay was a major departure for him. At the time, audiences were accustomed to seeing Young play light, romantic leading men, making his transition into the cynical, rain-slicked world of postwar noir a pleasant surprise for critics.

A Bold Change from the Source Material

The film was adapted from the 1945 novel The Brick Foxhole, written by Richard Brooks (who would later become a celebrated director himself). In the original book, the murder victim was a homosexual man targeted by a group of soldiers. Because the strict Hollywood Production Code Administration (the Hays Office) absolutely forbade any explicit mention or depiction of homosexuality on screen, producer Adrian Scott and screenwriter John Paxton cleverly pivoted the story's focus to anti-Semitism, managing to keep the book's vital themes of prejudice and systemic hate intact.

A Record-Breaking, Low-Budget Rush

RKO Radio Pictures was working on a shoestring B-movie budget for Crossfire and kept the shooting schedule to a remarkably tight 20 to 22 days. Executive producer Dore Schary rushed the film into production for a very specific strategic reason: he knew that rival studio 20th Century Fox was currently filming Gentleman’s Agreement, another high-profile project tackling anti-Semitism. By cutting corners on the budget and shooting with intense speed, RKO managed to beat Fox to the theaters by several months, securing Crossfire’s place as the first major postwar studio film to directly confront domestic bigotry.

Real-Life Boxing Chops

In the film, Robert Ryan plays the terrifyingly aggressive bully Montgomery, but in real life, his tough physical presence was backed up by legitimate athletic credentials. While attending Dartmouth College in the late 1920s and early 1930s, Ryan was an elite heavyweight boxing champion, holding the school's title for four consecutive years. He would later put those exact real-world boxing skills to brilliant use on screen in another legendary RKO film noir, playing the aging, courageous prize fighter Bill “Stoker” Thompson in The Set-Up (1949).

 

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Discussion questions

The Mask of Bigotry and the Three Roberts

Robert Ryan plays the fiercely anti-Semitic Montgomery as an intense, volatile bully, while Robert Mitchum and Robert Young provide a calm, rational, and steady counterweight. How does the film contrast these different masculine archetypes of the postwar era? In what ways does Montgomery’s aggressive bravado reveal his own deep-seated insecurities, and how do Keeley and Finlay represent a different path forward for returning veterans?

Adaptation and the Limitations of the Code

How well does the film pivot to addressing anti-Semitism, and do you feel the dialogue addresses the prejudice directly enough for a 1947 audience?

Noir Aesthetics vs. Social Commentary

Crossfire is highly celebrated for its classic film noir style—featuring deep chiaroscuro shadows, rain-slicked streets, and a cynical, world-weary tone. However, it is also a deliberate message movie aimed at social justice. Do the dark, pessimistic visual tropes of film noir conflict with the movie’s ultimate plea for tolerance and democratic ideals, or does the gritty atmosphere actually make the social commentary feel more grounded and urgent?

The Irony of the Blacklist

The film stands as a bold, cinematic plea for tolerance and systemic justice, yet its release coincided exactly with the rise of the Hollywood blacklist, leading to the direct targeting of its director (Edward Dmytryk) and producer (Adrian Scott) by HUAC. When viewing the film today, how does knowing the real-world political fallout for its creators alter your perception of its themes? Is there a tragic irony in the fact that a film exposing domestic paranoia and persecution was immediately followed by a real-world political witch hunt?

 

 

 

 

 

 

 

Through “The Dark Mirror”: A Twisted Tale of Twins and Terror

Released on October 18, 1946, and directed by the noir master Robert Siodmak, The Dark Mirror is a sophisticated psychological thriller that plunges into the unsettling mysteries of identity and the human mind. The story begins with a brutal murder in a high-rise apartment, where a prominent doctor is found dead. Detective Stevenson, played by the reliable Thomas Mitchell, quickly identifies a suspect: a beautiful woman seen leaving the scene. However, the investigation hits a surreal wall when it is discovered that the suspect has an identical twin sister, and both women possess an airtight alibi that places them together at the time of the crime.

Olivia de Havilland delivers a virtuosic dual performance as the twins, Ruth and Terry Collins. Though they are physically indistinguishable, their temperaments are subtly distinct—one appearing gentle and kind-hearted, while the other masks a cold, calculating nature. As the police find themselves legally paralyzed, unable to arrest one without risking the conviction of the other, they enlist the help of Dr. Scott Elliott (Lew Ayres), a specialist in the burgeoning field of twin psychology.

