My Top-10 Garfield Films

What a great month it's been celebrating the 100th birthday of the sensational (and beloved to me!) John Garfield.  To close out the month, I thought I would provide a list of my 10 favorite Garfield films.  Last March, I listed my 5 favorites; however, since that time, I have discovered a couple of "new to me" films (one which occupies #1 status), plus I have enjoyed a re-watch of other tried and true favorites, so things have changed position a bit.  All 10 films are either 5-star "love its" or 4-star "really like its;" there are a few other films I really like and deem 4 stars, but which missed being part of the top 10 list.


1.  The Breaking Point  (1950---reviewed HERE)  Besides the fact that I really love this story and the way John Garfield brought his character to life, my favorite thing about this movie is the rare opportunity to see Garfield romantically playful with wife Phyllis Thaxter and lovingly paternal with his two little daughters.

2.  The Postman Always Rings Twice (1946---reviewed HERE)  John Garfield and co-star Lana Turner are both incredibly gorgeous at this point in their careers, and the chemistry between them is undeniable in this film.  They smoke and sizzle in their illicit love affair.

3.  Pride of the Marines  (1945---reviewed HERE)  This is the first Garfield film I ever saw, so it will always have the distinction of being the film which opened my eyes to the man's brilliant acting ability.  Plus, it pairs him with my #4 gal, Eleanor Parker.

4.  Dust Be My Destiny  (1939---reviewed HERE)  In a 30's movie, it's rare for a man to make the first move after an argument with his wife, but it happens here...and not just any man, but the rough-and-tumble John Garfield.  I found that to be very touching.

5.  Body and Soul  (1947---reviewed HERE)  This boxing noir is the film for which Mr. Garfield garnered his only Lead Actor Academy Award nomination.  He's sensational here, and the film's message is powerful.

6.  Humoresque  (1946---reviewed HERE)  My favorite thing about this film...hands-down, the music.  It's absolutely beautiful!  Ever the professional, Mr. Garfield learned to play the violin for this role.  Although it was Isaac Stern's music that was heard, Garfield took violin lessons so that he would have proper mastery of the fingering for the cameras.  Besides the beautiful musical score, there's Joan Crawford, smoldering passion, and loads of melodrama.  Chick flick anyone?

7.  Gentleman's Agreement  (1947)  I deem this film to be probably the most important of John Garfield's entire career.  While he's really a supporting player, in my opinion, Mr. Garfield stole the show from its star, Gregory Peck, and he did it in this scene.

8.  Saturday's Children  (1940---reviewed HERE) As boyfriend, then husband, to Anne Shirley, this film provides a fun opportunity to catch John Garfield in a romantic role.  The chemistry between the two is terrific, as is the chemistry between Miss Shirley and father, Claude Rains.

This lovely still is from a scene cut from the film.


9.  He Ran All the Way  (1951---reviewed HERE)  This is Mr. Garfield's final screen role, and for that reason, watching this film is bittersweet.  While he gives a terrific performance, the knowledge that it was his last film and that the ugliness of HUAC was about to destroy him makes this film quite heartbreaking.

10. Daughters Courageous  (1939)   I love the chemistry between Garfield and Claude Rains in this film.  They're like two little boys, playing off each other over and over again.  The two men had a very good professional relationship, and never is that better evidenced than Daughters Courageous.

Anyone looking for an introduction to the films of John Garfield can't go wrong by starting with one of these ten titles.  Any and all of them will showcase the man's amazing talent and whet the appetite to see more of his work!

Can You Picture John Garfield in These Roles?

It's always interesting to learn the other stars who were under consideration for certain roles. Sometimes, we can hardly imagine how different a film would have been if a different actor or actress had been cast in it.  (Can you believe that Claudette Colbert was the first choice as All About Eve's Margo Channing?  I can't even imagine Claudette in one of Bette Davis's most iconic roles!)

Sometimes, a different star in a role has the power to change not only the film itself, but the careers of the stars involved.  (We all know that Humphrey Bogart had a much more successful career than George Raft, in large part because Mr. Raft turned down some all-important roles, which then went to Bogey, launching him to mega-star status.)

John Garfield has his own list of films he might have been in.  Can you imagine him in any of these roles...roles which might have given his career the boost that would launch him to mega-star status.

Mad Dog Earle in High Sierra

It is pretty common knowledge that George Raft turned down the role of Mad Dog Earle, a role which then went to Humphrey Bogart, virtually rocketing him to fame and fortune.  Before Bogart, though, John Garfield was offered that role.   "After East of the River, they (Warner Bros.) offered him High Sierra and he rejected it because George Raft had already turned it down, and because he didn't want to play a man named Mad Dog Earle.  It became the picture that finally secured Humphrey Bogart's claim to stardom, but once again Julie went on salary suspension."  

While Bogart was terrific in the role, I can easily imagine John Garfield doing great justice to it as well.  And with the on-screen chemistry he had with Ida Lupino, as well as his regard for her professionally (In the early 40's, he called her "the best actress he'd worked with in pictures."), they would have been dynamite in High Sierra.


Frank Ross in Each Dawn I Die

An elaboration of the Blackwell's Island theme, Each Dawn I Die brought to life the story of an innocent reporter being sent to prison.  Originally, Garfield was to co-star with James Cagney in the film, a prospect which pleased Julie, due to the Group Theatre's opinion that Cagney was the best screen actor. However, then Warners signed George Raft, giving him the part of the hood and switching Cagney to the reporter role---the role which was to have been John Garfield's.

