John Garfield

John Garfield (born Jacob Julius Garfinkle, March 4, 1913 – May 21, 1952) was an American actor who played brooding, rebellious, working-class characters.[1] He grew up in poverty in New York City. In the early 1930s, he became a member of the Group Theater. In 1937, he moved to Hollywood, eventually becoming one of Warner Bros.' stars. Called to testify before the U.S. Congressional House Committee on Un-American Activities (HUAC), he denied communist affiliation and refused to "name names", effectively ending his film career. Some have alleged that the stress of this persecution led to his premature death at 39 from a heart attack.[2] Garfield is acknowledged as a predecessor of such Method actors as Marlon Brando, Montgomery Clift, and James Dean.

John Garfield
John Garfield - 1942
Garfield in 1942
Jacob Julius Garfinkle

March 4, 1913
Lower East Side, Manhattan, New York, United States
DiedMay 21, 1952 (aged 39)
New York City, U.S.
Years active1932–1951
Spouse(s)Roberta Seidman (1935–1952; his death) (1914–2004)


Julius Garfinkle
Jacob Julius Garfinkle

Garfield was born, Jacob Julius Garfinkle, in a small apartment on Rivington Street in Manhattan's Lower East Side, to David and Hannah Garfinkle, Russian Jewish immigrants, and grew up in the heart of the Yiddish Theater District.[3][4] In early infancy, a middle name—Julius—was added, and for the rest of his life those who knew him well called him Julie. His father, a clothes presser and part-time cantor, struggled to make a living and to provide even marginal comfort for his small family. When Garfield was five, his brother Max was born. Their mother never fully recovered from what was described as a "difficult" pregnancy. She died two years later, and the young boys were sent to live with various relatives, all poor, scattered across the boroughs of Brooklyn, Queens and The Bronx. Several of these relatives lived in tenements in a section of East Brooklyn called Brownsville, and there, Garfield lived in one house and slept in another. At school, he was judged a poor reader and speller, deficits that were aggravated by irregular attendance. He would later say of his time on the streets there, that he learned "all the meanness, all the toughness it's possible for kids to acquire."[5]

His father remarried and moved to the West Bronx, where Garfield joined a series of gangs. Much later, he would recall: "Every street had its own gang. That's the way it was in poor sections... the old safety in numbers." He soon became a gang leader. At this time, people started to notice his ability to mimic well-known performers, both physically and facially. He also began to hang out and eventually spar at a boxing gym on Jerome Avenue. At some point, he contracted scarlet fever (it was diagnosed later in adulthood), causing permanent damage to his heart and causing him to miss a lot of school. After he was expelled three times and expressed a wish to quit school altogether, his father and step-mother sent him to P.S. 45, a school for difficult children. It was under the guidance of the school's principal—the noted educator Angelo Patri—that he was introduced to acting.[2] Noticing Garfield's tendency to stammer, Patri assigned him to a speech therapy class taught by a charismatic teacher named Margaret O'Ryan. She gave him acting exercises and made him memorize and deliver speeches in front of the class and, as he progressed, in front of school assemblies. O'Ryan thought he had natural talent and cast him in school plays. She encouraged him to sign up for a citywide debating competition sponsored by the New York Times. To his own surprise, he took second prize.

With Patri and O'Ryan's encouragement, he began to take acting lessons at a drama school that was part of The Heckscher Foundation and began to appear in their productions. At one of the latter, he received back-stage congratulations and an offer of support from the Yiddish actor Jacob Ben-Ami, who recommended him to the American Laboratory Theater.[6] Funded by the Theatre Guild, "the Lab" had contracted with Richard Boleslavski to stage its experimental productions and with Russian actress and expatriate Maria Ouspenskaya to supervise classes in acting. Former members of the Moscow Art Theatre, they were the first proponents of Konstantin Stanislavski's 'system' in the United States, which soon developed into what came to be known as "the Method." Garfield took morning classes and began volunteering time at the Lab after hours, auditing rehearsals, building and painting scenery, and doing crew work. He would later view this time as beginning his apprenticeship in the theater. Among the people becoming disenchanted with the Guild and turning to the Lab for a more radical, challenging environment were Stella Adler, Lee Strasberg, Franchot Tone, Cheryl Crawford and Harold Clurman. In varying degrees, all would become influential in Garfield's later career.

