Barbara Stanwyck

Annie Oakley 20th century icon: Lisa’ Home Bijou

March 10, 2021 by Lisa Grable 6 Comments

Film Festival: The West and Southwest

Annie Oakley, whose career extended into the early decades of the 20th century, represented an icon for early 20th century women. As an independent, talented female celebrity, she traveled with Buffalo Bill’s Wild West Show and brought the culture, legends and romanticism of the West to people all over the world.

“I’ve been on this earth sixty years and that’s the first time I ever saw a woman go in a saloon. –Next thing you know they’ll be smokin’ cigarettes! –Oh, talk sense, man, talk sense.” –two saloon patrons in Cincinnati

The story of Annie Oakley has been told in the movies numerous times, most notably in Annie Get Your Gun and Buffalo Bill. In George Stevens‘ 1935 version of Annie Oakley, Barbara Stanwyck does a good job portraying Annie’s metamorphosis from shy, young country girl to quiet, confident athlete and star. As a biography, albeit Hollywood-style, there is enough accuracy to get the flavor of one of the biggest show business successes in the early 1900s. And when compared to actual footage of Buffalo Bill’s show, the film does an impressive job recreating the original acts with outstanding realism.

Along with cameos by the actors Gabby Hayes and Stepin Fetchit, there are featured roles by Andy Clyde (a TV favorite in the 1950s and ‘60s) and Pert Kelton (later famous as Shirley Jones’ mother in The Music Man); and starring roles by Barbara Stanwyck (Annie Oakley), Preston Foster (Toby Walker), and Melvyn Douglas (Jeff Hogarth).

Annie Oakley is a teenage girl living in the backwoods of Ohio. She earns a living for her mother and siblings by hunting game. She shoots quail so beautifully, always with just one bullet through the head, ensuring that her game is in demand at restaurants as far away as Cincinnati. Annie takes on a sharpshooting bet with Toby Walker, a sophisticated New Yorker, recently signed with Buffalo Bill’s Wild West Show and Congress of Rough Riders. In the match, Annie ties Toby with every shot. She finally misses a shot, but it’s on purpose: she thinks that Toby will lose his new job if she wins the match.

“—What’s a kid like you know about guns? –I got one here, it went clean through the Civil War! –Well gee well gol well gee whiz! Don’t tell me you shoot with a thing like that! –Course I do! –What do you shoot, doodlebugs? You hang around, kid, and you’ll see some shooting at this shoot. –I’d figure on seeing some tall shooting otherwise I wouldn’t be here. –Up from the sticks to see me make a monkey out of that Oakley? – The shootingest monkey you ever saw! And we got 37 dollars says so. –No… about all the ready cash in that county I suppose. Bring on that hickory nut knocker! –Mr. Walker, meet Miss Hickory Nut Knocker. Your opponent Miss Annie Oakley!” –Toby, Annie, & Jeff

Buffalo Bill’s manager signs Annie for the show on the strength of her performance in the shooting match. Toby becomes her mentor, teaching her tricks and showmanship. Annie gradually becomes a star attraction for the Wild West Show. During one performance, Chief Sitting Bull is in the audience. He is positively thrilled by Annie’s performance and gives her a Sioux name which means ‘Little Sure Shot.’

The rest of the film follows the evolution of the popularity of the Wild West Show and Annie’s personal development, while a love triangle forms between Annie, Toby, and Buffalo Bill’s manager, Jeff Hogarth (Melvyn Douglas). Eventually, the show tours overseas, after which the show’s slogan reads, “Performed Before All the Crowned Heads of Europe.” Annie has certainly come a long way from quail shooting in the Ohio backwoods.

A highlight of this film is the characterization of legendary Lakota holy man Sitting Bull (played by Chief Thunder Bird,) the mastermind behind Little Big Horn, who is tasked with managing the Native Americans in the show troupe. Because he’s the chief, he isn’t bound by rules and he usually does exactly as he pleases. One evening when the troupe spends the night in a Cincinnati hotel, he becomes tired and wants to go to sleep. Unable to understand how to shut off the gaslight chandelier in his room (he speaks no English), Sitting Bull gets out his gun and shoots out the light. He simply gets things done the most efficient way.

Annie Oakley delivers a strong Barbara Stanwyck performance, presents an authentic slice of early 20th century American show business, and works hard to further the romantic myth of the west for the American public, made during a time when the cowboy was king of the movies.