The setting shifts to a clinical but tension-filled environment as Dr. Elliott subjects the sisters to a series of Rorschach tests, polygraphs, and word-association games. Siodmak uses the urban backdrop of mid-century apartments and sterile offices to create a sense of mounting claustrophobia, utilizing mirrors and clever split-screen cinematography to force the sisters into a visual confrontation with one another. As the doctor becomes more deeply involved, the professional nature of his study begins to blur with a dangerous fascination, especially as he starts to suspect that one sister is hiding a truly predatory streak.

Throughout the film, the suspense is driven not just by the “whodunit” of the original murder, but by the psychological cat-and-mouse game played between the twins and the men trying to unravel their bond. The Dark Mirror remains a quintessential 1940s noir, blending the era’s obsession with Freudian psychiatry with Siodmak’s signature atmospheric lighting and sharp, cynical dialogue. It serves as a chilling exploration of the idea that the person closest to us may also be the one we know the least.

 

Olivia de Havilland and Olivia de Havilland

Robert Siodmak (1900 – May 1973) was a German-American director celebrated as one of the definitive architects of film noir, known for his masterful use of German Expressionist shadows and psychological tension. After beginning his career in the thriving Ufa studios in Berlin, Siodmak fled the rise of Nazism, eventually arriving in Hollywood, where he embarked on a legendary “dark period” during the 1940s. He specialized in capturing the claustrophobia of the human psyche in classics like The Killers (1946), The Spiral Staircase (1946), and The Dark Mirror (1946), often collaborating with top-tier cinematographers to create high-contrast, moody visuals that defined the era’s aesthetic. His ability to blend continental sophistication with American crime tropes left an indelible mark on the genre, solidifying his legacy as a director who could make the urban landscape feel as dangerous and complex as the characters inhabiting it.

Olivia de Havilland (1916–2020) was a legendary Anglo-American actress whose career spanned seven decades and earned her a reputation as one of the last great stars of the Golden Age of Hollywood. Initially rising to fame as the quintessential leading lady opposite Errol Flynn in sweeping adventures like The Adventures of Robin Hood (1938), she achieved cinematic immortality as the gentle Melanie Hamilton in Gone with the Wind (1939). Beyond her on-screen grace, she became a pivotal figure in industry history by successfully challenging the restrictive studio contract system in the landmark “De Havilland Decision,” which granted actors greater professional freedom. This newfound independence allowed her to pursue complex, psychologically demanding roles that showcased her immense range, leading to two Academy Awards for Best Actress for her performances in To Each His Own (1946) and The Heiress (1949). Her legacy is defined by a rare combination of elegant poise and fierce resilience, leaving behind a body of work that remains a cornerstone of classic cinema.

Lew Ayres (1908–1996) was a distinguished American actor whose career was defined by a rare combination of youthful sensitivity and unwavering moral conviction. He catapulted to international stardom with his haunting portrayal of a disillusioned soldier in the anti-war masterpiece All Quiet on the Western Front (1930), a role that mirrored his own lifelong commitment to pacifism. During the late 1930s, he became a household name as the idealistic title character in the popular Dr. Kildare film series, though his career faced a temporary turning point during World War II when he served as a conscientious objector and medic in the Pacific. Ayres successfully returned to the screen in the post-war era, delivering sophisticated performances in psychological thrillers like The Dark Mirror (1946) and earning an Academy Award nomination for his compassionate role in Johnny Belinda (1948). Throughout his long tenure in Hollywood, he remained a figure of quiet integrity, remembered for both his intellectual screen presence and his deep-seated humanitarian values.

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Lew Ayres and Olivia de Havilland

The Dark Mirror trivia

A Technical Triumph: The film is celebrated for its seamless twin effects. To allow Olivia de Havilland to appear on screen with herself, cinematographer Milton Krasner used sophisticated split-screen masking and double exposures. To ensure the two “Olivias” could interact naturally, the crew used a metronome and earpieces so she could time her dialogue with her own pre-recorded voice from the “other" sister.

A Noir Dream Team: The film was a collaboration between two titans of the genre. Director Robert Siodmak was the master of German Expressionist-influenced shadows (also directing The Killers that same year), while the screenplay was written by Nunnally Johnson. Johnson was a powerhouse writer-producer who later earned acclaim for The Three Faces of Eve, another film deeply rooted in psychological identity.

The Good Twin vs. The Oscar: 1946 was a career-defining year for Olivia de Havilland. While she was receiving praise for her dual role in The Dark Mirror, she was simultaneously winning her first Academy Award for Best Actress for her performance in To Each His Own. Her work in The Dark Mirror is often cited by film historians as the performance that proved her incredible range beyond the ingenue roles of her early career.