After a stint with Eva Le Gallienne's Civic Repertory Theater and a short period of vagrancy, involving hitchhiking, freight hopping, picking fruit, and logging in the Pacific Northwest (Preston Sturges conceived the film Sullivan's Travels after hearing Garfield tell of his hobo adventures[5]) Garfield made his Broadway debut in 1932 in a play called Lost Boy. It ran for only two weeks, but gave Garfield something critically important for an actor struggling to break into the theater: a credit.

There is a claim that he was a patron of Polly Adler's bordello or brothel in New York.[7]

New York theater and the Group

John Garfield WB publicity still
Warner Bros. publicity photo, c. late 1930s

Garfield received feature billing in his next role, that of Henry the office boy in Elmer Rice's play Counsellor-at-Law, starring Paul Muni. The play ran for three months, made an eastern tour and returned for an unprecedented second, repeat engagement, only closing when Muni was contractually compelled to go back to Hollywood to make a film for Warners. At this point, Warner's expressed an interest in Garfield and sought a screen test. He turned them down.

Garfield's former colleagues Crawford, Clurman and Strasberg had begun a new theater collective, calling it simply "the Group," and Garfield lobbied his friends hard to get in. After months of rejection, he began frequenting the inside steps of the Broadhurst Theater where the Group had its offices. Cheryl Crawford noticed him one day and greeted him warmly. Feeling encouraged, he made his request for apprenticeship. Something intangible impressed her, and she recommended him to the other directors. They made no objection.

Clifford Odets had been a close friend of Garfield from the early days in the Bronx. After Odets' one-act play Waiting for Lefty became a surprise hit, the Group announced it would mount a production of his full-length drama Awake and Sing. At the playwright's insistence, Garfield was cast as Ralph, the sensitive young son who pleads for "a chance to get to first base." The play opened in February 1935, and Garfield was singled out by critic Brooks Atkinson for having a "splendid sense of character development." Garfield's apprenticeship was officially over; he was voted full membership by the company. Odets was the man of the moment, and he claimed to the press that Garfield was his "find" and that he would soon write a play just for him. That play would turn out to be Golden Boy, but when Luther Adler was cast in the lead role instead, a disillusioned Garfield began to take a second look at the overtures being made by Hollywood.[8]

Warner Bros.

Garfield had been approached by Hollywood studios before—both Paramount and Warners offering screen tests—but talks had always stalled over a clause he wanted inserted in his contract, one that would allow him time off for stage work. Now Warner Bros. acceded to his demand, and Garfield signed a standard feature-player agreement—seven years with options—in Warner's New York office.[9] Many in the Group were livid over what they considered his betrayal. Elia Kazan's reaction was different, suggesting that the Group did not so much fear that Garfield would fail, but that he would succeed.[5] Jack Warner's first order of business was a change of name to John Garfield.

After many false starts, he was finally cast in a supporting, yet crucial role as a tragic young composer in a Michael Curtiz film titled Four Daughters. After the picture's release in 1938, he received wide critical acclaim and a nomination for the Academy Award for Best Supporting Actor. The studio quickly revised Garfield's contract—designating him a star player rather than a featured one—for seven years without options. They also created a name-above-the-title vehicle for him titled They Made Me a Criminal. Before the breakout success of Daughters, Garfield had made a B movie feature called Blackwell's Island. Not wanting their new star to appear in a low-budget film, Warners ordered an A movie upgrade by adding $100,000 to its budget and recalling director Michael Curtiz to shoot newly scripted scenes.