Let’s talk story

Annie Oakley is a hero to me. She was an amazing athlete who strove to maintain dignity and ladylike behavior while making a living in the rough show business at the turn of the last century. Annie’s true life story would make a good movie too. The star of the Wild West show was born and raised in Darke County, Ohio, near Greenville. When she was 15, she met Frank Butler in a shooting match in Cincinnati, which she won. Frank was very supportive of her and became her husband a year later. They had a close, happy life together.

This post contains affiliate links: if you make a purchase using these links, I’ll receive a small compensation towards maintaining this blog, at no extra cost to you.

This is an update of a review that appeared originally in RETRO magazine, Nancy Eaton, editor.

Cimarron, Oklahoma drama

Too Many Girls college comedy

Destry Rides Again

Christmas in Connecticut: Lisaʻs Home Bijou

November 25, 2020 by Lisa Grable 5 Comments

Film Festival: The Holidays

DURING WORLD WAR II, citizens tightened their belts by raising vegetables in Victory Gardens. And because of war rationing, it was difficult to get staples such as sugar and butter. With all this self-denial, vicarious pleasure could be had by reading about scrumptious gourmet meals home-cooked in cozy settings. Barbara Stanwyck’s character brings these pleasures to her reading public in Christmas in Connecticut (1945).

“I took crisp lettuce, romaine and cricket endive from my own garden for my husband’s favorite salad. For this I made a rich, creamy blue-cheese dressing. Then to prepare roast duck his favorite way, I rubbed salt and pepper inside, then browned the duck in its own fat …” –“Diary of a Housewife” by Elizabeth Lane, America’s Best Cook, in “Smart Housekeeping” Magazine

In the dramatic opening scene of Christmas in Connecticut, a German submarine torpedoes an American destroyer and frantic Morse code messages go out before the ship sinks. Two sailors who survive the attack take refuge on a life raft. One sailor, Jefferson Jones (Dennis Morgan), hallucinates about epicurean meals during the 18 days he spends on the raft.

Jeff is rescued and put in the hospital. His nurse, Mary Lee, whiles away the time by reading him “Smart Housekeeping” magazine. The doctors won’t let him eat solid food and it practically makes him crazy to hear about the delightful meals prepared by Elizabeth Lane, “America’s Best Cook.” Mrs. Lane, a 1940s version of Martha Stewart, writes about her idyllic farmhouse and daily life with her husband and baby. She describes such domestic minutiae as her search for a rocking chair, how she uses her spinning wheel, and how she puts her cow to bed at night.

Alexander Yardley (Sydney Greenstreet) is the publisher of “Smart Housekeeping” and he sees the fantastic publicity potential when Mary Lee writes to him to ask if poor Jefferson could spend Christmas with Mrs. Lane’s family. “American Hero Spends Christmas on Perfect Farm – what a boost for circulation!” crows Yardley.

The problem is that Elizabeth Lane (Barbara Stanwyck) is a total humbug. She’s an excellent writer, but a humbug all the same. Today we know that famous homemaking media stars usually have a staff of 400 working for them, but Elizabeth apparently is a fake. She lives in a New York City studio apartment and her culinary skills are limited to placing sardines on crackers. She has no husband, no baby, she has no idea how to bathe or feed a baby, and she certainly has no idea how to take care of anyone’s cow. And now, with Mr. Yardley’s plan, she is suddenly in very big trouble.

“I’m having fun, I admit that, but if I’m making fun of anybody, it’s Elizabeth Lane. Oh, she’s so smart, knows all the answers, gets herself into a mess and hasn’t the moral courage to get herself out of it.” –Elizabeth

John Sloan (Reginald Gardiner) is an architect and happens to own the perfect idyllic farm in Stanfield, Connecticut. Sloan’s farm looks like a Currier and Ives print. The exterior of the house is stone and timber, the inside is all chintz and floral wallpaper, and in the barn is a sleigh with a matched team. The deal Sloan makes with Elizabeth is that, in order to let her use the house to play out the ruse with Jeff and Mr. Yardley, she has to marry him.

Sloan brings a judge to the house to perform the ceremony, but Jeff and Mr. Yardley arrive too early, so the wedding doesn’t take place. Once Elizabeth meets Jeff, it appears that Sloan’s wedding plans are doomed.

Rounding out the fake family are Felix (S. Z. Sakall) and Norah. Felix Bassenak owns a Hungarian restaurant near Elizabeth’s apartment in New York City. It is he who provides all her recipes, and he actually feeds Elizabeth most of the time. Elizabeth brings “uncle” Felix to the farm to cook for the Christmas guests.