Psychology of the Era: The film was part of a major post-war trend in Hollywood often called the Freudian Noir. Following the success of Hitchcock’s Spellbound (1945), audiences were fascinated by psychoanalysis. The Dark Mirror utilized actual Rorschach inkblot tests and polygraph machines on screen, reflecting the public's real-life intrigue with using science to unmask the criminal mind.

 

Discussion questions

The Nuance of Identity: Olivia de Havilland opted not to use heavy makeup or different hairstyles to distinguish Ruth from Terry. Instead, she relied on subtle shifts in vocal pitch, posture, and the look in her eyes. How effective was this understated approach in making you believe they were two different people, and did it make the “evil” twin more or less chilling?

The Mirror as a Motif: Director Robert Siodmak uses mirrors, split-screens, and reflective surfaces constantly throughout the film. Aside from the obvious “twin” connection, how do these visuals support the noir theme of a fragmented or hidden self? Do the reflections make the characters seem more connected, or more isolated from one another?

The Science of Noir: The film relies heavily on the 1940s fascination with Freudian psychiatry and the Rorschach inkblot test to solve the mystery. Looking at the film today, does this focus on mid-century psychology add a layer of intellectual suspense, or does it feel like a dated gimmick compared to modern forensic thrillers?

The Detective vs. The Doctor: Detective Stevenson (Thomas Mitchell) represents traditional police legwork, while Dr. Elliott (Lew Ayres) represents the modern analytical approach. How does the tension between these two methods drive the plot? Do you think the detective could have solved the case without the doctor’s psychological intervention, or is Terry’s mind a "locked room" that only science could open?

 

 

 

Burt Lancaster and Yvonne De Carlo can’t seem to catch a break in “Criss Cross”

Criss Cross (1948) is an American film noir directed by Robert Siodmak that plunges the audience into a dark, fatalistic world of obsessive love and impending disaster. The story centers on Steve Thompson (Burt Lancaster), a man who returns to Los Angeles trying to leave his past behind. He takes back his old job as a driver for an armored car company, a symbol of the honest, steady life he hopes to maintain. However, Steve can’t shake his deep, lingering obsession with his beautiful and volatile ex-wife, Anna (Yvonne De Carlo).

Despite his family’s and friends’ warnings about Anna’s manipulative nature, Steve inevitably crosses paths with her again, immediately reigniting a passionate but doomed romance. The situation is complicated by the fact that Anna is now married to Slim Dundee (Dan Duryea), a local gangster and nightclub owner. Steve’s renewed relationship with Anna forces him into a dangerous love triangle, quickly pushing him away from his attempts at a clean start and back toward the corrupting influences of the criminal underworld. This relentless attraction to a woman who is demonstrably bad for him sets the stage for the escalating tragedy.

As the plot unfolds, Steve becomes trapped in a tangled web of deceit and double-crosses, where no one—not Anna, not Slim, and certainly not Steve himself—can be completely trusted. The film masterfully builds a sense of inescapable doom as the intricate plan for the heist is set in motion. Criss Cross is a powerful, stylish examination of human weakness, desire, and betrayal, showcasing how a single, consuming obsession can irrevocably lead a man down a path to his own destruction.

Yvonne De Carlo and Burt Lancaster

Robert Siodmak (1900 – 1973) had a very successful career in Hollywood and is best known for his thrillers and films noir. He signed a seven-year contract with Universal and directed The Killers (1946), the film that made Ava Gardner a star. He worked with some of the top movie stars during Hollywood’s Golden Age, including Deanna Durbin, Gene Kelly, Burt Lancaster, Dorothy McGuire, Yvonne de Carlo, Olivia de Havilland, and Barbara Stanwyck. Often compared to Hitchcock in his prime, he never got the recognition that the Master of Suspense did, but most of his films hold up remarkably well and are worth watching.

Burt Lancaster (1913- 1994) was an American actor and producer. He won a Best Actor Academy Award for his performance in Elmer Gantry (1960). Lancaster made his film debut in The Killers (1946). After the release of that film, he was on his way as a leading man, starring in quick succession Desert Fury (1947), Brute Force (1947), Variety Girl (1947), I Walk Alone (1947), All My Sons (1948), and Sorry, Wrong Number (1948). Other popular films starring Lancaster include The Flame and the Arrow (1950), Jim Thorpe All-American (1951), From Here to Eternity (1953), The Rose Tattoo (1955), and Birdman of Alcatraz (1962).

