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

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

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

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

 

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

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

Myrna Loy, William Powell, and Walter Connolly

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

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

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

Loy, Powell, Jean Harlow, and Spencer Tracy

Libeled Lady trivia

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

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Discussion questions

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

“Twentieth Century” (1934) - Egos on the Express: A High-Speed Clash of Broadway Giants

Directed by the legendary Howard Hawks, Twentieth Century (1934) is a seminal screwball comedy that captures the high-octane, ego-driven world of Broadway. The story follows Oscar Jaffe, a flamboyant and manipulative theater producer whose career has hit rock bottom after a string of failures. Desperate to reclaim his former glory, he boards the luxurious Twentieth Century Limited train traveling from Chicago to New York, setting the stage for a frantic, confined drama where the stakes are as high as the theatrical flair.

The film stars John Barrymore as the eccentric Oscar Jaffe, delivering a performance defined by comedic melodrama and grandiosity. Opposite him is Carole Lombard in her breakout role as Lily Garland, a former shopgirl whom Jaffe transformed into a massive stage star. Having fled Jaffe’s stifling control years prior to find fame in Hollywood, Lily happens to be on the same train, leading to a volatile and hilarious reunion between two people who can’t decide if they love or loathe one another.

As the train speeds toward Manhattan, the narrative becomes a relentless tug-of-war. Jaffe employs every trick in the theatrical handbook—guilt, fake illnesses, and elaborate lies—to convince Lily to sign a contract for his new play. The chemistry between Barrymore and Lombard is electric, characterized by rapid-fire dialogue and physical comedy that highlights the absurdity of their professional and personal rivalry. They are supported by a colorful cast of characters, including Jaffe’s long-suffering assistants who try to manage the chaos.

Twentieth Century is widely regarded as one of the films that defined the screwball genre, blending sophisticated wit with chaotic energy. It explores themes of identity, the artifice of celebrity, and the thin line between performance and reality. By keeping the action largely restricted to the sleek, Art Deco interiors of the train, Hawks creates a pressure cooker of hilarity that moves as fast as the locomotive itself, ensuring the audience is just as breathless as the characters by the final stop.

Howard Hawks (1896 – 1977) was a versatile titan of Hollywood’s Golden Age, renowned for his ability to master almost every cinematic genre with a signature style of understated, fast-paced storytelling. Often characterized by the “Hawksian woman”—female characters who were as tough, witty, and capable as their male counterparts—his films frequently explored themes of professional stoicism and masculine camaraderie. Throughout his prolific career, he directed foundational masterpieces ranging from the gritty gangster grit of Scarface and the pioneering screwball energy of Bringing Up Baby and His Girl Friday to the rugged Western atmosphere of Red River and Rio Bravo. His economical directing style, which favored eye-level camera placement and seamless editing, earned him late-career status as a favorite among “Auteur theory” critics and cemented his legacy as one of the most influential directors in film history.

John Barrymore (1882 – 1942) was a preeminent force of the American stage and screen, widely considered one of the most gifted actors of his generation and a key member of the legendary Barrymore acting dynasty. Initially a reluctant performer, he achieved immortality through his athletic and definitive portrayal of Hamlet, a role that bridged 19th-century theatricality with modern psychological depth. Earning the moniker “The Great Profile” for his strikingly classical features, he successfully transitioned from silent film romantic leads in Don Juan to the “talkie” era, where he showcased his versatility in sophisticated dramas like Grand Hotel and high-energy comedies like Twentieth Century. Although his later years were marked by a well-publicized struggle with alcoholism that mirrored the tragic, washed-up characters he often portrayed, Barrymore remained a magnetic presence whose quick wit and Shakespearean command left an indelible mark on the evolution of 20th-century acting.

Carole Lombard (1908 – 1942) was the undisputed queen of screwball comedy and one of the highest-paid, most beloved stars of Hollywood’s Golden Age. Born Jane Alice Peters, she began her career in silent films and slapstick shorts before her razor-sharp wit and energetic physical comedy made her a definitive screen presence in the 1930s. Her breakout performance in Twentieth Century redefined her image from a sophisticated blonde lead into a comedic powerhouse, a reputation she solidified with an Academy Award-nominated turn in My Man Godfrey and the satirical Nothing Sacred. Known for her off-screen candor, profanity-laced humor, and high-profile marriage to Clark Gable, Lombard was as respected for her intelligence and professionalism as she was for her luminous beauty. Her life was tragically cut short at the age of 33 in a plane crash while returning from a record-breaking war bond rally, an event that led President Franklin D. Roosevelt to posthumously award her the Presidential Medal of Freedom as the first woman killed in the line of duty during World War II.