Now, I adore James Cagney.  He is right up there with Garfield as one of my great loves.  I think he gave a completely brilliant performance in nearly every role he ever took on, including in Each Dawn I Die.  I do like George Raft, and I thought he was perfect in his role as the mobster; however, I have no doubt that James Cagney would have been equally successful in the mobster role and that John Garfield would have portrayed Frank Ross the same sensational way James Cagney did.


Joe Bonaparte in Golden Boy

Clifford Odets wrote Golden Boy with John Garfield in mind for the Joe Bonaparte character. However, before the play ever opened (in 1937), the producers made a casting change, and the longed-for Joe Bonaparte role went to Luther Adler.  While Garfield would get an opportunity to take on the role when the play was revived in 1952, for the film adaption (1939), the part was given to William Holden, in his first credited screen role.  Though Columbia---who was doing the film---wanted Garfield for the role which had been written for him, they were unable to reach a deal with Warners, so Garfield lost out on the coveted role for the second time.



As a huge William Holden fan, Golden Boy is a film I've seen a few times, and I think he does a terrific job in it.  However, catching this little snippet of Mr. Garfield's 1952 Broadway portrayal, I have no doubt, he would have been amazing in the screen adaption as well.



Frankie Machine in The Man with the Golden Arm

Mr. Garfield had already passed away by the time The Man with the Golden Arm was made, so his being in the film was never possible; however, "throughout the writing of The Man with the Golden Arm, the specter of John Garfield hovered over the novel's author, Nelson Algren.  Algren said if anyone was going to play Frankie Machine, it would have to be John Garfield. . . Eventually, Otto Preminger obtained movie rights to the story...the picture made money and was deemed an artistic success as well.  Frank Sinatra was much admired in the role of Frankie Machine, but Nelson Algren said he had conceived the character in John Garfield's image and that only Garfield should have played it."  

I absolutely love The Man with the Golden Arm, and I think it was Frank Sinatra's finest hour.  He gave a completely magnificent performance, and although he didn't receive the Oscar for his work, I think he ought to have won.  However, I can totally see John Garfield doing a brilliant job as well. Learning that the story's author had really wanted Garfield was news to me.  It was only because the production code did not allow for narcotics addiction to be depicted on screen that a film adaption of the story was not pursued while Mr. Garfield was alive.

It's always interesting to find out the behind-the-scenes casting possibilities of our beloved films.  What are some of the casting possibilities you wish had been different?  Or how about some that you're glad didn't work out because the film is perfect as-is and might have been a dud with someone else starring in it?


NOTE:  All information and direct quotes obtained from Body and Soul: The Story of John Garfield, by Larry Swindell, William Morrow and Company, Inc., 1975)

Under My Skin (1950)

Three years after portraying a man caught up in a corrupt sports racket in Body and Soul, and seven months before he would take on the most faithful screen adaption of Ernest Hemingway's To Have and Have Not in The Breaking Point, John Garfield would combine elements of both films in 1950's Under My Skin.  Based on Mr. Hemingway's My Old Man, Under My Skin is the story of a man involved in the corrupt world of horse racing.  A solid 4-star film for me, Under My Skin also stars Micheline Presle (also known as Micheline Prelle), and features Luther Adler and Orley Lindgren in supporting roles.  The film is directed by Jean Negulesco, who also directed Mr. Garfield in Humoresque and Nobody Lives Forever.

For years, jockey Dan Butler (Garfield) has been throwing races, and the reputation he has gained as a result has kept him from settling long in any one city.  Now in Italy, Dan wins a race he was supposed to lose, and he knows he's got to get out of town before he pays the price for double-crossing mobster Louis Bork (Luther Adler).  Dan's young son, Joe, (Orley Lindgren), wants to return to America, where his late mother is from, but Dan can't go back.  In fact, Dan realizes, he's really running out of places to live.  Paris is his next target city, and he miraculously manages to escape Bork and his henchmen, and he and Joe make it to Paris, where they hope to connect with an old friend of Dan's.

Unfortunately, Dan's old friend has died, but the man's former flame, Paule (Micheline Presle), runs a cafe in the city.  Because Dan's corruption ultimately brought about her lover's death, she immediately despises him; however, she is quite smitten with Joe, as is he with her, and she takes on the job of tutoring him in French, all the while growing more and more attracted to Dan.

Bork hasn't forgotten Dan's double-cross, though, and soon tracks him down in Paris. Demanding Dan pay him back, he sets up another race---a steeplechase---with Dan riding none other than Joe's own personal horse, which the little boy trained himself.  Again expected to throw the race, Joe must choose whether to obey and, thus, disappoint the son who trusts him and believes in him, or to defy the powers-that-be and pay the consequences.  How it all plays out is the balance of the film.

In many ways, Under My Skin is a parallel to the life Mr. Garfield would soon be living.  Just as he himself was forced to choose whether to do what the "higher-ups" wanted him to do (provide names in the HUAC hearings), or whether to oppose them, so, too, is the character of the film forced to make that decision.  Even though both the character and the man himself knew there would be repercussions for failure to comply, both, in the end, have to do what they know, deep down, they need to do.

As always, Garfield gives a riveting performance.  He's terrific in his role, and I must admit, I was teary-eyed in this film.  It's not often that happens in a John Garfield film!  He looks fantastic at this point in his career. (He always looked terrific, but from about the mid '40's on, I think his maturity made him even better-looking!)

Micheline Presle, who I have only seen in one other film (If a Man Answers) is beautiful, and her accent is delightful.  Plus, her character is strong and confident.  I really liked her...both the character and the actress.  She and Mr. Garfield appeared to have great chemistry.  (The Swindell biography reports that he was enamored of her, but as she was involved with someone else, there was no affair.)  Orley Lindgren was sweet and quite a good-looking young man.  For whatever reason, though, he did not have a long show business career.  Within four years of this film, he would make his last screen appearance.

