Rock Hudson and Sidney Poitier search for “Something of Value”

Directed by Richard Brooks and based on Robert Ruark’s best-selling novel, Something of Value (1957) is a stark, challenging drama set against the backdrop of the Mau Mau Uprising in colonial Kenya. The story centers on two young men, Peter McKenzie (Rock Hudson), the son of a white rancher, and Kimani (Sidney Poitier), the son of a Kikuyu tribal leader. Raised together as brothers on the same farm, their childhood bond transcends race, but as they reach adulthood, the rigid social structures of British-ruled East Africa begin to pull them apart, forcing them into the roles of master and servant.

The narrative shifts from personal friendship to political tragedy when Kimani’s father is imprisoned for adhering to tribal customs that conflict with colonial law. Feeling humiliated and betrayed by the system his friend represents, Kimani flees the farm and eventually joins the Mau Mau, a militant movement seeking to reclaim land and drive out European settlers. While Kimani is initially drawn to the cause by a desire for dignity and freedom, he becomes increasingly tormented by the brutal, indiscriminate violence demanded by the movement's leaders.

As the uprising turns into a bloody guerrilla war, the McKenzie farm becomes a target, and the lifelong friendship between Peter and Kimani is put to the ultimate test. Peter, who initially resists the harsh methods of the colonial militia, finds himself forced to take up arms to protect his family and his home. The film vividly portrays the “eye-for-an-eye” cycle of violence, illustrating how prejudice and the sudden dismantling of traditional cultures leave a vacuum that is often filled by hatred and chaos.

Sidney Poitier and Rock Hudson

Rock Hudson (1925–1985), born Roy Harold Scherer Jr. in Winnetka, Illinois, was a quintessential leading man of Hollywood’s Golden Age. After serving as a Navy airplane mechanic in World War II, he moved to Los Angeles and was eventually discovered by talent scout Henry Willson, who gave him his rugged stage name. Though his career began with minor roles, he skyrocketed to stardom in the 1954 drama Magnificent Obsession. Hudson’s versatile talent allowed him to excel in sweeping dramas like Giant (1956), which earned him an Academy Award nomination, and in a series of beloved romantic comedies alongside Doris Day, such as Pillow Talk (1959). In the 1970s, he successfully transitioned to television with the popular series McMillan & Wife.

Dana Wynter (1931–2011) was a German-born British actress celebrated for her elegance and sophisticated screen presence. Born Dagmar Winter in Berlin and raised in the United Kingdom and Southern Africa, she initially pursued a degree in medicine at Rhodes University before shifting her focus to the theater. After honing her craft in British films and New York television, she moved to Hollywood and signed a contract with 20th Century Fox, quickly winning a Golden Globe for Most Promising Newcomer in 1956. She is best remembered for her iconic role as Becky Driscoll in the science fiction classic Invasion of the Body Snatchers (1956), and for her performances in major dramas such as Something of Value (1957) and Sink the Bismarck! (1960). In her later years, Wynter transitioned successfully to television with roles in series like The Man Who Never Was and McMillan & Wife, and she eventually became an occasional columnist for several prestigious publications.

Sidney Poitier (1927 - 2022) was an American actor and director. He was the first black man to win the Academy Award for Best Actor for his role in Lilies of the Field (1963). Poitier made his film debut in No Way Out, which launched him on a path to movie stardom. Other early films include Cry, The Beloved Country (1951), Blackboard Jungle (1955), and Edge of the City (1957). Another breakthrough came with The Defiant Ones (1958) where he co-starred with Tony Curtis. Both actors were nominated for the Best Actor Academy Award, with Poitier’s nomination the first for a black man. In 1959, he starred in the first production of A Raisin in the Sun on Broadway. He starred in the film version in 1961. That same year, he starred with Paul Newman and Joanne Woodward in Paris Blues. Other film roles include The Bedford Incident (1965) and A Patch of Blue (1965), co-starring Elizabeth Hartman and Shelley Winters. Poitier’s big year was 1967. He had three hits: To Sir, with Love, In the Heat of the Night, and Guess Who’s Coming to Dinner. The popularity of these three films made him the top box office draw of the year. Later in his career, Poitier started directing films like Uptown Saturday Night (1974) and Stir Crazy (1980). Poitier was a recipient of an Honorary Academy Award for his contribution to the motion picture industry.