 

Carole Lombard, far right

Twentieth Century trivia

The Lombard Transformation: Before this film, Carole Lombard was primarily cast as a sophisticated clothes horse in dramatic roles. Director Howard Hawks, frustrated with her stiff acting during early rehearsals, famously took her aside and told her to stop acting and just be the outspoken, energetic woman he knew her to be in real life. The result was her breakout performance, which redefined her career and established her as the queen of screwball comedy.

A “Great Profile” Parody: John Barrymore’s flamboyant performance as Oscar Jaffe was largely a parody of his own legendary theatrical persona and that of his real-life mentor, the eccentric Broadway producer David Belasco. Barrymore reportedly enjoyed the role immensely because it allowed him to mock the very high-acting style that had made him famous on the stage.

Real-Life Inspiration: The character of Oscar Jaffe was based on the notorious Broadway producer Morris Gest, known for his melodramatic flair and volatile temper. The original play, written by Ben Hecht and Charles MacArthur (who also wrote the screenplay), was a thinly veiled satire of the chaotic backstage world they had experienced firsthand in the New York theater scene.

The “Hawksian” Pace: Twentieth Century is often cited as the first true screwball comedy because of its relentless, overlapping dialogue. Howard Hawks encouraged the actors to speak over one another to simulate the frantic energy of a real argument, a technique he would later perfect in films like His Girl Friday. This rapid-fire delivery was a technical challenge for early sound equipment but became a hallmark of the genre.

 

Carole Lombard and John Barrymore

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Discussion questions

The Nature of Performance: Oscar Jaffe and Lily Garland seem unable to turn off their theatrical personas, even in their most private moments. Do you think they are ever being their “true” selves, or has the world of Broadway permanently blurred the line between their real personalities and the characters they play?

The Power Dynamic: At the start of the film, Oscar is the mentor and Lily is the protégée, but the scales shift dramatically by the time they meet on the train. How does the film portray the struggle for control between them, and does Lily ever truly achieve independence from Oscar’s influence?

Screwball Archetypes: Twentieth Century is often cited as the film that launched the screwball comedy genre. Which elements of the film—such as the rapid-fire dialogue, the confined setting, or the battle of the sexes—do you think were most influential in defining this style of filmmaking?

Sympathy for the Villain: Oscar Jaffe is manipulative, dishonest, and ego-driven, yet he remains the protagonist of the story. How do John Barrymore’s performance and Howard Hawks’ direction manage to make such an objectively difficult character charming or even relatable to the audience?

  

 

 

 

Barbara Stanwyck and Dennis Morgan share a “Christmas in Connecticut”

The classic romantic comedy Christmas in Connecticut (1945), directed by Peter Godfrey, centers on Elizabeth Lane (Barbara Stanwyck), a highly popular magazine columnist known nationwide as the ideal American wife, mother, and homemaker who lives an idyllic life on her Connecticut farm. She pens mouth-watering recipes and writes charming anecdotes about her domestic bliss. However, this entire persona is a complete fraud. Elizabeth is actually a single, childless, city-dwelling career woman who can’t even boil an egg. Her witty columns and gourmet recipes are the work of her editor and a professional chef friend, all kept secret from the public and, crucially, from her stern, demanding publisher, Alexander Yardley (Sidney Greenstreet).

The crisis begins when Yardley insists that Elizabeth host a Christmas dinner at her “farm” for Jefferson Jones (Dennis Morgan), a handsome, recently rescued war hero whose recovery was aided by reading her columns and dreaming of her meals. Terrified of being exposed and losing her job, Elizabeth, with the help of her friends, frantically arranges a desperate plan to maintain the deception. This involves agreeing to a hasty, non-romantic marriage to her persistent suitor, John Sloan (Reginald Gardiner), who owns a real Connecticut farmhouse, and borrowing a neighbor’s baby to pose as her own.