This film is out on DVD, as part of the Ernest Hemingway Film Collection, but other than that highly expensive collection, it is difficult to track down.  I've never seen it on the TCM schedule, and I was unable to find it on YouTube.  If you are a Classic Flix member, however, it's available through there (that is how I obtained it).  While not near the caliber of The Breaking Point (my personal favorite Garfield film) or Body and Soul, it is, nevertheless, a solid, 4-star viewing experience.  Definitely, all Garfield fans will want to see this one.

Happy viewing!!

John Garfield Family Man

With that huge chip on his shoulder and the "mad at the world" attitude which defined most of his characters, John Garfield hardly ever gave the impression of being a family man.  If we base our perception of Julie the man upon the films of John (as we often do), we would come away thinking that he was hard, cynical, angry, and unloving all his days.  And yet, he really did wear the "family man" hat on occasion...there really was a loving husband and father in him.

John Garfield`and his wife Roberta (called Robbie) were married for over 17 years (from January 1935 until the actor's death in May, 1952).  No, he was not a perfect husband, nor was he a faithful one, and at the time of his death, he was somewhat separated from Robbie.  Yet, obviously, he had loved her deeply.  At one point, he said "his favorite moment of the day came when he arrived from the studio and could plop himself on one of the loveseats and face Robbie, occupying the other one, to discuss the day's activities---with their bare or stockinged feet resting on the glass table." (From Body and Soul: The Story of John Garfield, by Larry Swindell)  That little statement provides a wonderful image of a couple devoted to one another.

The Garfield union produced three children, Katherine, David, and Julie Roberta.  The few photos I have seen of him in his capacity of "daddy" are among my favorite photos of him.

This photo is of first-born daughter, Katherine.  It was taken in 1944, right after Mr. Garfield arrived back in the states from entertaining troops overseas for a month.  What a precious photo this is...you can really see the love he has for this little girl (who looks so very much like her daddy). Tragically, the Garfields would lose Katherine in 1945, when she died suddenly of a severe allergic reaction.  (I'm quite sure this is my all-time favorite photo of Mr. Garfield.)

Another photo with Katherine, riding bikes at their home.  Of the little girl's death, some said "the loss  had a lasting effect on Julie's personality, rendering him permanently gloomy, whereas he had been incapable of gloom in earlier times."  Yet the tragedy also, one friend said, "somehow made Julie a better person."  He was brought into a closer union with Robbie and also became a better father to David and to the little girl (Julie Roberta) who would soon be born.  (From Body and Soul: The Story of John Garfield)

Regular readers of this blog know that The Breaking Point (reviewed HERE) is my favorite Garfield film, in large part because of the opportunity he has in that film to show both a romantically playful side and a loving, paternal side.  Sherry Jackson, the actress who portrayed the younger daughter in the film, spoke about her experience working with Mr. Garfield.

"Most of all, I remember a long scene with John Garfield, who played my father.  I was told he was a "Method" actor, but at that time I really didn't know what that meant.  He had two daughters and one had died.  When he looked at me, he was projecting his grief, but also his past joy - the whole experience of being a father.  I told myself I knew he must have a daughter, as no one ever related to me like he did.  His understanding, his performance - he had so much love and warmth towards the person I played...It's heart-wrenching.  Totally genuine - an absolutely different aspect of his character, which made him more complex, so real."

(From the May 21, 2011 article "From Baby Sherry to Sherry Baby: My Memorable Afternoon with Sherry Jackson," by Mel Neuhaus---HERE)


While actor John Garfield may have been the cynical, hard-to-love rebel, the man within did, indeed, have a soft, caring side, and it is always touching to catch a little glimpse of it!

Body and Soul (1947)

A discussion of John Garfield's career would be incomplete without mention of Body and Soul, the noir-ish 1947 boxing drama for which he received his only lead actor Academy Award nomination. As such an important film in his career, it ought to have been highlighted in the recent blogathon---and it was scheduled to have been included.   In the end, however, the blogger scheduled to highlight that film was unable to participate; thus, I have re-worked my 2-year old review of the film, in order that Mr. Garfield's centennial year see a spotlight on that all-important film here at They Don't Make 'Em Like They Used To.

A 5-star film for me, this 1947 Robert Rossen noir, which won the Academy Award for Best Film Editing, explores the corrupt world of professional boxing.  Also starring Lilli Palmer, this film features Anne Revere, Canada Lee, Hazel Brooks, and William Conrad in supporting roles.

The son of a candy store owner, Charlie Davis (John Garfield) wants big things out of life.  Telling his mother (Anne Revere) that he doesn't want to end up like his father---just getting by---Charlie sets out to pursue a boxing career, and he soon wins an amateur boxing championship.   His mother, however, doesn't approve of her son behaving like an animal, and, wanting him to be something worthwhile, she begs Charlie not to pursue such a career.  Initially, Charlie complies with his mother's request; however, when his mother is forced to seek charitable relief after his father's death at the hands of gangsters, Charlie changes his mind.

With the encouragement of his girlfriend, Peg (Lilli Palmer), who tells him to fight if he wants to fight, Charlie goes on the prizefighting circuit and finds great success.  Before long, wealth and lavish living come his way, but they come with a price---his very soul.   With a corrupt manager dictating his every move, Charlie not only refuses to listen to the warnings of his family and friends, but he also postpones his wedding to Peg, and as he gets in deeper, Charlie finds himself having to enter the ring with men of questionable health and even to throw a fight if told to do so.  Saying brutally unkind things to his mother and Peg, he pushes them away.