Garfield's debut had a cinematic impact difficult to conceive in retrospect. As biographer Lawrence Swindell put it:

Garfield's work was spontaneous, non-actory; it had abandon. He didn't recite dialogue, he attacked it until it lost the quality of talk and took on the nature of speech... Like Cagney, he was an exceptionally mobile performer from the start of his screen career. These traits were orchestrated with his physical appearance to create a screen persona innately powerful in the sexual sense. What Warners saw immediately was that Garfield's impact was felt by both sexes. This was almost unique.[5]

His "honeymoon" with Warners over, Garfield entered a protracted period of conflict with the studio, with Warners attempting to cast him in crowd-pleasing melodramas like Dust Be My Destiny and Garfield insisting on quality scripts that would offer challenges and highlight his versatility. The result was often a series of suspensions, with Garfield refusing an assigned role and Warners refusing to pay him. Garfield's problem was shared by any actor working in the studio system of the 1930s: by contract, the studio had the right to cast him in any project they wanted to. But, as Robert Nott explains:

To be fair, most of the studios had a team of producers, directors, and writers who could pinpoint a particular star's strengths and worked to capitalize on those strengths in terms of finding vehicles that would appeal to the public—and hence make the studio money. The forces that prevented him from getting high quality roles were really the result of the combined willpower of the Warner Bros., the studio system in general, and the general public, which also had its own perception of how Garfield (or Cagney or Bogart for that matter) should appear on screen.[10]

A notable exception to this trend was Daughters Courageous, a not-quite-sequel (same cast, different story and characters) to his debut film. The film did well critically, but failed to find an audience, the public being dissatisfied that it was not a true sequel (hard to pull off, since the original character Mickey Borden died in the first picture). The director, Curtiz, called the film "my obscure masterpiece."[5]

At the onset of World War II, Garfield immediately attempted to enlist in the armed forces, but was turned down because of his heart condition.[8] Frustrated, he turned his energies to supporting the war effort. He and actress Bette Davis were the driving forces behind the opening of the Hollywood Canteen, a club offering food and entertainment for American servicemen. He traveled overseas to help entertain the troops, made several bond selling tours and starred in a string of popular, patriotic films like Air Force, Destination Tokyo and Pride of the Marines (all box office successes). He was particularly proud of the last film, based on the life of Al Schmid, a war hero blinded in combat. In preparing for the role, Garfield lived for several weeks with Schmid and his wife in Philadelphia and would blindfold himself for hours at a time.

After the war, Garfield starred in a series of successful films such as The Postman Always Rings Twice (1946) with Lana Turner, Humoresque (1946) with Joan Crawford, and the Oscar-winning Best Picture Gentleman's Agreement (1947). In Gentleman's Agreement, Garfield took a featured, but supporting, part because he believed deeply in the film's exposé of antisemitism in America. In 1948, he was nominated for the Academy Award for Best Actor for his starring role in Body and Soul (1947). That same year, Garfield returned to Broadway in the play Skipper Next to God. Strong-willed and often verbally combative, Garfield did not hesitate to venture out on his own when the opportunity arose. In 1946, when his contract with Warner Bros. expired, Garfield decided not to renew it and opted to start his own independent production company, one of the first Hollywood stars to take this step.

The Red Scare

Long involved in liberal politics, Garfield was caught up in the communist scare of the late 1940s and early 1950s. He supported the Committee for the First Amendment, which opposed governmental investigation of Communist activity in Hollywood. When called to testify, in 1951, before the House Committee on Un-American Activities, which was empowered to investigate communist infiltration in America, Garfield refused to name communist party members or followers, testifying that, indeed, he knew none in the film industry. Garfield rejected communism, and just prior to his death in hopes of redeeming himself in the eyes of the blacklisters, wrote that he had been duped by communist ideology in an unpublished article called "I Was a Sucker for a Left Hook", a reference to Garfield's movies about boxing.[11] However, his forced testimony before the committee had severely damaged his reputation. He was blacklisted in Red Channels, and barred from future employment as an actor by Hollywood movie studio bosses for the remainder of his career.[2]

With film work scarce because of the blacklist, Garfield returned to Broadway and starred in a 1952 revival of Golden Boy, finally being cast in the lead role denied him years before.