As Elizabeth, John, the chef, and the “borrowed” baby arrive at the farm, they are immediately thrown into a farcical whirlwind of complications. The unexpected early arrival of the war hero, Jones, and her publisher, Yardley, threatens to unravel the entire charade at every turn. Elizabeth finds herself struggling to perform the simplest domestic tasks while trying to keep her boss and the eager war hero from realizing the truth. As the impostor housewife attempts to navigate a chaotic Christmas weekend, she soon develops a genuine, unexpected connection with her honored guest, which further complicates her desperate and delicate tangle of lies.

 

Peter Godfrey (1899 – 1970) was an English actor and film director who was born in London. He began his career on the stage as a conjurer, clown, and actor, and was the founder of the experimental Gate Theatre Salon in 1925, where he staged London’s first expressionistic production the following year. After directing two British films in the early 1930s, he eventually moved to the United States, arriving in Hollywood around 1939 to establish a career as a film actor and director. Godfrey became a prominent director, working primarily on B-films for Warner Bros. and directing a variety of genres, including comedy, drama, and thriller, with notable credits including the Christmas classic Christmas in Connecticut (1945), Cry Wolf (1947), and The Woman in White (1948). He later switched to directing episodes for television shows in the 1950s and died in Hollywood, California, at the age of 70.

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, and 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.

Dennis Morgan (born Earl Stanley Morner, 1908–1994) was an American actor and singer, best known as a star for Warner Bros. in the late 1930s through the early 1950s. Morgan began his career using the name Stanley Morner in films like Suzy (1936), and later as Richard Stanley, before adopting the name Dennis Morgan when he signed with Warner Bros. He frequently played the amiable leading man with a pleasant tenor voice in musicals and comedies, often being paired with his friend, actor Jack Carson, in films such as Two Guys from Milwaukee (1946). Among his most notable film roles are his appearances in the classic holiday film Christmas in Connecticut (1945), Kitty Foyle (1940), The Desert Song (1943), and My Wild Irish Rose (1947). After his film career slowed, he transitioned to television, starring in the police series 21 Beacon Street in the late 1950s.

Sydney Greenstreet (1879–1954) was a British and American actor who began his distinguished film career at the late age of 61 after decades as a prominent stage performer in both Britain and America. Best known for his imposing physical presence and portrayal of cunning, often villainous characters, he made his sensational screen debut in The Maltese Falcon (1941) as Kasper Gutman, a role that earned him an Academy Award nomination for Best Supporting Actor. He was a memorable fixture in many Warner Bros. films throughout the 1940s, frequently paired with Peter Lorre, and is highly celebrated for his work in classics like Casablanca (1942), where he played club owner Signor Ferrari, and the holiday film Christmas in Connecticut (1945), where he appeared as the blustering publisher Alexander Yardley. Greenstreet's film career spanned only eight years before he retired due to health issues, including diabetes and a kidney disorder.

 

Barbara Stanwyck and S.Z Sakall

Christmas in Connecticut trivia

• The Casting of "Elizabeth Lane": Barbara Stanwyck, who plays the famously terrible cook and fraudulent columnist Elizabeth Lane, was personally selected for the role by director Peter Godfrey because he was one of the few directors who knew that Stanwyck was a highly skilled comedienne, a talent often overlooked in favor of her dramatic roles.
• The Title's Double Meaning: The film's title refers both to the geographical setting of the holiday chaos and to the magazine column written by the fictional Elizabeth Lane. Interestingly, the film was shot entirely on the Warner Bros. lot in Burbank, California, and none of the scenes were actually filmed in Connecticut.
• Sydney Greenstreet's Only Comedy Role: The film features Sydney Greenstreet, known for his roles as menacing villains in noirs like The Maltese Falcon and Casablanca. His role as the demanding publisher Alexander Yardley in Christmas in Connecticut is one of the few, if not the only, purely comedic roles he played during his short but highly impactful film career.
• A Familiar Farmhouse Setting: The exterior set used for John Sloan's farmhouse—the place where the entire holiday deception takes place—was a standing set on the Warner Bros. ranch. It was reused multiple times for various films and television shows over the years.

 

Click HERE to watch the movie on the Internet Archive.