As Charlie is about to fight in the championship---a fight he has been instructed to lose---he becomes aware that the people in the candy store neighborhood---despite being poor--- have bet on him...not so much for the money but as a way of saying they are proud of him.  With this crisis of conscience, Charlie enters the ring.  Will he do what he's told and throw the fight?  Or will he defy the powers-that-be, give the fight his all and, thus, regain his self-respect?  Those are the questions which play out in the remainder of the film.



Body and Soul is an interesting, exciting film, featuring great performances by all.   This is one of John Garfield's most brilliant performances.  (I think he was almost always brilliant in his portrayals.)  He brings incredible realness and passion to this role.  Because of a heart condition, Mr. Garfield was usually under doctors' orders to take things easier, but determined to do his own fight scenes and not rely on a double, he ignored the advice and took "sparring lessons from Mushy Callahan."  His preparation for the role only added to the film's incredible realism.  It is absolutely no surprise that he received a Lead Actor Academy Award nomination for his work here.

Anne Revere was terrific; the scene in which she humbles herself to ask for welfare relief is particularly poignant.

Lilli Palmer---lovely as always--was very good and believable in her role as well, and she and Mr. Garfield had great chemistry with one another.

Even William Conrad, as one of the boxing "heavies," was great, as was Canada Lee, in his role of Charlie's opponent-turned-friend.  Beyond the acting, was the gritty realism of the boxing ring and the corruption of the sport.  Interestingly, at the time of the film's release, the corruption in professional and amateur sports---especially boxing---was under investigation and receiving much press coverage.

Two other boxing movies which I also greatly enjoy are The Set-Up, (starring Robert Ryan, reviewed HERE)  and City for Conquest (starring James Cagney, reviewed HERE).  All three films ought to satisfy the boxing enthusiasts out there.  Body and Soul is out on DVD and should be fairly easy to track down. For Garfield fans, it's an absolute must-see.

Happy viewing!!

Happy 100th Birthday, John Garfield!!

Happy 100th birthday to one of my most beloved actors---the sensational John Garfield. (March 4, 1913 - May 21, 1952)

A child of the New York streets, John Garfield's early years were troubled; and yet it was that very troubledness which brought about the man being celebrated today.  Born Jacob Julius Garfinkle---and called Julie all his life---Mr. Garfield was the first child of impoverished first-generation Americans, David and Hannah Garfinkle.  After losing his mother at the age of seven, little boy Julie lived a revolving-door kind of life for the next several years, as he was passed from one relative to another.  Eventually, street gangs became his family, ditching school became his habit, and delinquency became his life.  Mr. Garfield said of himself, "If I hadn't become an actor, I might have become Public Enemy Number One."

In order to curb his delinquency, Julie was enrolled in a special school, one which catered to "problem kids."  The founder of that school--- Angelo Patri---held an educational philosophy different from all other educators; in addition to allowing for creative expression, he believed in a curriculum tailor-made for each pupil.  Of Mr. Patri, John Garfield said, "For a lost boy to be found, someone has to do the finding.  Dr. Patri found me, and for reaching into the garbage pail and pulling me out, I owe him everything.  The good things that came my way would not have been possible, but for that sweet, funny man." It was at Dr. Patri's school that Julie's penchant for acting was encouraged and allowed to bloom.  Seeing promise in the young man as he performed in one-act school plays, both Dr. Patri and the school's dramatics instructor, encouraged him to become an actor.  Eventually, with the goal of acting in mind, young Julie dropped out of high school in order to pursue instruction with a theatre group, for at that point in his life, theatre---not film---was where his sights were set.

Though Julie loved the stage and enjoyed many years of success there, working with such theatre greats as Otto Kruger, Claude Rains, Paul Muni, Lee J. Cobb, Clifford Odets, Franchot Tone, and Elia Kazan, eventually Hollywood came calling, and he signed on with Warner Brothers.  His first screen role, which reunited him with veteran stage performer Claude Rains, who offered advice as Julie transitioned into films, was in 1938's Four Daughters.  From his first appearance on screen, he brought with him that moody, cynical, outsider-looking-in persona which would follow him throughout the bulk of his career. Audiences were wild about him...and the anti-hero was born.

The 2-time Academy Award-nominated John Garfield was an amazingly gifted actor, giving a truly brilliant performance in nearly every single one of his 31* films.  I have no doubt that he was just as terrific in his stage performances as well.  It's too bad there are not films of his plays---I would love to see them.

Of Mr. Garfield's 31* films, I have seen all but four, and two of those I will be catching when TCM airs them on March 4th.  There is a bittersweetness to watching all 31* films; yes, I will have seen his entire filmography, but after that, that's it.  There will never be a new film to discover, and I find that to be very sad.  Here is a sampling of just a few of his films.

Pride of the Marines (reviewed HERE) is the film which began my love affair with Mr. Garfield.  As one who is passionately interested in all things related to the Second World War, I have long been on a quest to see all the (war) films made during the actual war years, and it was through that endeavor that Mr. Garfield entered my life.  Despite not having a clue who John Garfield was, I tracked this film down, and immediately, I was impressed.  His portrayal of U.S. Marine Al Schmid was completely terrific; I thought he was nothing short of spectacular and, thus, began seeking out more of his works.  As I did so, I became more enamored of this very under-appreciated actor, and he rapidly made the climb to "beloved" status on my favorite actor list.

