If you like Douglas Sirk, you'll love John M. Stahl. Stahl (1886–1950 ), the original Hollywood melodrama master.
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Intoxicating Gene Tierney (Laura) is the femme fatale par excellence in this astounding Technicolor noir classic, now beautifully restored, about a young novelist (Cornel Wilde) whose new bride’s extreme jealousy plunges their nuptial heaven into hellish depths of psychic disorder.
A young woman can’t forget the handsome lieutenant that she spends an evening with during the early days of World War I in Stahl’s acutely self-aware melodrama. Margaret Sullavan’s screen debut.
Stahl combines Depression-era labor struggles with dreamlike romance in this tale of a waitress (Irene Dunne) and a married man (Charles Boyer). Based on a James M. Cain story, and later remade by Douglas Sirk as Interlude.
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A would-be writer whose ambition has been dampened by domestic life is soon tempted by a former flame. “Dominating the picture is the feminine reaction to life. And this is Mr. Stahl’s forte” (LA Times).
A callow playboy sets out on a path towards redemption after causing a doctor’s death, and blinding the doctor’s widow, in Stahl’s great melodrama. Robert Taylor and Irene Dunne star. Later remade by Douglas Sirk.
Stahl adapts Fannie Hurst’s bestselling novel into a surprisingly clear-eyed, quietly devastating story about what happens when a woman has nothing but a man, and not much of him.
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In antebellum New Orleans, Irish gambler Stephen Fox (Rex Harrison) wins a plantation and a beautiful, aristocratic wife (Maureen O’Hara), but can he master them?
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This droll fable of class and authenticity, revolving around a painter who poses as his own valet, reveals Stahl as a capable director of comedy.
The lives of a black maid (Louise Beavers) and a white widow (Claudette Colbert) intersect in a scheme to manufacture pancake batter, in this melodrama. Nominated for three Academy Awards and named by Time in 2007 as one of the twenty-five most important films on race.
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The young Gregory Peck garnered an Oscar nomination for his performance as a priest in China who refuses to buy converts but wins them anyway through compassion, tolerance, and common sense.