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Dennis Morgan and Barbara Stanwyck

Discussion questions

1. Identity and Deception: Elizabeth Lane’s entire public persona is a fabrication. Discuss the moral and professional implications of this deception. 
2. The Nature of Love and Marriage: Elizabeth is pressured to marry John Sloan, a man she doesn’t love, simply to maintain her professional lie. How does the film contrast this “marriage of convenience” with the genuine, albeit complicated, connection she develops with Jeff Jones? What does the story ultimately suggest about finding true love?
3. The Role of Setting: The film satirizes the idea of the “ideal” Connecticut Christmas. How essential is the farm setting to the comedy and the plot's conflicts? What does the film say about the difference between the romanticized image of domesticity (as described in Elizabeth’s columns) and the reality of an ordinary household?
4. The Comedic Use of Authority: Publisher Alexander Yardley serves as the primary obstacle and source of conflict for Elizabeth. Analyze the effectiveness of Sydney Greenstreet’s performance in this role. How does the film use Yardley's strict, overbearing authority—and Elizabeth’s fear of it—to drive the farcical action?

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

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

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

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

 

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

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

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

 

The Thin Man trivia

1. The Title is a Misnomer

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

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

2. The Studio Didn't Want the Stars

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

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

3. Filmed in Record Time

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

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

 

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

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

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

 

Click HERE to watch the film on the Internet Archive.

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

 

 

Claudette Colbert and Joel McCrea in Preston Sturges's "The Palm Beach Story"

The Palm Beach Story (1942) is an American screwball comedy written and directed by Preston Sturges and starring Claudette Colbert, Joel McCrea, Mary Astor, and Rudy Vallee. The cinematography is by Victor Milner, and the music is by Victor Young.

Tom Jeffers (McCrea) is an inventor going through a rough patch with his wife, Gerry (Colbert). Used to living an upper-class life in New York City, their current financial situation (not good) isn't helping the relationship.

Gerry, still in love with her husband, develops a plan that seems to make no sense to anyone but her. Will her plan throw her marriage into greater peril or save it?

Preston Sturges (1898 - 1959) was an American playwright, screenwriter, and film director. Sturges was one of the first film directors to direct his own screenplays, opening up the door for Billy Wilder and Joseph L. Mankiewicz to do the same. Sturges was a successful playwright and Hollywood screenwriter, and script doctor. As a writer-director, Sturges had an amazing output of films in a period of five years, all considered classics today. These films include The Great McGinty (1940), Christmas in July (1940), The Lady Eve (1941), Sullivan's Travels (1941), The Palm Beach Story (1942), Hail the Conquering Hero (1944), and The Miracle of Morgan's Creek (1944). After leaving Paramount Pictures in a dispute with upper management, Sturges's career declined, and he never produced anything close to the quality of his earlier successes. In spite of this decline, Sturges is considered one of the greatest talents to come out of Hollywood.

Claudette Colbert (1903 -1996) was an American stage, film, and television actress. She is perhaps best known for her role as Ellie Andrews in Frank Capra’s It Happened One Night (1934). For her role in that film, she won the Academy Award for Best Actress. She was nominated two other times in that category. Colbert got her start in the theater, where she played a variety of ingenue roles. In 1928, she signed a contract with Paramount Pictures, where she quickly made a succession of movies. Her breakout role came in 1932 in The Sign of the Cross (1932) starring Fredric March and Charles Laughton. In 1934, she made three films that were nominated for the Academy Award for Best Picture: Imitation of Life, Cleopatra, and the eventual winner, It Happened One Night. No one had been able to match that record. Other popular films include I Met Him in Paris (1937), Drums Along the Mohawk (1939), Midnight (1939), The Palm Beach Story (1942), Since You Went Away (1944), and The Egg and I (1947).

Joel McCrea (1905 – 1990) was an American movie star who appeared in over 100 films. During his almost-five-decade career, McCrea worked with some of the top directors in Hollywood, including Alfred Hitchcock (Foreign Correspondent 1940), Preston Sturges (Sullivan’s Travels 1941, The Palm Beach Story 1942), and George Stevens (The More the Merrier 1943). McCrea worked opposite some of the top leading actresses of the day, including Miriam Hopkins, Irene Dunne, Veronica Lake, Claudette Colbert, and Barbara Stanwyck, with whom he made six films. He was the first actor to play Dr. Kildare in the film Internes Can’t Take Money (1937), co-starring Stanwyck. McCrea married actress Frances Dee in 1933. The two were married until McCrea died in 1990.