The Breaking Point (reviewed HERE), which has the distinction of being my favorite Garfield film, is the second film adaption of Ernest Hemingway's To Have and Have Not.  According to Mr. Hemingway, "The Breaking Point was the best screen adaption of any of his novels....and Harry Morgan as written had never become anything beyond an idea, but John Garfield made Harry a person."  I call that high praise indeed!

The Breaking Point shows a bit of a loving, paternal side to the ordinarily rough-and-tumble, chip-on-the-shoulder John Garfield, which is one of the reasons the film strikes such a chord with me.  Due to the types of roles he usually played, such a soft side was rarely seen, which makes it difficult to imagine Mr. Garfield as a man capable of love, affection, and tenderness.  It's easy to imagine that he (the man, not the actor) was as tough and hard in real life as he was in most of his roles, yet The Breaking Point gives a tiny glimpse into that rarely-seen softer side.  I love the film for that reason. Plus, I love the character of Harry Morgan...and the way---as Mr. Hemingway said---John Garfield brought him to life.

Body and Soul (reviewed HERE) is the film for which Mr. Garfield received his only lead actor Academy Award nomination.  It's the story of a man who finds great success on the prizefighting circuit, yet the success comes with the price of his very soul. With a corrupt manager dictating his every move, our hero finds himself having to enter the ring with men of questionable health and even to throw a fight if told to do so.  After discovering that people in his childhood neighborhood---despite being poor---have bet on him in a fight he has been instructed to lose, he has a crisis of conscience and must decide if he will do what he's told and throw the fight or if he will defy the powers-that-be and give it all he's got.  Though all Mr. Garfield's performances were first-rate, his work here in Body and Soul is, easily, some of his absolute best.

Though John Garfield was one of many stars to make an appearance in the 1944 film Hollywood Canteen, the real Hollywood Canteen was much more important to him.  Even before Pearl Harbor brought about U.S. involvement in the war, Julie was part of a group of performers entertaining at bases in the Caribbean.  Finding great satisfaction in the endeavor, he came up with the idea that the film industry ought to have its own venue, right there in Hollywood...and, with the help of Bette Davis, the Hollywood Canteen was born.  Open nightly, the Canteen was a place where GIs rubbed shoulders with the movie stars, who served them refreshments and entertained them.  Garfield was quite the arm-twister when it came to booking acts at the Canteen, even managing "to break down the resistance of some of the veterans...Tracy, Cooper, Cagney."

Sadly, as the HUAC (House Un-American Activities Committee) years dawned, Mr. Garfield got caught up in the ugliness of them.  Called to testify before the committee, he refused to name names in the hearings and, thus, found himself blacklisted in Hollywood.  Despite knowing that failure to give the committee what they wanted (names of those who might have Communist sympathies) would undoubtedly harm his career, he would not be budged.  While others might cave to the pressure, John Garfield did not, and the sad result was that he would pay with his career and, ultimately, his life.  While stage work was available, he was blacklisted in Hollywood and his film career was finished.  The stress of the blacklist---coupled with the bad heart he had had for most of his life---took its toll, and at the too-young age of 39, Julie succumbed to a fatal heart attack, leaving behind a wife, two young children, and thousands of grieving fans.  (He had a third child too; however, that first-born daughter died of an allergic reaction in 1945 at the age of 6).  Also left behind were 31* films, some of which are available on DVD, but many of which are not...making it very hard for modern audiences to have an opportunity to get to know this incredible actor...another tragedy in an already-tragic situation.

So, here's to you, Mr. John Garfield, on your 100th birthday.  You were a completely sensational actor who always gave a terrific performance.  I completely adore you and will always consider you one of my absolute favorite actors.  Even though you died nearly a decade before I was born, you live on through your wonderful films.  And, in the words of George Eliot, "Our dead are never dead to us, until we have forgotten them."  Since we have not forgotten you (nor will we ever!), you do, indeed, live on!  Thanks for enriching my life with so many incredible films!

This post is part of the John Garfield 100th birthday blogathon.  To read all the other wonderful entries, go HERE.


NOTE:  All information and directly quoted material are taken from Body and Soul: The Story of John Garfield, by Larry Swindell, William Morrow & Company, Inc., 1975.  All photos have been obtained from various online sources, mostly The Golden Age of Hollywood and Doctor Macro.  I do not claim any of them as my own.

* The 31 films does not include uncredited roles, nor Four Wives, which includes footage from the earlier Four Daughters.

John Garfield Blogathon---They Made Me a Criminal (1939)

Another film from that golden year of 1939 is They Made Me a Criminal, a vehicle which gives name-above-the-title billing to John Garfield and The Dead End Kids.  Directed by Busby Berkeley, this film sees Claude Rains, Gloria Dickson, and May Robson taking on supporting roles.  While some movie posters tout Ann Sheridan as a co-star, the reality is that she is an extremely minor player; in fact, she's dead within the first ten minutes.  They Made Me a Criminal is a remake of the 1933 Douglas Fairbanks, Jr./Loretta Young film The Life of Jimmy Dolan (reviewed HERE).

NOTE:  This review is part of the John Garfield 100th birthday blogathon.  To read all the other wonderful entries in the event, go HERE.

At a victory party following a fight, boxing champion Johnny Bradfield (Garfield) drinks to excess and finds himself involved in an altercation with a newspaper reporter.  After slugging the man, Johnny---completely drunk---passes out.

With Johnny out cold, his manager proceeds to get into it with the reporter, dealing a blow which leads to the man's death.  Anxious to cover his tracks, the manager---along with Johnny's girlfriend, Goldie (Ann Sheridan)---leaves the scene, knowing that the crime will then be pinned on Bradfield. The two of them end up being killed in a fiery car crash, and because the man was wearing Johnny's watch, his body is identified as that of Johnny.  However, police detective Phalen (Claude Rains), who is out to prove himself to the higher-ups, is quite sure Johnny is still alive, and he has every intention of finding him and charging him with murder.