Garfield 800
John Garfield's grave in Westchester Hills Cemetery
John Garfield Footstone 2007
John Garfield's footstone

On May 9, 1952, Garfield moved out of his New York apartment for the last time, indicating to friends that the separation from his wife Roberta was not temporary. He confided to columnist Earl Wilson that he would soon be divorced. Close friends speculated that it was his wife's opposition to his planned confession in Look magazine that triggered the separation. He heard that a HUAC investigator was reviewing his testimony for possible perjury charges. His agent reported that 20th Century-Fox wanted him for a film called Taxi, but would not even begin talks unless the investigation concluded in his favor. Three actor friends, Canada Lee, Mady Christians and J. Edward Bromberg, had all recently died after being listed by the committee.[5]

In the morning of May 20, Garfield, against his doctor's strict orders, played several strenuous sets of tennis with a friend, mentioning the fact that he had not been to bed the night before. He met actress Iris Whitney for dinner, and afterward became suddenly ill complaining that he felt chilled. She took him to her apartment, where he refused to let her call a doctor and instead went to bed. The next morning, she found him dead. Long-term heart problems, allegedly aggravated by the stress of his blacklisting,[12] had led to his death at the age of 39.

The funeral was the largest in New York since Rudolph Valentino's, with over ten thousand persons crowding the streets outside.[13] The media circus surrounding Garfield's death led to a running joke, "John Garfield Still Dead Syndrome," that parodied the phenomenon; it would later be superseded by "Francisco Franco is still dead" in the 1970s after Franco's protracted terminal illness.[14] Garfield's estate, valued at "more than $100,000," was left entirely to his wife. Shortly afterward, the HUAC closed its investigation of John Garfield, leaving him in the clear. Garfield was interred at Westchester Hills Cemetery in Hastings-on-Hudson, Westchester County, New York.

Personal life

He and Roberta Seidman married in February 1935. Though his wife had been a member of the Communist Party,[13] there was no evidence that Garfield himself was ever a communist. They had three children: Katherine (1938–March 18, 1945), who died of an allergic reaction; David (1943–1994); and Julie (born 1946); the latter two later becoming actors themselves.[8]

In 1954, Roberta Garfield married attorney Sidney Cohn, who died in 1991. She died in January 2004.[15]

Awards and nominations

Garfield was nominated for the Academy Award for Best Supporting Actor for Four Daughters in 1939 and Best Actor for Body and Soul in 1948.

He was given a star on the Hollywood Walk of Fame at 7065 Hollywood Boulevard.

Cultural references

In The Exorcist (1973), Detective Kinderman says Father Damien Karras "looks like a boxer," and more specifically John Garfield as he appeared in Body and Soul. Doc Sportello, the protagonist in Thomas Pynchon's Inherent Vice, discusses his film appearances throughout the book.[16]

The John Prine song "The Late John Garfield Blues" is inspired by Garfield.[17] He is also mentioned by John Prine in the song "Picture Show" from Prine's Grammy Award-winning album The Missing Years.

In the 1975 film Hustle, Burt Reynolds' character references Garfield during a discussion of screen heroes.


Feature films

Year Title Role Notes
1938 Four Daughters Mickey Borden
1939 They Made Me a Criminal Johnnie Bradfield
Blackwell's Island Tim Haydon
Juarez Porfirio Díaz
Daughters Courageous Gabriel Lopez
Dust Be My Destiny Joe Bell
1940 Castle on the Hudson Tommy Gordon Alternate title: Years Without Days
Saturday's Children Rims Rosson
Flowing Gold John Alexander / Johnny Blake
East of the River Joseph Enrico "Joe" Lorenzo
1941 The Sea Wolf George Leach
Out of the Fog Harold Goff
Dangerously They Live Dr. Michael "Mike" Lewis
1942 Tortilla Flat Daniel "Danny" Alvarez
1943 Air Force Sgt. Joe Winocki, Aerial Gunner
The Fallen Sparrow John "Kit" McKittrick
Thank Your Lucky Stars Himself (cameo)
Destination Tokyo Wolf
1944 Between Two Worlds Tom Prior
Hollywood Canteen Himself (cameo)
1945 Pride of the Marines Al Schmid
1946 The Postman Always Rings Twice Frank Chambers
Nobody Lives Forever Nick Blake
Humoresque Paul Boray
1947 Body and Soul Charley Davis
Gentleman's Agreement Dave Goldman
1948 Difficult Years Narrator (American version) Originally titled Anni difficili
Force of Evil Joe Morse
1949 Jigsaw Loafer with Newspaper (cameo) Uncredited
We Were Strangers Tony Fenner
1950 Under My Skin Dan Butler
The Breaking Point Harry Morgan
1951 He Ran All the Way Nick Robey (final film role)