Click HERE to watch the movie on the Internet Archive.

Click HERE to watch the movie on YouTube.

Click HERE to join the discussion on August 25, 202, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation and a link to the discussion on Zoom.

The Palm Beach Story trivia

• Carole Lombard was scheduled to star alongside McCrea but was replaced by Colbert when Lombard was killed in a plane crash in 1942.
• Preston Sturges makes a cameo appearance carrying Colbert's luggage after departing Rudy Vallee's yacht.
• The studio didn't want Rudy Vallee to be cast in the role of J.D. Hackesacker III but Sturges persisted and got his way.
• The $700 that the Wienie King gives Gerry would be worth over $10,000 today.
• The Palm Beach Story was the fifth film writer-director Preston Sturges made in two years!

Why watch this film?

• The Palm Beach Story is considered one of the best screwball comedies ever made. 
• Preston Sturges is one of the true geniuses of Hollywood's classical period which makes watching his films practically mandatory.
• It's an opportunity to see Joel McCrea and Claudette Colbert at the peak of their powers and appeal.
• The supporting cast includes Mary Astor and Rudy Vallee, and the members of The Preston Sturges Stock Company.
• Few people could write sophisticated comedy like Preston Sturges, and The Palm Beach Story is just one example of the director's talent.

Discussion questions

1. Gender Roles and Expectations: How does the film challenge or reinforce traditional gender roles of the 1940s? Consider the characters of Gerry and Tom and their respective approaches to money, marriage, and independence.
2. Money vs. Love: The central conflict in the film revolves around money. Does the movie ultimately suggest that money is a necessary evil for a successful marriage, or is it a corrosive force that undermines genuine affection?
3. Screwball Comedy Elements: Identify and analyze the classic elements of screwball comedy present in "The Palm Beach Story." How do these elements, such as fast-paced dialogue, zany situations, and mistaken identities, serve the film's satirical commentary on class and relationships?
4. Symbolism of the Ale & Quail Club: The Ale & Quail Club and its chaotic journey on the train are a significant part of the film's humor. What might this group symbolize? What is their function within the narrative, and how do they reflect the film's broader themes?
5. Frankness and Modernity: For a film made in 1942, "The Palm Beach Story" is remarkably frank about divorce, remarriage, and a woman's desire for financial security. How does this film's treatment of these topics compare to other films of the era, and in what ways does it feel surprisingly modern?

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.

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

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

Carole Lombard and William Powell

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

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

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

Clark Gable and Carole Lombard on their wedding day

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

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

My Man Godfrey trivia:

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

Click HERE to watch the film on YouTube.

Click HERE to join the online discussion on March 3, 2025, at 6:30 p.m. Central Time. Once you RSVP, you will receive an email with an invitation and a link to join the discussion on Zoom.

Questions for discussion:

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

Irene Dunne and Cary Grant discover “The Awful Truth”

 In 1937, Irene Dunne was at the height of her career. The year before, Dunne received a Best Actress Academy Award nomination for Theodora Goes Wild, a comedy role she was reluctant to take. That picture was a critical success for Dunne and a huge box office hit for Columbia Pictures. So it wasn’t surprising that the next picture she would make for the studio would be another comedy.

From Stage To Screen
The Awful Truth was based on a play by Arthur Richman and brought to the screen with the aid of screenwriter Vina Delmar and Theodora Goes Wild screenwriter, Sidney Buchman, who went uncredited. Teamed with Dunne for the first time was Cary Grant. Grant quickly became a top leading man in Hollywood, but his pairing with Dunne was inspired and their on-screen chemistry delighted movie-going audiences. B.R. Crisler writing in his New York Times review said, “Miss Dunne and Mr. Grant, as the couple...have fun with their roles, and the pleasure seems to be shared, on the whole, by the [Radio City] Music Hall audience.”

What Is The Awful Truth?
The plot revolves around the marital woes of Lucy (Dunne) and Jerry (Grant) Warriner. Each becomes suspicious of the others’ marital fidelity, which eventually leads them to divorce court. After the divorce, Lucy and Jerry are consumed with foiling each other’s new romantic interests. Is the awful truth the fact that Lucy and Jerry are still in love?