Yvonne De Carlo (1922 – 2007) was a Canadian-American actress, dancer, and singer whose career spanned six decades across film, television, and stage. She first rose to prominence in the 1940s and 1950s as a Hollywood film star, gaining recognition in lavish Technicolor productions like Salome, Where She Danced (1945) and often being cast in exotic or adventurous roles, including her notable turn in the film noir Criss Cross (1949). Her film career peaked when she played Sephora, the wife of Moses, in Cecil B. DeMille’s epic The Ten Commandments (1956). She gained renewed fame with a new generation of fans in the 1960s for her enduring role as Lily Munster, the glamorous matriarch, in the popular CBS sitcom The Munsters (1964–1966).

Dan Duryea (1907 – 1968) was an American film, stage, and television actor. He is best known for his character roles as villains, but he had a long career that included a variety of lead and second lead roles. Duryea graduated from Cornell University in 1928. In his senior year, he was the president of the college drama society. Duryea went to Hollywood in 1940 to play Leo Hubbard in The Little Foxes, a role he created on Broadway. He established himself in films noir, costarring in classics like Scarlet Street (1945), Criss Cross (1948), and Too Late for Tears (1949).

 

Criss Cross trivia

• Reunion of Noir Veterans: The film reunited director Robert Siodmak and star Burt Lancaster, along with composer Miklós Rózsa, all of whom had previously collaborated on the highly successful 1946 film noir classic, The Killers. The two movies share the thematic elements of a doomed protagonist drawn back into crime by a manipulative woman.
• Uncredited Star Debut: A very young and uncredited Tony Curtis makes a brief appearance in the film. He can be spotted as an extra dancing with Yvonne De Carlo’s character, Anna, in the lively nightclub scene at “The Round-Up.”
• Los Angeles Location as a Character: Criss Cross was shot extensively on location in the Bunker Hill neighborhood of downtown Los Angeles. This area, known for its steep hills, Victorian architecture, and rundown boarding houses, was a popular setting for classic film noirs, and its gritty, precarious atmosphere adds to the movie’s sense of fatalism. Much of the architecture seen in the film was later demolished in the 1950s and 60s due to redevelopment.
• Novel Adaptation: The film is based on the 1934 novel of the same name by Don Tracy. While the novel provided the core plot, the film adaptation, scripted by Daniel Fuchs, amplified the key elements of film noir, including the complex flashback structure, the fatalistic voice-over narration, and the overwhelming sense of doom.

 

Click HERE to watch the movie on the Internet Archive.

Click HERE to join the online discussion on Monday, November 24, 2025, at 6:30 p. m. Central Time. Once you RSVP, you’ll receive a link with an invitation to join the discussion on Zoom.

Discussion questions

1. The Nature of Obsession and Fate: The film utilizes a flashback structure that essentially reveals the ending in the very first scene. How does knowing Steve Thompson's ultimate fate from the beginning affect the audience's viewing experience? Does this structure amplify the fatalism and obsessive nature of his choices, or does it simply reduce the suspense?
2. The Archetype of the Femme Fatale: How does Anna (Yvonne De Carlo) embody the classic film noir archetype of the femme fatale? Is she truly evil and manipulative, or is she also a victim of her circumstances and the limited opportunities available to women in her environment? How does her character compare to other famous film noir women?
3. Moral Compromise and the American Dream: Steve Thompson returns to Los Angeles determined to live an honest, working-class life, but his desires quickly derail him. How does the film comment on the idea of the American Dream or the possibility of redemption? At what point does Steve cross the moral line, and is his downfall inevitable regardless of his choices?
4. Style and Setting in Noir: The film makes extensive use of location shooting in the atmospheric, now-demolished Bunker Hill neighborhood of Los Angeles. How do the movie's visual style—specifically the use of low-key lighting (chiaroscuro), shadows, and gritty urban settings—reflect and enhance the themes of desperation, moral corruption, and entrapment in the story?

Barbara Stanwyck has “No Man of Her Own”

The film tells the suspenseful story of Helen Ferguson (Barbara Stanwyck), a desperate, unwed, and pregnant woman who has been abandoned by her callous lover.

While traveling on a train, a tragic accident results in a dramatic twist of fate: Helen is mistaken for a wealthy, deceased woman, Patrice Harkness (Phyllis Thaxter), whose new in-laws, the kindly and affluent Harkness family, have never met her.

With nowhere else to turn and motivated by a desire to provide a secure life for her newborn son, Helen reluctantly steps into the new identity. She finds herself welcomed into a loving, comfortable home, all while trying to maintain the deception.