Short subjects

  • Swingtime in the Movies (1938)
  • Meet the Stars #1: Chinese Garden Festival (1940)
  • Show Business at War (1943)
  • Screen Snapshots: The Skolsky Party (1946)
  • Screen Snapshots: Out of This World Series (1947)


  • The John Garfield Story (2003) (available on Warner Home Video's 2004 DVD of The Postman Always Rings Twice)

Radio appearances

Year Program Episode/source
1946 Academy Award Blood on the Sun[18]
1947 Screen Guild Players Saturday's Children[19]


  1. ^ Obituary Variety, May 28, 1952, page 55.
  2. ^ a b c Beaver, Jim (1978). John Garfield: His Life and Films. Cranbury, NJ: A.S. Barnes & Co. ISBN 0-498-01890-3.
  3. ^ Robert Nott (2003). He Ran All the Way: The Life of John Garfield. Hal Leonard Corporation. Retrieved March 10, 2013.
  4. ^ Henry Bial (2005). Acting Jewish: Negotiating Ethnicity on the American Stage & Screen. University of Michigan Press. Retrieved March 10, 2013.
  5. ^ a b c d e f g Swindell, Larry (1975). Body and Soul. New York: William Morrow and Company. p. 6. ISBN 0-688-02907-8.
  6. ^ McGrath, Patrick J. (January 1, 1993). John Garfield: The Illustrated Career in Films and on Stage. McFarland. p. 5. ISBN 9780899508672. Retrieved May 16, 2016.
  7. ^ John Baxter (10 February 2009). Carnal Knowledge: Baxter's Concise Encyclopedia of Modern Sex. HarperCollins. p. 3. ISBN 978-0-06-087434-6. Retrieved 28 June 2016.
  8. ^ a b c Nott, Robert He Ran All the Way: The Life of John Garfield, New York, Limelight Editions, 2003 ISBN 0-87910-985-8
  9. ^ The "option" gave the studio the right to drop the performer after every six-month period.
  10. ^ Gould, Mark R. "John Garfield, Film Noir and the Hollywood Blacklist". He Ran All The Way: The Life of John Garfield. @yourlibrary. Retrieved September 13, 2011.
  11. ^ Bernstein, Walter (31 July 2013). Inside Out: A Memoir of the Blacklist. New York: Random House. p. 304. ISBN 978-0-8041-5048-4. Retrieved 3 December 2014.
  12. ^ W. Pechter, "Abraham Polonsky and 'Force of Evil'", Film Quarterly, vol. 15, nr. 3 – Spring 1962, p. 53 : Pechter interviewing Polonsky: "It has been suggested that John Garfield's political difficulties and debarment from Hollywood work was a considerable influence in accelerating his early death. Do you have any opinion on this? Yes. He defended his streetboy's honor and they killed him for it."
  13. ^ a b Weintraub, Bernard (January 29, 2003). "Recalling John Garfield, Rugged Star KO'd by Fate". The New York Times. Retrieved September 12, 2011.
  14. ^ Collins, Gail (July 8, 2009). "Michael, a Foreign Affair". New York Times. Retrieved July 9, 2009. The practice of churning out stories about a deceased celebrity for as long as possible is an old tradition. It used to be known as the "John Garfield Still Dead" syndrome, after the extensive post-funeral coverage of a movie star who had a fatal heart attack in 1952 in the bed of a woman other than his wife.
  15. ^ New York Times Death Notice, Roberta Garfield Cohn, Jan. 23, 2004
  16. ^ Miller, Laura. "Pynchon Lights Up". Retrieved 21 October 2017.
  17. ^ Jaffee, Robert David (22 February 2013). "Witness to a Persecution: In Search of Blacklistee John Garfield". The Huffington Post. Retrieved 3 December 2014.
  18. ^ ""Blood on the Sun" Next "Academy" Show". Harrisburg Telegraph. October 12, 1946. p. 17. Retrieved October 1, 2015 – via open access
  19. ^ "Those Were the Days". Nostalgia Digest. 35 (2): 32–39. Spring 2009.