Norah is Sloan’s maid, who helps with the war effort by providing daycare for the babies of mothers who work in the defense factory. Elizabeth plans to pose one of these babies as the Lane baby, but the mothers work different shifts at the factory, so Elizabeth ends up with different babies at different times.

While decorating the Christmas tree, Elizabeth wears a stunning long black gown with a bolero jacket trimmed in white fur. Stanwyck’s outfits are designed by Edith Head, so Elizabeth always looks charming, despite all her problems.

On Christmas night there’s a country dance at the town hall. Elizabeth completely enjoys the reels and square dancing with Jeff. Love finally finds her, just as she’s pretending to be the perfect married mother living in the country.

“—If it’s not asking too much, will you explain? –Well, it’s all very simple, I have never lived on a farm before. – Never lived! –No, I have no husband and no baby. –And she can’t cook. –No husband! No baby! Well of all the dirty, scoundrel-y tricks to play!” –Elizabeth, Yardley, John

For a good screwball comedy, a sweet holiday romance, and some great cooking and homemaking tips try Christmas in Connecticut this holiday season.

Let’s talk story

Christmas in Connecticut is on my list for must-watch-during-holidays. I love the country house in the snow, the menus (including cold chicken in the fridge), the beautiful tree, and the fun and romance.

Affiliate links: if you make a purchase using these links, I’ll receive a small compensation towards maintaining this blog, at no extra cost to you.

This is an update of a review that appeared originally in RETRO magazine, Nancy Eaton, editor.

Remember the Night

Holiday Inn

Holiday Affair

The Lady Eve comedy con game: Lisa’s Home Bijou

March 8, 2019 by Lisa Grable 2 Comments

Film Festival: Cruise Ship Romance

The Lady Eve (1941) is a sparkling romance on a cruise ship and a revenge plot in high society Connecticut. Barbara Stanwyck plays dual roles with Henry Fonda as the young heir of a brewing fortune.

I’ve always loved the fantasy life of people cruising on ships in the old days. Dressing up for dinner, meeting all the strangers, and the romance of the sea just get to me. Barbara Stanwyck is a very fetching con artist on this ship.

The film opens in the Amazon with ophidiologist Charles Pike (Henry Fonda) and his companion Muggsy (William Demarest) receiving a precious snake they are to transport to Connecticut. Pike is the heir to a beer brewing fortune, and he’s rich enough to stop a cruise ship and board her.

Fascinated by the ship stopping, all the passengers want to know more about Pike. Jean (Barbara Stanwyck) and Colonel Harrington (Charles Coburn) are very interested and Jean is planning how to play cards with him.

“Is he rich? –As the purser so picturesquely put it, he’s dripping with dough. –He’d almost have to be to stop a boat! –What does he own, Pike’s Peak? –Oh no no, Pike’s Pale. The ale that won for Yale.” –Jean, Colonel Harrington, and Gerald

At dinner, everyone is drinking Pike’s Pale and every woman in the place is trying to catch Charles’ fancy. Jean just trips him and gets him into her cabin!

Easily convinced by the Colonel and Jean, Charles plays 3 handed bridge with them. Muggsy is having card troubles with Gerald.

“That’s Muggsy. My father took him off a truck when I was kid to look out for me, you know, kidnappers, stuff like that. He’s been sort of a bodyguard, governess, and a very bad valet ever since. He saved my life once.” –Charles

Muggsy is suspicious, but the Colonel loses to Charles, so the gambling looks okay.

“When I marry it’s gonna be somebody I’ve never seen before. I won’t know what he looks like or where he’ll come from or what he’ll be. I want him to sort of take me by surprise. –Like a burglar. –That’s right. And the night will be heavy with perfume.” –Jean and Charles

Colonel Harrington attempts to take Charles in a crooked card game. Jean foils his tricks and Charles ends up asking the Colonel for Jean’s hand. Actually, Jean has fallen in love with him, and wants the Colonel and Gerald to stop the con.

The ship’s purser and Muggsy know about the gang’s card playing. Once Charles finds out, the whole situation completely changes.

Connecticut

Once they are in New York, Jean, the Colonel, and Gerald meet their old friend Sir Alfred McGlennan Keith (Eric Blore) at the racetrack. He tells them about his sweet set up in Connecticut where he supports himself playing contract bridge with all the wealthy neighbors.