Get Me Out Of This Picture

Irene Dunne and Cary Grant

Like Dunne in the previous year’s Theodora Goes Wild, Grant wasn’t too happy working on this film. Director Leo McCarey’s working style didn’t sit well with Grant and he tried to get out of the movie, even going so far as requesting he swap roles with supporting player Ralph Bellamy! McCarey liked to get spontaneous performances out of his cast, which meant a lot of on-set improvising, which Grant found unsettling. Eventually, things worked out for all concerned. Ironically, this is the movie that catapulted Grant to superstar status and is responsible for the Grant movie persona beloved by generations of moviegoers.

Comedy Triumph
For Dunne, The Awful Truth was a delightful experience. She loved working with both McCarey (who became a personal friend) and Grant. Professionally, it was another triumph. Once again, the critics raved about her and the film. And once again she was nominated for Best Actress by the Motion Picture Academy. If there was any doubt about Dunne’s comedy chops, they were all dispelled when the film was first released on October 21, 1937. Dunne and Grant would go on to star in two other popular films: the comedy My Favorite Wife (1940) and the melodrama Penny Serenade (1941).

Award Winner
The Awful Truth was nominated for six Academy Awards, including Best Picture, Best Director, Best Screenplay, and Best Supporting Actor. McCarey won the only Oscar for his direction and ensured his place in motion picture history.

Lasting Legacy
In 2000, the American Film Institute listed The Awful Truth at #68 on its list of 100 Years…100 Laughs. In 2002, the AFI listed it at #77 on the 100 Years…100 Passions list.

Leo McCarey (1898 – 1969) was an American film director, screenwriter, and producer. McCarey is perhaps most famous for his critically acclaimed and commercially popular comedies like Duck Soup (1933), The Ruggles of Red Gap (1935), and The Awful Truth (1937). Other popular films directed by McCarey include Going My Way (1944), The Bells of St. Mary’s (1945), and Good Sam (1948). McCarey won two Best Director Oscars for The Awful Truth and Going My Way.

Irene Dunne (1898 –1990) was an American actress and singer who was one of the most popular movie stars during Hollywood’s Golden Age. She is probably best remembered for her comedic roles, though she first became famous playing in melodramas like Back Street (1932) and Magnificent Obsession (1935). In fact, Dunne was so popular as a star of melodramas that she was dubbed “The Queen of the Weepies” by the press. Her comedic breakout performance was in Theodora Goes Wild (1936), earning her an Academy Award nomination for Best Actress. She would go on to make other comedy classics like The Awful Truth (1937) where she earned another Best Actress nod, and My Favorite Wife (1940). Dunne and Grant were one of the most popular screen teams in movie history. All three of their films were critical and box office successes. Dunne earned five Academy Award nominations for Best Actress but never won a competitive Oscar. The fact that the Motion Picture Academy never awarded her an Honorary Academy Award for her work is a travesty.

Cary Grant (1904 – 1986) was an English-born American actor who became one of film history's most popular leading men. Grant started his career in vaudeville before heading to Hollywood. He became a superstar in the late 1930s in a series of screwball comedies including The Awful Truth (1937) with Irene Dunne. He was a memorable C. K. Dexter Haven in The Philadelphia Story (1940) opposite Katharine Hepburn and James Stewart. He received two Best Actor nominations for Penny Serenade (1941) and None but the Lonely Hearts (1944). Other classic Grant films include Gunga Din (1939), Only Angels Have Wings (1939), and Arsenic and Old Lace (1944). He made four popular films with Alfred Hitchcock: Suspicion (1941), Notorious (1946), To Catch a Thief (1955), and North by Northwest (1959). He was awarded an Honorary Oscar at the 42nd Academy Awards in 1970.

Click HERE to watch the film on the Internet Archive.

Click HERE to join the online discussion on December 9, 2024, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation with a like to join the discussion on Zoom.

Discussion questions

1. Did either character, Jerry or Lucy break their marriage vows?
2. Do you think there was a serious message about marriage underneath all the comedy?
3. What did you think of Irene Dunne and Cary Grant together as a team?
4. Ralph Bellamy made a career out of being the other man. What did you think of his performance?
5. Did you have a favorite scene or piece of dialogue?