Something of Value trivia

• Real-Life Segregation on Set: Despite the film’s message of racial equality, the production faced the harsh reality of segregation while filming on location in Africa. Sidney Poitier was initially barred from "white-only" restaurants, and the production team had to exert significant pressure on the local hotel to allow him to stay as a guest alongside his white co-stars.
• Alternate Titles: While the film is famously known by the title of Robert Ruark's bestseller, it was originally released in some regions under the more sensational title Africa Ablaze.
• A Controversial Reception: Because the film depicted the Mau Mau Uprising—a conflict that was still very fresh and politically sensitive in the late 1950s—it was banned in several countries upon its release. Additionally, some theaters in the American South refused to screen the movie due to its portrayal of an interracial friendship and the tense racial themes.
• Directorial Dedication: To ensure the film was as authentic as possible, director Richard Brooks traveled to Kenya for an extensive research trip before filming began. He even integrated a prologue into the film featuring Winston Churchill (voiced by an actor), which emphasized the historical gravity of the "Something of Value" proverb.

 

Dana Wynter and Rock Hudson

Click HERE to watch the movie on the Internet Archive.

Click HERE to join the online discussion on January 19, 2025, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation with a link to join the discussion on Zoom.

 

Discussion questions

1. The "Something of Value" Philosophy: The film’s title comes from a proverb stating that if you take away a people's traditions, you must replace them with "something of value." In the context of the film, did the British colonial system provide an adequate replacement for the Kikuyu customs they suppressed? Why or why not?
2. The Evolution of Friendship: Peter (Rock Hudson) and Kimani (Sidney Poitier) begin the film as "brothers," but their relationship is shattered by a single act of humiliation and the weight of systemic inequality. Was their eventual conflict inevitable given the social structure of 1950s Kenya, or was there a specific turning point where their friendship could have been saved?
3. The Ethics of Resistance vs. Order: The film portrays the Mau Mau Uprising not just as a political struggle, but as a moral crisis for both sides. How does the movie balance the portrayal of Kimani’s legitimate grievances against the brutal methods used by the Mau Mau? Similarly, does the film successfully critique the colonial government's response, or does it ultimately favor the preservation of the "status quo"?
4. Symbolism of the Next Generation: The film ends with a powerful image involving the children of the two opposing sides. Based on the cycle of violence depicted throughout the movie, do you find the ending to be genuinely hopeful, or is it a bittersweet acknowledgment that the "healing" process will take generations to achieve?

Barbara Stanwyck is the “Lady of Burlesque”

Lady of Burlesque (1943) is an American comedy mystery film directed by William A. Wellman and starring Barbara Stanwyck. The movie is based on the novel The G-String Murders (1941) by burlesque queen Gypsy Rose Lee. The supporting cast includes Michael O'Shea, Iris Adrian, Gloria Dixon, Charles Dingle, Frank Conroy, and Pinky Lee.

Set in the bustling world of a New York City burlesque house, Lady of Burlesque follows the arrival of Dixie Daisy (Stanwyck), a talented and brassy performer who quickly becomes the theater’s star attraction. As she navigates the colorful and often chaotic backstage environment, Dixie finds herself dealing with a range of eccentric personalities, from jealous rivals to a persistent comic named Biff Brannigan (O’Shea) who is determined to win her heart. Despite her initial reluctance to mingle with her colleagues, Dixie is soon drawn into the tight-knit “family” of performers who struggle to keep the show running amidst the threat of police raids and financial instability.