Further reading

External links

Body and Soul (1947 film)

Body and Soul is a 1947 American film noir sports drama directed by Robert Rossen, and features John Garfield, Lilli Palmer, Hazel Brooks, Anne Revere and William Conrad. The film, written by Abraham Polonsky with cinematography by James Wong Howe, is considered by some to be high among the best films about boxing, it's also a cautionary tale about the lure of money—and how it can derail even a strong common man in his pursuit of success.

Dangerously They Live

Dangerously They Live is a 1941 American World War II spy film directed by Robert Florey, and starring John Garfield, Nancy Coleman and Raymond Massey. Nazi spies try to pry information out of a British agent.

Daughters Courageous

Daughters Courageous is a 1939 American drama film starring John Garfield, Claude Rains, Jeffrey Lynn and featuring the Lane Sisters: Lola Lane, Rosemary Lane and Priscilla Lane. Based on the play Fly Away Home by Dorothy Bennett and Irving White, the film was directed by Michael Curtiz. It was released by Warner Bros. on June 23, 1939.

Destination Tokyo

Destination Tokyo is a 1943 black and white American submarine war film. The film was directed by Delmer Daves in his directorial debut, and the screenplay was written by Daves and Albert Maltz, based on an original story by former submariner Steve Fisher. Destination Tokyo stars Cary Grant and John Garfield and features Dane Clark, Robert Hutton, and Warner Anderson, along with John Ridgely, Alan Hale Sr. and William Prince.

Destination Tokyo has been called "the granddaddy of submarine films like Run Silent, Run Deep (1958), Das Boot (1981), and U-571 (2000)".

Dust Be My Destiny

Dust Be My Destiny is a 1939 American drama film starring John Garfield as a man who gets into trouble after being sentenced to a work farm.

East of the River

East of the River is a 1940 American drama film directed by Alfred E. Green and written by Fred Niblo, Jr.. The film stars John Garfield, Brenda Marshall, Marjorie Rambeau, George Tobias, William Lundigan and Moroni Olsen. The film was released by Warner Bros. on November 9, 1940.

Flowing Gold

Flowing Gold is a 1940 American adventure film starring John Garfield, Frances Farmer, and Pat O'Brien. It was based on the novel of the same name by Rex Beach. The film is set in the American oilfields and the title refers to oil.

Four Daughters

Four Daughters is a 1938 American musical drama film that tells the story of a happy musical family whose lives and loves are disrupted by the arrival of a cynical young composer who interjects himself into the daughters' romantic lives. The movie stars the Lane Sisters (Priscilla Lane, Rosemary Lane, and Lola Lane) and Gale Page, and features Claude Rains, Jeffrey Lynn, John Garfield, and Dick Foran. The three Lanes were sisters and members of a family singing trio.

The film was written by Lenore J. Coffee and Julius J. Epstein, adapted from the Fannie Hurst novel Sister Act, and was directed by Michael Curtiz. The movie's success led to two sequels with more or less the same cast: Four Wives and Four Mothers.

Jigsaw (1949 film)

Jigsaw is a 1949 American film noir crime drama directed by Fletcher Markle starring Franchot Tone, Jean Wallace and Marc Lawrence. The feature was produced by the Danziger Brothers, Edward J. Danziger and Harry Lee Danziger, from a screenplay by Vincent McConnor and Fletcher Markle, based on a story by John Roeburt.Of note is that the film has cameo appearances by Marlene Dietrich, Henry Fonda, John Garfield, Burgess Meredith, Marsha Hunt, Doe Avedon, Everett Sloane, newspaper columnist Leonard Lyons, and the director Fletcher Markle.