However, her fragile new world is threatened when her sleazy ex-boyfriend, Stephen Morley (Lyle Bettger), reappears, eager to exploit her newfound wealth and position. Helen must fight to keep her secret and protect the life she’s desperately built, especially as she develops a growing mutual attraction with William “Bill” Harkness (John Lund), the deceased husband’s brother.

This film noir-tinged melodrama explores themes of desperation, mistaken identity, and the possibility of reinvention and redemption when one is pushed to the limit.

Barbara Stanwyck and John Lund

Mitchell Leisen (1898 – 1972) was an American director who was one of Paramount Pictures' most successful directors during the 1930s and 1940s. He directed Olivia de Havilland to her first Best Actress Oscar in To Each His Own (1946). He also directed Ginger Rogers in Lady in the Dark (1944), as well as the Christmas classic Remember the Night  (1940) starring Barbara Stanwyck and Fred MacMurray. Leisen’s last big movie success was the comedy The Mating Season (1951) starring Gene Tierney, John Lund, and Thelma Ritter in an Oscar-nominated performance.

Barbara Stanwyck (1907 – 1990) was an American film star who got her acting start with a supporting role on Broadway in a play called The Noose (1926). The next year, she had the lead in another Broadway production, Burlesque which was a huge hit. She eventually made it to Hollywood, where her success was not immediate. Director Frank Capra saw something in Stanwyck, and he educated her in filmmaking and film acting; the rest is history. Stanwyck was nominated four times for the Best Actress Oscar—Stella Dallas (1937), Ball of Fire (1941), Double Indemnity (1945), Sorry, Wrong Number (1948)—and remains one of the most beloved movie stars from Hollywood’s Golden Age.

John Lund (1911 – 1992) was an American film, stage, and radio actor known for his work across drama and comedy genres from the 1940s to the 1960s. After an early career that included work in advertising and appearances on Broadway, such as the play The Hasty Heart, he was signed to a film contract with Paramount Pictures. Lund’s breakthrough film role was in To Each His Own (1946), and he went on to star in films like the Billy Wilder-directed A Foreign Affair (1948), No Man of Her Own (1950), alongside Barbara Stanwyck, The Mating Season (1951), and the musical High Society (1956). He also starred in the radio series Yours Truly, Johnny Dollar from 1952 to 1954 and served as a vice president of the Screen Actors Guild throughout the 1950s before retiring from acting in the early 1960s.

No Man of Her Own trivia

• Stanwyck played Helen Ferguson, which happened to be the name of her publicist. Ferguson was one of the best-known publicists of the era.
• Remade as Mrs. Winterbourne starring Shirley MacLane and Riki Lake.
• The film was Lyle Bettger’s film debut. They would work together again in All I Desire (1953).
• Filmed in 1949, but not released until 1950.
• One of Jane Cowl’s last films. She died in 1950, the year the film was released.

Click HERE to watch the movie on the Internet Archive.

Click HERE to join the online discussion on November 10, 2025, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation and a link to join the discussion on Zoom.

Discussion questions

1. Moral Dilemma and Sympathy: Helen Ferguson’s decision to assume Patrice’s identity is based on desperation and a desire to protect her child. At what point in the film does the audience's sympathy for Helen’s predicament shift, and does her initial motive justify the subsequent lies and actions she takes?
2. Genre and Tone: The film is often described as a blend of the “woman's picture” and Film Noir. How do the visual style, plot elements (like the train crash and the blackmail subplot), and Helen’s narration contribute to the feeling of doom and inescapable fate typical of Film Noir, even within the melodramatic framework of a family drama?
3. Identity and Class: Helen, a poor, unwed mother, steps into the life of the wealthy Patrice Harkness. What does the film suggest about the societal importance of identity and class in post-war America? Could Helen have achieved a similar level of security and acceptance if she had revealed her true self to the Harkness family immediately?
4. The Role of the Harkness Family: How do the kindness and immediate acceptance of Mr. and Mrs. Harkness—people who were essentially strangers—influence Helen’s choices? Does their profound goodness make Helen’s deceit more heartbreaking or more understandable, and how does John Lund’s character, Bill, complicate her new life?

Get ready for Noir City Chicago 2025

Noir City Chicago 2025 is a week-long film festival dedicated to celebrating classic film noir and neo-noir. The event will be held at Chicago's Music Box Theatre, 3733 N. Southport Ave., from September 5 to 11. Presented by the Film Noir Foundation, the festival is a must-see for fans of hardboiled crime stories, high heels and fedoras, and shadowy cinematography. The lineup for the festival is curated to include both renowned classics and obscure rarities, often presented in double-bills, and will feature screenings of 35mm prints alongside digital restorations.