The atmosphere of the Old Opera House turns dark when a series of mysterious murders shakes the troupe. The victims are strangled with a peculiar weapon—a silk G-string—which casts a shadow of suspicion over everyone in the theater, including the stagehands, the musicians, and the dancers themselves. As the body count rises and the police investigation intensifies, the once-vibrant theater becomes a maze of secrets and hidden motives. Dixie, who finds herself personally targeted by the unseen killer, realizes that she cannot rely solely on the authorities to solve the crime and protect her friends.

In a race against time, Dixie utilizes her sharp wit and insider knowledge of the theater to conduct her own investigation. She sifts through the personal vendettas and romantic entanglements of her coworkers, trying to unmask the killer before they strike again. The film blends elements of musical comedy with a tense whodunit mystery, culminating in a high-stakes trap set by Dixie to lure the murderer into the light. Throughout the ordeal, the resilience of the performers shines through as they attempt to balance the “show must go on” mentality with the growing danger lurking in the wings.

 

Iris Adrian and Barbara Stanwyck

William A. Wellman (1896 – 1975) was an American film director. He started his directorial career in silent films. Wellman directed Wings (1927), which was the first film to win the Academy Award for Best Picture at the 1st Academy Awards ceremony. Wellman directed two classic films released in 1937: Nothing Sacred and A Star is Born. Other important films directed by Wellman include Beau Geste (1939), Roxie Hart (1942), The Story of G.I. Joe (1945), Yellow Sky (1948), Battleground (1949), and The High and the Mighty (1954).

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.

 

Click HERE to watch the movie on the Internet Archive.

Click HERE to join the online discussion on January 12, 2025, at 6L30 p.m. Central Time. Once you RSVP, you will receive an invitation and a link to join the discussion on Zoom.

 

Lady of Burlesque trivia

The Censored Title: The film is based on the 1941 mystery novel The G-String Murders by the famous burlesque star Gypsy Rose Lee. However, the Hays Office (the Hollywood censors of the time) found the original title too scandalous for movie marquees. They eventually settled on Lady of Burlesque, though they still expressed concern about a "G-string" being used as the murder weapon in the plot.

Stanwyck’s Genuine Skills: Long before she became a Hollywood icon, Barbara Stanwyck worked as a chorus girl in the Ziegfeld Follies and other New York nightclubs. Because of this background, she performed all her own dancing and singing in the film, including impressive physical feats like a Russian kick dance and full splits—all while wearing high heels.

A "Lark" for a Legendary Director: The film was directed by William A. Wellman, who is better known for gritty masterpieces like Wings (the first Best Picture winner) and The Ox-Bow Incident. Interestingly, The Ox-Bow Incident was released the same year; Wellman and Stanwyck reportedly viewed Lady of Burlesque as a "fun lark" to work on between their more serious projects.

Public Domain Status: Due to a failure to renew the copyright by the original holder, the film fell into the public domain. This is why you can find countless versions of it on YouTube, bargain-bin DVDs, and streaming services. A new 4K Blu-ray restoration from Film Masters with an audio commentary by our very own Karen Burroughs Hannsberry.  

 

The ladies of burlesque

Discussion questions

1. The “Show Must Go On” vs. The Murder Mystery

Lady of Burlesque is a unique hybrid of a lighthearted backstage musical and a dark, pulpy whodunit.

• Discussion Point: Does the film successfully balance these two tones? Do the musical numbers and comedy routines (like the “Pickle Persuader”) heighten the suspense by providing a “normal” backdrop, or do they distract from the urgency of the murders?

2. Dixie Daisy: Agency and Ambition

Barbara Stanwyck’s character, Dixie (born Deborah Hoople), explicitly mentions her desire to leave burlesque for the “legitimate” stage.

• Discussion Point: How does Dixie’s ambition influence her actions throughout the movie? Unlike many “damsel in distress” archetypes of the 1940s, she takes an active role in the investigation. Does her background as a self-made performer make her a more effective "sleuth" than the actual police in the film?