When the real Johnny comes to and reads the newspaper account of what has happened, he has no choice but to go on the run.  After being warned to not use his fists lest he give himself away, Johnny takes on the name Jack Dorney and heads West.  Hopping freighters, as well as pounding the pavement with his feet, Johnny/Jack makes his way to Arizona, where he finds a welcome at a ranch for troubled boys.

The teenage boys (played by The Dead End Kids) have been sent by a New York priest to his sister's (May Robson) farm, where it is expected that kindness, responsibility, and hard work will rehabilitate them.  Johnny/Jack is put to work, and although his influence on the boys is initially a matter of concern, he eventually proves himself.  In fact, it's not long before the "look out for yourself" man wants to help the farm reverse its dismal finances.  When he sees an advertisement for an amateur fight, Johnny is willing to enter the ring for the prize money---despite the fact that he is a "wanted man" and really needs to keep a low profile.

Does Johnny go through with the fight?  Or, realizing the danger of being so visible, does he back out?  Does Detective Phalen, who has seen Johnny's picture in the paper, find him and take him back to New York to face a murder rap?  These are the questions which play out in the balance of this film.




Although listed on Mr. Garfield's filmography as his second film, They Made Me a Criminal, technically, is his third.  Blackwell's Island, the true second film to be made, was released a couple months after this one. With Garfield's debut performance in Four Daughters the previous year touting him as "the sensational new "find"---not of the year, but of the decade," Warner Brothers knew they had a mega-star on their hands; wanting to capitalize on that popularity while Four Daughters was fresh in the minds of audiences, they rushed They Made Me a Criminal ahead of the B-grade Blackwell's Island.  While Garfield had been billed seventh in Four Daughters, he was given name-above-the-title status in this film.

They Made Me a Criminal is a perfect vehicle for the talents of John Garfield.  He completely excelled in roles like this, and he was his usual wonderful self here.  The misunderstood, huge-chip-on-the-shoulder rebels are easily my favorite kinds of roles for Mr. Garfield.  Quite honestly, I love him like this!!  The Dead End Kids, who are normally so obnoxiously disrespectful that I can hardly stand them, were definitely more tolerable in this film.  Even Leo Gorcey wasn't as smart-alecked as usual.  According to Mr. Garfield's biography, Body and Soul, The Story of John Garfield, he enjoyed working with the Dead End Kids.

As for Claude Rains' portrayal of a New York detective---he felt he was dreadfully miscast for the role and begged to be let out of it.  Interestingly, however, Mr. Garfield felt that Rains "contributed the strongest performance" to the film.  Garfield was critical of his own performance---finding it "hollow"---and he would "deprecate the picture at every opportunity in later years."  Funny, I thought he was quite good in the role...maybe not his best performance, but certainly solid and very believable.

May Robson is completely delightful...especially in the fight scene.  What a fun grandma-type she is.  I love her spunky spirit!

This film is out on DVD, plus it is available in its entirety on YouTube, so you shouldn't have a problem being able to view it.   It's a solid, 3-star film...close to 3.5 stars.  I think it's a film all Garfield fans will want to see.

Happy viewing!!


NOTE:  All directly quoted material is obtained from Body and Soul: The Story of John Garfield, by Larry Swindell, William Morrow and Company, Inc., 1975)

John Garfield Blogathon---Saturday's Children (1940)

One of my favorite online social forums is The Golden Age of Hollywood (HERE), and it is through there that I met today's guest.  Mad, as she likes to be called, is one of my dearest friends over there.  She hails from Canada, and though she would be too humble to say this about herself, I certainly think it is the truth---she is the biggest Claude Rains fan on the planet.  Given that both Mr. Rains and Mr. Garfield were initially stage actors, they knew each other well; in fact, Mr. Garfield has said that Claude Rains was rather a mentor to him as he transitioned from stage to screen.  The two men appeared together in several films, including the little-known Saturday's Children, which is one of the few Garfield films I have yet to see.  In true #1 fan form, Mad has seen Mr. Rains' entire filmography, which means Saturday's Children has crossed her path, and it is that film she will be showcasing here today.  It definitely sounds like a "must see" film to me!  (Of course, I'm on a quest to see every Garfield film, so I guess, they are all must-sees.)

I'm thrilled to have Mad as my guest, so without further ado...I'll turn things over to her.

SATURDAY’S CHILDREN (1940)

I am often surprised to discover classic era films of true quality that have somehow sunk into obscurity.  Saturday’s Children is one of these little-known gems.  To begin with, the film has an excellent pedigree.  The script was written by Julius and Philip Epstein (Casablanca, Four Daughters, Mr. Skeffington), from the Pulitzer-winning play by Maxwell Anderson (What Price Glory, Key Largo).  It’s directed by Vincent Sherman (Mr. Skeffington, Old Acquaintance), with Irving Rapper as dialogue director (later to direct Now, Voyager and Deception).  In addition to having a great cast, it’s also one of those rare treasures – a John Garfield comedy.

Our story begins with an average morning for the Halevy family.  Dad (Claude Rains) is resisting Mom’s (Elisabeth Risdon) efforts to get him out of bed to go to his dull job as a bookkeeper.  Meanwhile daughter Bobby (Anne Shirley) is excited about her first day of work at the same firm (where Dad has got her a job).  Sharing their New York brownstone is her older sister Florrie (Lee Patrick) and Florrie’s husband Willie (Roscoe Karns).  When she’s not trading wisecracks with Willie, Florrie is trying to educate Bobby in the ways of the world – particularly concerning the battle of the sexes.  To Florrie’s dismay, Bobby is resistant to what she feels are dishonest tricks for landing a husband.