Joan Bennett and Edward G. Robinson in The Woman in the Window

The 2025 program promises an eclectic mix of films, including classics like Stanley Kubrick's The Killing and Fritz Lang's Scarlet Street, as well as a selection of neo-noirs such as The Grifters and The Hot Spot. The festival will be hosted by Eddie Muller, the founder of the Film Noir Foundation and host of TCM's "Noir Alley," for the opening weekend. Following that, screenings will be presented by Film Noir Foundation board member Alan K. Rode. This year's event highlights the lasting legacy and influence of film noir, providing audiences with a chance to experience these gripping tales of desperation, greed, and betrayal on the big screen.

Click HERE for the full schedule.

Ladd, Lake, and Donlevy star in “The Glass Key”

The Glass Key (1942) is an American film noir directed by Stuart Heisler and starring Brian Donlevy, Veronica Lake, and Alan Ladd. The supporting cast includes William Bendix, Bonita Granville, Richard Denning, and Joseph Calleia.

The Glass Key centers on Ed Beaumont (Alan Ladd), the trusted right-hand man of political boss Paul Madvig (Brian Donlevy). When a local gangster, Shad O’Rory, is found murdered, suspicion immediately falls on Madvig, especially since he had recently been publicly feuding with Shad over the affections of Janet Henry (Veronica Lake), the daughter of a powerful senator whom Madvig intends to marry. Ed, despite his personal feelings for Janet, is fiercely loyal to Madvig and sets out to clear his name. He dives deep into the seedy underworld, navigating corrupt politicians, rival gangsters, and the cynical social circles of the elite, all while facing threats and beatings designed to deter him.

As Ed investigates, he uncovers a tangled web of deceit, betrayal, and hidden motives. 

 

Stuart Heiser (1896 – 1979) was an American film and television director. Heisler started out as a film editor from 1921 to 1936. He then worked as a director for the remainder of his career. He directed films starring Bing Crosby, Fred Astaire, Gary Cooper, and Loretta Young. He directed Susan Hayward in Smash-Up, the Story of a Woman, considered her breakout performance. She earned her first Best Actress Academy Award nomination for her performance. Other films directed by Heiser include Along Came Jones (1945), Blue Skies (1946), Tulsa (1949), Dallas (1950), The Star (1952), and I Died a Thousand Times (1955).

Brian Donlevy (1901–1972) was an American actor noted for playing tough guys in movies. He mostly worked as a supporting actor, but sometimes played the lead, as in the Preston Sturges classic The Great McGinty (1940). Donlevy worked in the theater but soon found regular work in silent films. He transitioned to sound pictures and starred in “A” and “B” pictures at most of the major studios. He supported the biggest stars of Hollywood’s Golden Age, including Robert Taylor, Barbara Stanwyck, Gary Cooper, Marlene Dietrich, and Bing Crosby.

Veronica Lake (1922 - 1973) was an American film, stage, and television actress. She was a popular star of film noirs, often paired with Alan Ladd in the 1940s. She was also famous for her peek-a-boo hairstyle. Her home studio, Paramount, dubbed her the peek-a-boo girl. Women and girls all over the world copied her hair-over-one-eye hairstyle. Lake became an overnight sensation with her role in I Wanted Wings (1940). During the height of her career, Lake was making $4,500 a week. Some of her popular films include Sullivan’s Travels (1941), This Gun for Hire (1942), The Glass Key (1942), So Proudly We Hail! (1943), and The Blue Dahlia (1946). Lake’s career declined due to her struggle with alcoholism. She died from cirrhosis of the liver in 1973. She was 50 years old.

Alan Ladd (1913 – 1964) was an American actor and film producer. Before Ladd made in big in movies, he had a successful career on the radio. After numerous bit parts at just about every Hollywood studio, Paramount signed him to a long-term contract and crafted roles that propelled him to superstardom. Ladd established himself in films noir like This Gun for Hire (1942), The Glass Key (1942), and The Blue Dahlia (1946). Other important films include Two Years Before the Mast (1946) and The Great Gatsby (1949). Ladd also established himself in the western genre, starring in Whispering Smith (1948) and one of the most famous westerns of all time, George Stevens’s Shane (1953). George Stevens offered the role of Jett Rink in Giant (1956), but Ladd turned it down because it wasn’t the lead. Ladd’s last film was in a supporting role in The Carpetbaggers (1964).