Nobody Lives Forever (film)

Nobody Lives Forever is a 1946 American crime film noir directed by Jean Negulesco and based on the novel I Wasn't Born Yesterday by W. R. Burnett. It stars John Garfield and Geraldine Fitzgerald and features Walter Brennan, Faye Emerson, George Coulouris and George Tobias.

Out of the Fog (1941 film)

Out of the Fog (working title: Danger Harbor) is a 1941 American film noir crime drama directed by Anatole Litvak, starring John Garfield, Ida Lupino and Thomas Mitchell. The film was based on the play Gentle People by Irwin Shaw.

Pride of the Marines

Pride of the Marines is a 1945 American biographical war film starring John Garfield and Eleanor Parker. It tells the story of U.S. Marine Al Schmid in World War II, his heroic stand against a Japanese attack during the Battle of Guadalcanal, in which he was blinded by a grenade, and his subsequent rehabilitation. The film was based on the Roger Butterfield book Al Schmid, Marine.

Albert Maltz was nominated for an Academy Award for Best Adapted Screenplay.

Saturday's Children

Saturday's Children is a 1940 American drama film directed by Vincent Sherman and starring John Garfield, Anne Shirley, and Claude Rains. It is a third-time remake of the original Maxwell Anderson play with a previous version released in 1935 under the title Maybe It's Love.

Thank Your Lucky Stars (film)

Thank Your Lucky Stars is a 1943 American musical comedy film made by Warner Brothers as a World War II fundraiser, with a slim plot, involving theater producers. The stars donated their salaries to the Hollywood Canteen, which was founded by John Garfield and Bette Davis, who appear in this film. It was directed by David Butler and stars Eddie Cantor, Dennis Morgan, Joan Leslie, Edward Everett Horton and S. Z. Sakall.

The Breaking Point (1950 film)

The Breaking Point is a 1950 American film noir crime drama directed by Michael Curtiz and the second film adaptation of the Ernest Hemingway novel To Have and Have Not. It stars John Garfield (in his second-to-last film role before his death) and Patricia Neal. The earlier 1944 film starred Humphrey Bogart and Lauren Bacall.

The Fallen Sparrow

The Fallen Sparrow is a 1943 American spy film starring John Garfield, Maureen O'Hara, Patricia Morison, and Walter Slezak. It is based on the novel of the same name by Dorothy B. Hughes. Its plot concerns an American who returns home to find out who murdered his friend. It won an Oscar nomination for Best Scoring of a Dramatic or Comedy Picture.

The Postman Always Rings Twice (1946 film)

The Postman Always Rings Twice is a 1946 American film noir based on the 1934 novel of the same name by James M. Cain. This adaptation of the novel features Lana Turner, John Garfield, Cecil Kellaway, Hume Cronyn, Leon Ames, and Audrey Totter. It was directed by Tay Garnett. The musical score was written by George Bassman and Erich Zeisl (the latter uncredited).This version was the third filming of The Postman Always Rings Twice, but the first under the novel's original title and the first in English. Previously, the novel had been filmed as Le Dernier Tournant (The Last Turning) in France in 1939 and as Ossessione (Obsession) in Italy in 1943.

They Made Me a Criminal

They Made Me a Criminal is a 1939 American crime drama film directed by Busby Berkeley and starring John Garfield, Claude Rains, and The Dead End Kids. It is a remake of the 1933 film The Life of Jimmy Dolan. The film was later featured in an episode of Cinema Insomnia. Portions of the film were shot in the Coachella Valley, California.

Tortilla Flat (film)

Tortilla Flat is a 1942 American romantic comedy film directed by Victor Fleming and starring Spencer Tracy, Hedy Lamarr, John Garfield, Frank Morgan, Akim Tamiroff, and Sheldon Leonard based on the novel of the same name by John Steinbeck.

Frank Morgan received an Academy Award nomination for Best Supporting Actor for his poignant portrayal of The Pirate.


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