At work, Bobby meets fellow employee Rims Rosson (Garfield), whose hobby is inventing crazy gadgets that he admits are not ‘commercially practical’.  He does have one practical dream - to discover a way to manufacture silk from hemp.  It’s obvious from the start that Rims and Bobby share the same wry sense of humour and directness, and they begin dating as part of a weekly bowling night.  When Rims gets a job offer in the Philippines to work on his hemp-to-silk idea, Florrie convinces Bobby that she’ll lose him unless she takes certain ‘foolproof steps’ to get him to propose.  Further complications ensue for the young couple, with some dramatic turns that I would rather leave viewers to discover for themselves.

By this time, Garfield had made eight movies, playing a street-smart tough guy in most of them.  Here he plays a rather distracted, guileless fellow, who wears glasses to read and is slightly awkward at the dating game.  He is attracted to Bobby because of her straightforwardness.  Rims is an eccentric soul with a quirky sense of humour and a positive outlook on life.  It’s a marked contrast to some of the hard-bitten roles we have seen him in, but Rims is no weakling and Garfield still creates a fascinating three-dimensional character.  In Rims, Garfield shows us a more casual, easygoing type.  He’s no stranger to disappointment, but he’s a realist - not a cynic.  It’s a rare joy to see Garfield get to play this relaxed character with a sense of humour.  He’s a bit of a dreamer, and definitely a person you would enjoy getting to know.

Garfield is well matched by Anne Shirley as Bobby – torn between a selfish (but normal) desire to keep Rims with her, and a feeling of guilt that she is preventing him from pursuing his dreams.  She’s not only cute and likeable, but I was impressed with her as an actress in this movie – she often gets to be the ‘strong one’ for those around her.  (I’ve read that Warners originally wanted Priscilla Lane, but fearing it would be rewritten as another ‘Lane Sisters’ movie, Garfield lobbied for Anne Shirley.)

This movie is a romantic comedy with an intelligent storyline.  What I love about these old Warner Brothers pictures is that they show average people struggling to get by, and still managing to find happiness.  Not being rich isn’t seen as a tragedy to be ‘solved’ in the last reel.  The characters cope in the best way they can, without a lot of self-pity and in ways that ring true.  The title refers to the poem predicting the traits of children according to the day of the week on which they were born, in which “Saturday’s child has far to go”.  (The usual version is “… works hard for a living” but the spirit is the same.)  Money troubles may be the catalyst, but the couple’s problems are really about honesty and compromise in love and marriage.  Their story isn’t maudlin or sappy; their joys and pains are those we can relate to, and we laugh with them as if it were our own family.  A quality script has a lot to do with this, but ultimately it’s Garfield and Shirley that bring these characters to life and make us care.

The supporting cast has some stellar character actors, including my own personal favourite – Claude Rains.  Rains and Anne Shirley have a wonderful chemistry as father and daughter.  Their scenes together are affectionate and heartwarming.  Always a commanding presence, Rains was a master at intelligent emotional scenes.  His heart-to-heart talks with Bobby about regrets in his own life are touching and honest, without being over-sentimental.  His ‘Pops’ is a complicated mix of cheerful resilience and melancholic resignation.  Rains also had a fine comedic sense; often a witty and sarcastic villain, here he is charming and funny as a teasing, loving father.  (I once read a comment that, with the exception of Lon Chaney Jr. in The Wolf Man, Rains always had daughters in the movies - often four at a time!).  This was the fifth picture Rains and Garfield were in together, continuing a friendship that began when Rains mentored him on Four Daughters. 

Lee Patrick and Roscoe Karns share some of the funniest of the Epsteins’ lines, with Patrick as the big sister always trying to ‘help’ with Bobby’s love life, and Karns as her henpecked husband who fights back with wisecracks.  They complement each other perfectly and their banter is fast and clever.  Their underlying affection is quite believable, and that’s probably why it’s so much fun to watch them bicker.  There is more witty dialogue at work, from Bobby’s fellow clerk Dennie Moore and her hapless boyfriend George Tobias.  Elisabeth Risdon (as the mother) is the only one not given much to do; although sympathetic, she never seems to be consulted on the family’s emotional crises. 



I have read that Saturday’s Children was one of Garfield’s happiest film experiences, and a performance of which he was very proud.  I can see why – it’s sweet, it’s funny, and it gave him a chance to show his versatility as an actor.  Unfortunately, it wasn’t a success at the box-office, which may be why it’s not well known today.  It does not seem to be available on DVD, but if you have access to TCM in North America, you can catch it on March 4th at 8:45 am (ET), and I heartily recommend that you do.  It deserves to be re-discovered.

Saturday's Children does, indeed, sound like a terrific movie, and I cannot wait to see it.  A huge thank you to Mad for this awesome write-up!  What a fantastic addition to the blogathon! To read all the other terrific blogathon pieces, go HERE.

NOTE:  After finally having a chance to watch this film, I am giving it 4-stars.

John Garfield Blogathon---Lori's Humble Tribute

When I first began thinking about hosting a blogathon in honor of John Garfield's centennial, it was with the knowledge that my good friend and fellow Garfield appreciator, Lori Moore, would be an integral part of the event.  Although not a blogger, Lori's love for Mr. Garfield is even greater than my own, so I had intended for her to be a guest writer here at They Don't Make 'Em Like They Used To during the four days of the birthday celebration.  Sadly, though, Lori suddenly and very unexpectedly passed away on Christmas Eve.  I miss her, and I miss the conversations we used to have about "our Julie" (as we referred to Mr. Garfield), but I know she is with me and this event in spirit.  (There are over two dozen wonderful entries in this blogathon.  You can access them HERE.)