 

Click HERE to watch the movie on the Internet Archive.

Click HERE to join the online discussion on Monday, August 4, 2025, 6:30 p.m. Central Time. Once you RSVP, you will receive an email with a link to join the Zoom discussion. 

 

Brian Donlevy, Veronica Lake, and Alan Ladd

The Glass Key trivia

• William Bendix accidentally knocked Alan Ladd in a fight scene.
• This was a remake of the version first filmed in 1935, starring George Raft in the Ladd role.
• Paulette Goddard was originally cast in the role of Janet Henry, but had to drop out due to a prior commitment. It was announced that Patricia Morison would replace her, but after the producers saw the chemistry between Lake and Ladd in This Gun for Hire (1942), Lake was cast as Janet.
• This was the second of the four Ladd/Lake pairings.

 

Discussion questions

1. What do you think of the second pairing of Veronica Lake and Alan Ladd?
2. Some film noir plots are hard to follow, or in some cases, are second to the relationships between the male and female characters. Was the plot of this film hard to follow?
3. What did you think of the supporting cast? Did anyone's performance stand out to you?
4. Did anything surprise you?
5. Was the ending satisfying, believable?

2025 Turner Classic Movies Film Festival—Planning V. Reality: What Did I See? #TCMFF

Every year, I try to plan what movies I’m going to see at the TCM Film Festival. It’s tough keeping to the schedule you planned out beforehand, but there are challenges. Below are the films I planned on seeing and what I actually saw. The reality of what I ended up seeing is in red.

Thursday April 24

7-8 p.m. Teacher’s Pet (1958) – I’ve never seen this film, and I’m excited to see it on the big screen with an audience. And for this night only, it doesn’t conflict with any other movie I’d like to see. I actually kept to schedule on this one. I was determined to see this film. I had never seen it before, and I wasn’t disappointed. Day and Gable were great, and so was Gig Young, nominated for a Best Supporting Oscar for his performance; it was well deserved. It was entertaining, and it looked great on the big screen.

Gig Young, Doris Day, and Clark Gable

10 p.m. – 12 a.m. If I can stay awake, I may see Hud (1963) in the Egyptian Theatre. It’s been years since I’ve seen this film, and never in the theater, so this could be fun. Well, I wasn’t able to stay awake. I wasn’t too disappointed, but I would have liked to have seen it with an audience at the Egyptian.

Friday April 25

9 a.m. – 11:30 a.m. Thunderball (1965) starring Sean Connery as James Bond. Screening in the Chinese Multiplex House, and Luciana Paluzzi will be at the post-screening. Cinderella (1950) is screening at the El Capitan Theatre at 10 a.m. I’m tempted to go see it because I haven’t seen it since my older sister took me to see it when I was a kid, and the El Capitan is a really beautiful theater. I’ll probably end up seeing the Bond film. Odd decision between Thunderball and Cinderella, but that’s how it goes at the TCMFF. I ended up seeing Thunderball, and I was glad I did. It was a beautiful DCP presentation. The color was perfect; it looked brand new. It was a James Bond film I hadn’t seen before, so it was a real treat to see it on the big screen (you might be seeing this phrase often). Bond bad girl Luciana Paluzzi was interviewed after the film by Eddie Muller. Paluzzi, who is 87 years old, was a delight. She looked amazing and had wonderful stories about the director, Terrence Young, and Sean Connery. She and Connery remained lifelong friends after the film wrapped.

12:15 p.m. – 2:15 p.m. This is a toss-up. The Time Machine (1960) and Babe (1995) are both scheduled at the same time. The Time Machine is in the small Chinese Multiplex Theatre 4. I didn’t follow my plans at all. I chose Servant’s Entrance (1934), starring Janet Gaynor and Lew Ayres. The supporting cast included Ned Sparks and Walter Connolly. I had never heard of this film, a screwball comedy, but it packed out the Egyptian. The movie is a forgotten gem that includes an amazing animated dream sequence by Disney animators, three years before Snow White and the Seven Dwarfs. I was glad I saw this film; it may be my favorite from the whole festival.