3. The Portrayal of the Burlesque Community

The film depicts the theater troupe as a “little family,” complete with internal rivalries (like the tension between Dixie and Lolita La Verne) and deep-seated loyalties.

• Discussion Point: How does the movie challenge or reinforce 1940s stereotypes about burlesque performers? Consider the scene where the producer gives the performers stock in the company—does this suggest a level of professional respect and solidarity that contradicts the “seedy” reputation of the industry?

4. Censorship and the “Unseen” Conflict

Because of the Hays Code, the film could not show actual striptease or use the book’s original title, The G-String Murders.

• Discussion Point: How does the film use “suggestion” to get around the censors? For example, consider the costumes or the way the G-string is discussed as a weapon. Does the censorship actually make the film more creative in its storytelling, or does it feel like something essential is missing from the world Gypsy Rose Lee originally described?

 

 

 

 

 

Merry Christmas!

 Help James Stewart and Margaret Sullavan decorate the Christmas tree!

Leslie Howard and Joan Blondell star in “Stand-In”

Stand-In (1937) is a screwball comedy directed by Tay Garnett and starring Lesley Howard and Joan Blondell that offers a satirical glimpse into the workings of the Hollywood studio system during the Great Depression. The story centers on Atterbury Dodd (Howard), a reserved and highly mathematical financial efficiency expert from a Wall Street bank. Dodd is sent to Tinseltown to investigate the failing finances of a fictional motion picture company, Colossal Pictures. Armed only with his ledgers and logic, he is tasked with determining if the studio is worth saving or if it should be sold off.

Upon arrival, the analytical Dodd finds himself completely unprepared for the chaotic, extravagant, and often nonsensical reality of filmmaking. He quickly meets Lester Plum (Blondell), a cheerful, street-smart former child star who now works as a stand-in for the studio’s temperamental lead actress. Lester, having a wealth of practical Hollywood experience, takes the bewildered accountant under her wing. She attempts to teach him about the unpredictable nature of the movie business—a world where human emotion and creative whims often outweigh balance sheets and sound economic principles.

As Dodd digs into the studio’s books, he begins to suspect that the financial troubles are not due to incompetence alone, but are the result of deliberate sabotage orchestrated by key personnel conspiring with an outside buyer. With Lester’s guidance, Dodd must transition from a detached man of numbers to a man of action to expose the scheme, save the jobs of the studio's hard-working employees, and prevent the entire company from falling into the wrong hands. The film thus transforms into a high-stakes battle pitting strict logic against the colorful, chaotic spirit of Hollywood.

 

Leslie Howard and Joan Blondell

Tay Garnett (1894–1977) was an American film director, writer, and producer whose career spanned over four decades in Hollywood, working in a wide array of genres. Born in Los Angeles, he served as a naval aviator in World War I before entering the film industry in 1920 as a gag writer for silent comedy legends like Mack Sennett and Hal Roach. Garnett began directing feature films in 1928 and quickly became known as a highly competent craftsman, helming box-office hits and critically acclaimed movies alike, including the pre-Code romance One Way Passage (1932), the adventure classic China Seas (1935), the Hollywood satire Stand-In (1937), the war drama Bataan (1943), and his most noted film, the definitive film-noir thriller The Postman Always Rings Twice (1946). In his later career, Garnett worked extensively in television, directing episodes of popular Westerns and other series like Bonanza and Rawhide.

Leslie Howard (1893–1943) was an acclaimed English actor, director, and producer, known for roles that often conveyed a quiet, sophisticated, and sensitive English charm. Born Leslie Howard Steiner in London to a Hungarian-Jewish father and a British mother, he began his professional career after serving in World War I and receiving a medical discharge for shell shock, which he was advised to treat by taking up acting. Howard found significant success on the Broadway stage before transitioning to Hollywood in the sound era, earning two Academy Award nominations for Best Actor for his roles in Berkeley Square (1933) and Pygmalion (1938), which he also co-directed. He is most widely remembered for his role as the melancholy, honorable Ashley Wilkes in the epic film Gone with the Wind (1939). In the years leading up to and during World War II, Howard returned to England, becoming heavily involved in anti-Nazi propaganda efforts through filmmaking, directing, and starring in films like Pimpernel Smith (1941) and The First of the Few (1942). His life was tragically cut short in June 1943 when the civilian plane he was aboard, traveling from Lisbon to London, was shot down by German aircraft over the Atlantic Ocean.