One of the ways Lori's regard for Mr. Garfield played out was in the creation of an incredibly beautiful video tribute to him.  Although she called it her "humble tribute," there's nothing humble about it.  Lori did an awesome job putting the video together!  It features dozens of wonderful photographs, all set to a lovely instrumental version of the songs "I'll Be Seeing You" and "Smile,"...the latter of which seems completely appropriate for such a tribute, given the tragic circumstances of the actor's final years, when his heart truly was breaking.

Some of you have already seen this, I know, as I have shared it before; however, I hope you'll take another look, not only in honor of Mr. Garfield's 100th birthday, but also in memory of the very sweet lady who created it.

Enjoy!!

Welcome to the John Garfield Blogathon

After several weeks of planning and anticipation, the eagerly-awaited John Garfield 100th birthday blogathon (main page HERE) is finally upon us.  Beginning tomorrow, and continuing on through Monday, we'll be celebrating one very under-appreciated actor, and I, for one, am thrilled.  Mr. Garfield so deserves the honor and recognition.  (Participants, please include a link to this page somewhere in your post, and then either leave as a comment or email me the link to your article, so I can include it on the page.)

Participating in the event are two dozen different people, two of whom are not bloggers but are John Garfield enthusiasts.  Since they don't have blogs of their own, it is with joy that I welcome them to be guests here at They Don't Make 'Em Like They Used To.  As with all blogathons, try to visit as many of the entries as you can...and have fun celebrating the sensational John Garfield.

The contributions are as follows:

March 1st:

Quite fittingly for this "debut day" of the blogathon, Jenna, of Classic Movie Night, is showcasing Mr. Garfield's debut film---Four Daughters.  (HERE)

The late Lori Moore will be sharing a beautiful video tribute at They Don't Make 'Em Like They Used To.  (HERE)

Victoria of Slightly Shabby is taking a break from her usual discussion of home decor to showcase one of her favorites--The Postman Always Rings Twice.  (HERE)

Johan, of I'd Love to Kiss You, But I Just Washed My Hair, has reviewed one of the few Garfield films I have yet to see---Between Two Worlds.  (HERE)

Oh, So Very Classic's Alyssa has provided some quotes by and about Mr. Garfield, as well as a bit of biographical information.  (HERE)

Over at Olivia & Joan: Sisters of the Silver Screen, Tom will be shining the light on the star-studded Thank Your Lucky Stars.  (HERE)


March 2nd:


The WWII film Air Force takes to the air with Jeff over at The Stalking Moon.  (HERE)

At 1001 Movies You Must See Before You Die, Kim shares her thoughts about that sensational film noir The Postman Always Rings Twice. (HERE)

Art, Movies, Wood, and Whatnot's Artman will be sharing the John Garfield portion of his beautiful movie paperware collection.  (HERE)

Featuring Mr. Garfield in his most inherently evil role, Out of the Fog will be showcased by John over at Twenty Four Frames.  (HERE)

They Don't Make 'Em Like They Used To has invited a guest, who will discuss the little-known Saturday's Children, a film which features Mr. Garfield in a rare romantic role. (HERE)


March 3rd:


Le of Critica Retro will be discussing Mr. Garfield's influence on films.  (HERE)

Tom will be highlighting Daughters Courageous over at Motion Picture Gems.  (HERE)

Ivan of The Thrilling Days of Yesteryear will give us a glimpse into the terrific noir Force of Evil.  (HERE)

Over at Tales of the Easily Distracted, Dorian will be showcasing the wartime spy flick Dangerously They Live.  (HERE)

Deb of Sidewalk Crossings will be taking a short break from her James Bond series in order to tackle the noirish spy thriller The Fallen Sparrow.  (HERE)

Here at They Don't Make 'Em Like They Used To, the boxing film They Made Me a Criminal will be stepping into the ring.  (HERE)



March 4th:

Kristen of Journeys in Classic Film will be spotlighting 1947's Academy Award-winning Gentleman's Agreement.  (HERE)

Taking center stage over at Flick Chick's A Person in the Dark is the prison film Castle on the Hudson.  (HERE)

Here at They Don't Make 'Em Like They Used To, I will be offering a humble tribute.  (HERE)

 Over at The Girl with the White Parasol, Aubyn shines the spotlight on Nobody Lives Forever.  (HERE)

Dawn, of Noir and Chick Flicks, will be showcasing one of the ultimate chick flicks---Humoresque. (HERE)

The Nitrate Diva---will be getting into the action with another of Mr. Garfield's WWII films, Destination Tokyo.  (HERE)

Over at The Movie Projector, Richard will be highlighting The Breaking Point, the second film adaption of Ernest Hemingway's To Have and Have Not.  (HERE)

And, appropriately, on this final day of the blogathon, Judy of Movie Classics will be discussing Mr. Garfield's final film, He Ran All The Way.  (HERE)

NOTE:  Two other important Garfield films---Pride of the Marines and Body and Soul---were to have been spotlighted during the blogathon; however, the bloggers intending to showcase those films ended up unable to participate.  So, while those films were not part of the blogathon, it's not because they were overlooked.

A huge thanks to: my good friend Monty, of All Good Things, for creating the blogathon's beautiful banner...each person who spread the word about the event...each person who contributed an article...each one who visited the blogs and read the entries.  This celebration would not have happened without the participation of all of you!!