3 p.m. – 5 p.m.; 3:15 p.m. -5 p.m.; 3:30 – 5:15 p.m. Three movies that I would like to see, but I have to choose one. In order of show times, it’s: Bringing Up Baby (1938), The Enchanted Cottage, and Edge of the City (1957). Which movie would you choose? I ended up seeing The Enchanted Cottage. I had seen Bringing Up Baby on the big screen just a few months ago, and Edge of the City was playing in Theatre Four, which is the smallest of the multiplex theatres, and it’s a challenge to get in sometimes. So, I decided to see The Enchanted Cottage. I hadn’t seen that movie in decades, so it felt like new to me. It was a restored DCP presentation, and looked beautiful in glorious black and white!

Robert Young and Dorothy McGuire

6:30 p.m. The Lady Eve (1941) is a movie I have to see on the big screen with an audience. It’s one of my favorite Preston Sturges films, and it stars two legends of the screen: Barbara Stanwyck and Henry Fonda. There wasn’t a chance I was going to miss this one. It was wonderful seeing it on the big screen for the first time with an audience primed to enjoy it, and we did!

9 p.m. – 11:15 p.m. Now, Voyager (1942); 9:15 – 10:45 p.m. Lili (1953). Another toss-up and two completely different movies. I may just flip a coin on this one. It might be tough getting into Lili since it’s screening in Theatre 4. Well, I decided on Lili. I remember seeing Lili when I was young. They used to play it at children’s matinees. I think they thought the puppets made it perfect for kids, but it’s a film that deals with some adult themes. The film was shown in 35mm.

Saturday April 26

9 a.m. – 1 p.m. Ben-Hur (1959) is being presented in a world premiere restoration in the Chinese Theatre. I can’t think of a better theatre to see this Academy Award-winning epic. If I see this film, that means I’m giving up a chance to see two other movies. I would like to see Daisy Kenyon (1947) at the Egyptian Theatre in a nitrate print. I opted to see Ben-Hur at the Chinese in a world premiere restoration that was absolutely glorious. I can’t remember the last time I saw a movie as clear and perfect as this one. The color was so vibrant and clear, it was like seeing it for the first time. The chariot race on the screen at the Chinese was thrilling. As many times as I’ve seen Ben-Hur, the chariot race never gets old.

3:45 p.m. – 5:30 p.m. To Be or Not To Be (1942) is screening at Theatre 4 so it could be tough getting into this one, but I’m going to try. This Ernst Lubitsch comedy is one of the best of the era. I got in and it was great. The audience was totally into it, and made it all the more enjoyable.

9 p.m. – 11:15 p.m. A Guy Named Joe is a movie I wanted to see as soon as it was announced. The film stars Spencer Tracy and Irene Dunne, with a star-making turn by a young Van Johnson. It’s in Theatre 4, so I’ll have to get in line early. I was determined to get into this movie, so I skipped the group of movies that started at 6:15 p.m. I ended up being number two in line. I shouldn’t have worried because the theatre wasn’t filled?! I could have seen any one of the movies before it and gotten in. I was glad I saw it on the big screen, regardless. I thought a film starring Tracy and Dunne would have been a bigger draw, but there was a lot of competition during that slot. Oh, by the way, I was number two in line.

Sunday April 27

Sunday can be a crap shoot with the TBA movies being revealed. As of this moment, I don’t know what I want to see. Nothing is a must-see for me, although there are some movies I’d like to see on the big screen, like Splendor in the Grass (1961) at 11:45 a.m. in Theatre 1. I may go see the silent version of Beau Geste (1926) in the Egyptian Theatre at 7:30 p.m. I ended up seeing at 9 a.m. All This and Heaven Too (1940) in Theatre Four (my luck getting into this theatre was extraordinary). I did go to see Splendor in the Grass in Theatre 1. Wood’s daughter, Natasha Gregson Wagner, with her daughter were interviewed before the film by Alicia Malone. Natasha’s daughter had never seen the movie before, so she was seeing it for the first time on the big screen with an audience. She never met her grandmother. At 5:30 p.m., I went to see Moonlight and Pretzels (1933). This pre-code musical was a hoot. A low-rent imitation of 42^nd Street (1933), was so bad it was good. The audience ate it up, and so did I. Some memorable numbers from the movie included “Dusty Shoes.” Check it out below!

The last movie I saw was Beau Geste (1926) starring Ronald Colman, Neil Hamilton, Ralph Forbes, with Victor McLaglen and William Powell. This silent film was making its world premiere restoration at the Festival. Shown in the Egyptian theatre with a small orchestra and a foley artist who provided sound effects. It was quite amazing to experience a silent film the way audiences would have when it was first released.

All in all, I saw 13 movies in four days, which comes to 3.25 movies a day. In past Festivals, I’ve seen as many as 16 movies. This year, I took out some time for lunch and dinner, something I neglected in past years.