Joan Blondell (1906–1979) was a prolific American actress who rose to prominence as the quintessential “working girl” of the 1930s, known for her sassy charm, distinctive blonde looks, and ability to deliver witty, fast-paced dialogue. Born into a vaudeville family, she leveraged a successful Broadway run opposite James Cagney to launch a Hollywood career with Warner Bros. She starred in over 100 films, often playing resourceful chorus girls and secretaries in classic pre-Code movies and Busby Berkeley musicals like Footlight Parade and Gold Diggers of 1933, where she sang the iconic, socially-conscious number “Remember My Forgotten Man.” As she matured, Blondell successfully transitioned into a respected character actress, earning an Academy Award nomination for The Blue Veil (1951) and critical acclaim for roles in A Tree Grows in Brooklyn and The Cincinnati Kid. Her career spanned nearly five decades across film, stage, and television, ending with a final film appearance in Grease (1978).

 

Stand-In trivia

• Source Material: The film is based on a novel of the same name by Alva Johnston, a writer for The New Yorker. Johnston was known for his profiles of eccentric and notable figures, and his book satirized the chaotic, high-stakes environment of the Hollywood studio system during its Golden Age.
• Director Switch: Director Tay Garnett was originally scheduled to film A Star Is Born (1937) for Selznick International Pictures, but he traded projects with William A. Wellman, who took over A Star Is Born. This allowed Garnett to direct Stand-In, which offered him a chance to satirize the very industry he worked in.
• Leslie Howard’s Rare Genre: While star Leslie Howard was best known for playing romantic leads and sensitive, tragic figures (like in Pygmalion and Gone with the Wind), Stand-In is one of the few pure screwball comedies he ever made. The role of the highly analytical and socially awkward banker, Atterbury Dodd, allowed him to showcase an unusual, dry comedic talent.
• Cameo of the Author: Author Alva Johnston makes a brief uncredited cameo in the film, playing a court clerk in the final courtroom scene. This subtle appearance serves as an insider nod to the book’s creator, who was providing a commentary on Hollywood itself.

 

Click HERE to watch the movie on the Internet Archive.

Click HERE to join the online discussion on December 15, 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. Logic vs. Emotion in Hollywood: Atterbury Dodd, the efficiency expert, approaches Hollywood as a purely mathematical problem, while Lester Plum navigates it through practical experience and emotional understanding. How does the film use these two characters to satirize the clash between Wall Street’s logic and the movie industry's creative chaos? Which approach does the film ultimately suggest is more necessary for the studio's survival?
2. The Role of the “Stand-In”: The title refers to Lester Plum's profession. Beyond her technical job (standing in for the star), how does Lester function as a “stand-in" for the audience or for the true, hard-working people of Hollywood? What does she represent about the industry that the famous stars (like Thelma Cheri) do not?
3. Satire of the Studio System: Stand In was released at the height of the studio system’s power. Identify three specific ways the film satirizes the business (e.g., the power of the stars, the erratic directors, the financial waste, or the pressure to churn out films). Do these elements of the satire still feel relevant to the entertainment industry today?
4. Leslie Howard’s Performance: Leslie Howard typically played romantic, sensitive leading men. Discuss how his portrayal of the stiff, humorless Atterbury Dodd uses the screwball comedy format to facilitate his character’s transformation. What key scenes illustrate the shift in Dodd from a cold analyst to someone capable of passion and action?

 

 

 

 

 

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.

Click HERE to join the online discussion on December 8, 2025, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation and a link to join the conversation on Zoom.

 

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?

 

 

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?