“Well, you’re certainly a sight for lame peepers. You know, I’ve seen nobody, absolutely not a soul, in our set of course, since the boats stopped running.” –Sir Alfred

Since World War II has stopped the sailing of the cruise ships Sir Alfred’s set up is wonderful for a professional gambler . Jean decides to take advantage and pose as Sir Alfred’s niece, The Lady Eve Sidwich.

Will Muggsy convince Charles that they’ve met Lady Eve before? How many times will Charles fall down? Will Jean get what she really wants? Enjoy this classic comedy to find out!

Resource Links for The Lady Eve

https://www.imdb.com/title/tt0033804/?ref_=ttgf_gf_tt
- The Lady Eve (1941) from IMDb
https://www.newyorker.com/magazine/2007/04/30/lady-be-good
- On the Barbara Stanwyck’s 100th^thanniversary from The New Yorker
http://www.tcm.com/tcmdb/person/63585%7C69239/Henry-Fonda/
- Henry Fonda biography from Turner Classic Movies
https://www.vulture.com/2018/10/a-guide-to-preston-sturgess-comedies.html
- A Preston Sturges Primer from Vulture

Affiliate links: if you make a purchase using these links, I’ll receive a small compensation towards maintaining this blog, at no extra cost to you.

Stowaway	Shall We Dance	Gentlemen Prefer Blondes
Remember the Night	Weekend in Havana	That Certain Woman

Stella Dallas ever-giving mom: Lisa’s Home Bijou

February 26, 2018 by Lisa Grable Leave a Comment

Film Festival: Three Hankies

In the 1937 version of Stella Dallas, Barbara Stanwyck turns in an Academy award-nominated performance as a devoted mother. Get out those handkerchiefs!

The tearjerker has long been a staple of storytelling in the 20th century, with novelists such as Olive Higgins Prouty, Lloyd C. Douglas and Fannie Hurst combining elements of tragedy, pathos and modern heroines in modern settings. Prouty’s Stella Dallas is an enduring example of the genre, having been filmed three different times.

In the opening scene of Stella Dallas, a lovely young woman dressed in her finest clothing whiles away the time in the front yard of her family’s modest home in 1919 Millhampton, Massachusetts. Stella Martin (Barbara Stanwyck) is hoping that she will attract the attention of Stephen Dallas, a mill office worker, at the mill’s quitting time. Stella’s brother arrives home and teases her about her ambitions to break out of the mill-hand life — the way she moons over Stephen Dallas (John Boles) and the courses she’s taking at the local business college.

“My own sister standing out here every night making a sap out of herself over a guy who don’t even know she’s on earth.” –Stella’s brother

Stephen is trying to create a new life for himself after his family suffered tragedy in another town. His prosperous father had fallen into disgrace and committed suicide after a mill he ran was forced into bankruptcy. Stephen left a promising career and his heiress fiancée to start over in Millhampton.

Stella manages to meet Stephen by bringing her brother’s lunch to the company office, claiming that he had forgotten it. A sad and lonely Stephen is intrigued by the charming Stella. Besides, he recently discovered that the girl he left behind had married well.

“No, I don’t want to be like me, not like the people in this place, but like the people in the movie. You know, doing everything well-bred and refined. –And dull. Stay as you are, don’t pretend Stella.” –Stella and Stephen

Stephen and Stella begin dating. On a fateful night, Stella stays out all night. Her father is furious with her, but when she returns home, she reveals that she and Stephen had married.

A year later, Stella gives birth to a baby girl, Laurel. After the child is born, Stella is immediately anxious to get out and about again. She begs Stephen to go with her to a dance at the River Club, the society spot in Millhampton.

At the dance, she meets Ed Munn (Alan Hale), an unsavory racetrack tout who has a gift for making Stella laugh. Stephen is always serious and business-like, and after a year of marriage Stella longs for fun. Stephen makes it clear he does not approve of Mr. Munn.

“But please don’t give me pointers on how to dress. Allow me at least to know more about one thing than you do! After all, I’ve always been known to have stacks of style.” –Stella

Sober Stephen does very well at the mill and is given a promotion to the New York office. Feeling unsure that Stella will fit in with his New York circle, he leaves Stella and Laurel behind in Millhampton. On visits home, he catches Stella partying too much in front of his little girl and threatens to take her away. Stella fiercely defends her rights to raise her daughter, putting all her resources into doing the best for Laurel. She even sews all of Laurel’s clothing herself.

Years later, Stephen is in a New York toy store buying a book for Laurel’s 13th birthday. Helen Morrison (Barbara O’Neil) recognizes him and warmly greets her old flame. Helen has her three young sons with her and reveals to Stephen that she has recently become a widow.

Meanwhile, Stella rides the train into Boston with Ed to buy supplies for Laurel’s birthday party. Stella and Ed are high-spirited and enjoy cutting up on the train, playing practical jokes. Laurel’s straight-laced private school teacher sees Stella’s shenanigans. Highly disapproving, she secretly advises everyone to avoid Laurel’s party. One of the saddest scenes in the film is the sight of Stella and Laurel (Anne Shirley) all dressed up, waiting hours for the guests that never arrive.

For summer vacation, Stephen arranges for Laurel to stay at Helen’s estate. Laurel develops a “crush” on the sophisticated, elegant, kind friend of her beloved father’s. At Christmas time, Stephen comes to Stella’s apartment to take Laurel with him to Helen’s. He sees Ed, falling-down drunk, and decides to divorce Stella. Stella refuses, telling Stephen’s lawyer that she needs more money to mix Laurel with the right society.

“Remarry? Listen Mr. Morley, let’s get down to brass tacks. I haven’t the slightest idea of ever remarrying. Now it don’t happen by any chance to be Mr. Dallas who wishes to remarry, does it?” –Stella

Stella and Laurel vacation at the Hotel Mirador. Laurel is a hit with the young set, and is soon wearing the fraternity pin of Richard Grosvenor (Tim Holt). Stella cannot quite get the hang of society elegance. Her idea of a great ensemble includes a flounced floral dress, two armloads of bangles, a white fox stole, a big hairbow, peroxided hair, high heels, too much makeup and huge puffed sleeves. The young people make fun of her, not realizing that she is Laurel’s mother.

“That’s not a woman, that’s a Christmas tree. –And it walks. –Does it talk? –And how! –She’s an ad. –An ad for what? –You’ll see in a minute. Wait ’til her hat lights up!” –Richard’s friends

After the trip to Hotel Mirador, Stella realizes that she might be hurting Laurel’s chances for the future. Stella’s strong will and her powerful love for Laurel allow her to make choices that never fail to bring the audience to tears.

The wonderful performances of Barbara Stanwyck and Alan Hale, directed by King Vidor, make this Stella Dallas an enduring classic.

Resource links for Stella Dallas

http://www.imdb.com/title/tt0029608/?ref_=ttmc_mc_tt
- Stella Dallas (1937) from IMDb
https://www.biography.com/people/barbara-stanwyck-9492274
- Barbara Stanwyck from Bio
http://uudb.org/articles/olivehigginsprouty.html
- Olive Higgins Prouty from Unitarian Universalist History & Heritage Society
https://immortalephemera.com/24815/movie-star-john-boles/
- John Boles from Immortal Ephemera
http://www.tcm.com/tcmdb/person/1003508%7C8781/Alan-Hale/
- Alan Hale overview from Turner Classic Movies

This is an update of a review that appeared originally in RETRO magazine, Nancy Eaton, editor.

Affiliate links: if you make a purchase using these links, I’ll receive a small compensation towards maintaining this blog, at no extra cost to you.

Lisa’s Home Bijou: Remember the Night

November 9, 2015 by Lisa Grable 1 Comment

Film Festival: The Holidays

CAN A THIEF AND a prosecutor find happiness together at Christmas? That’s the situation Preston Sturges creates for Barbara Stanwyck and Fred MacMurray in Remember the Night (1940). Though not as well known as other holiday classic films, this romantic comedy is a great demonstration of an old-fashioned loving family celebration.

The film begins with the image of woman’s hand elegantly gloved in black admiring a large diamond bangle. Panic ensues in the jewelry store when the woman disappears, with the bangle. She’s Lee Leander (Barbara Stanwyck), strolling down a Christmas-y Fifth Avenue in a fur coat. When she tries to pawn the bracelet, she’s caught.

The district attorney is anxious to raise his conviction rate, so he gives the prosecution to John Sargent (Fred MacMurray), an up-and-coming assistant district attorney who has “the right face” to convict a woman on Christmas Eve.

“—I don’t like the smile on that jury’s pan. –All juries get softhearted at Christmas, Tommy. If you ever get a case to prosecute and see that “peace on earth, good will towards men” look come in their eyes, get a continuance.” –Tommy and John

John pleads convincingly for a continuance. Lee gets very upset that she is going to spend Christmas in jail. John takes pity and arranges with a bail bondsman to pay her bail. The bondsman misunderstands and delivers Lee to John’s apartment.

John takes her out to dinner and they discover that they are both from Indiana and their hometowns are about 50 miles apart. After hearing her story, he invites her to go home to Indiana for Christmas, a 750-mile car trip.

Driving through the night, all the romantic comedy situations can begin. John has a lovely two-seat convertible with whitewall tires and a jump seat, supplied with yummy sandwiches wrapped in waxed paper. They end up in a Pennsylvania cow field and get arrested for milking a cow.

“—Did you throw it in there on purpose? –Well, I wasn’t aiming for the spittoon! –I suppose you know that’s called arson? –NO! I thought that was when you bit somebody.” –John and Lee

When John brings her home, Lee receives the worst of welcomes from her mother. We get a glimpse of how Lee came to be so tough. John makes a snap decision to take Lee to his home.

Once they arrive at the Sargent farm, we see a warm and loving reception, down to the fresh-baked cookies. The whole family includes her in singing together around the piano by candlelight and kerosene lamps. Lee feels sad, but begins to get a notion of what a loving family could be.

“—Yes she is charming, Mother, but unfortunately she’s a crook. When I get back to New York I’m going to try to put her in jail. But in the meantime she didn’t have anyplace to spend Christmas, so… – Oh, the poor lamb. John Sargent, why you’ll do no such thing! That girl is as honest as all outdoors. Why, I can tell by just looking at her face. If she did take anything I’m sure it was entirely by mistake!” –Mrs. Sargent and John

The Christmas week activities include bobbing for apples, a treasure hunt in the snow, a taffy pull, and a rummage sale and church charity buffet. It all winds up with a New Year’s Eve old-fashioned barn dance.

Aunt Emma brings down boxes from the attic, lovingly wrapped in newspaper (from Teddy Roosevelt’s time) and string. She dresses Lee in a corset, big hair bow, petticoats, corset-cover, all topped with a satin dress with leg-o-mutton sleeves. Mrs. Sargent and Aunt Emma don poke bonnets to head to the dance. Everyone feels the romance in the air at the dance, Lee and John’s final night in Indiana.

They decide to return to New York through Windsor, Ontario to avoid possible legal problems in Pennsylvania. John offers to let Lee jump bail and stay in Canada to be free. With beautiful Niagara Falls as a backdrop, they face the problems with their romance.

“–… I don’t know, you seemed so gentle. –That’s part of the technique. If you don’t treat a woman with kid gloves every man on the jury wants to punch you in the nose. You have to handle them with kid gloves too or you get it right in the verdict. It’s very hard to put a woman in jail, no matter what she’s done. I’m supposed to be sort of a specialist at it. –No you’re not. –Sure I am. –You’re just trying to make me hate you so you won’t feel so bad when you give me the business! Aren’t you?” –Lee and John

What I love about Preston Sturges’ comedies is that they aren’t trying to be funny all the time. The real human foibles and feelings are touching. I think it makes the movies more memorable and the comedy stand out more.

Great performances are delivered by Sterling Holloway as Willie the farm hand, Elizabeth Patterson as Aunt Emma, and Beulah Bondi as Mrs. Sargent. The art direction and set pieces at the farmhouse carry you back in time: the way Willie wears his suspenders and scarf; the bedroom with fireplace and pinned butterflies; making popcorn in a wire basket over a fire to string for the Christmas tree; a huge tree laden with beads, paper chains, tinsel, and candles; tatted antimacassars on the chairs; and, a canary and dieffenbachia plant near the window.

Probably Stanwyck’s most famous film with MacMurray is Double Indemnity, a classic film noir. Here, they both seem young and open to life as it comes, quite an acting feat given he’s a tough district attorney and she’s a thief. Remember the Night is a nostalgic visit to an old-fashioned Christmas in the country with a complex love story to enjoy.

Let’s talk story

Two of my favorite classic holiday films star Barbara Stanwyck! She always seems smart to me and just good-looking enough to be a realistic person. In this movie she looks so great in her hats and furs, then also adorable in her 1908 barn dance outfit. I’m inspired to try to add some very old-fashioned activities to our holidays.

Affiliate links: if you make a purchase using these links, I’ll receive a small compensation towards maintaining this blog, at no extra cost to you.