—1944 This musical classic may not be thought of as a Christmas movie, but the story about the trials and tribulations of the Smith family in the year before the 1904 World’s Fair does contain the Christmas classic “Have Yourself a Merry Little Christmas.” As sung by Judy Garland to a young Margaret O’Brien, it became an instant hit and holiday standard. Great music, beautiful color cinematography, and a wonderful ensemble cast make this the perfect movie to watch on a snowy winter’s evening with family and friends. 
The Bells of St. Mary’s
—1945 Can anyone make great sentimental films the way Leo McCarey did? McCarey was a master of emotional manipulation, but in a good way. Plus, when you have Ingrid Bergman as your leading lady (even if she’s playing a nun), you can’t really go wrong, can you? Bing Crosby reprises his Oscar-winning performance as Father O’Malley in this sequel to Going My Way
, but it’s Bergman’s Sister Benedict that really is the heart and soul of this Christmas classic, in my opinion. And who do we have here? Henry Travers, the great character actor, playing business tycoon-turned-benefactor, Mr. Bogardus, one year before he would be immortalized as the angel Clarence in It’s a Wonderful Life
(see below). 
Christmas in Connecticut
—1945 A big hit when first released, this holiday classic is sometimes overlooked in the lists of great Christmas movies. Made when Barbara Stanwyck was at her peak, the story is clever and genuinely funny. Stanwyck’s character is a sort of 1940s version of Martha Stewart, except, unlike Martha, she has no domestic skills whatsoever. When compelled by her magazine publisher to entertain a war hero, Stanwyck goes into high gear to present herself as the perfect domestic goddess the reading public and her publisher think she is. Stanwyck, often cast in heavy melodramas was a great comic actress. She looks luminous on screen as the career woman falling for war hero Dennis Morgan. 
It’s a Wonderful Life
—1946 What do you say that hasn’t already been said about this classic holiday favorite? Well, for starters, it wasn’t such a big hit when released. Most post-war audiences thought the story line was rather dark. Today, the tale of George Bailey visited by an angel named Clarence, who shows George what life would be like if he hadn’t been born, is almost required viewing during the Christmas season. James Stewart is perfectly cast as George and Donna Reed is every bit his equal as George’s wife, Mary. Reed’s characterization is pitch perfect and she makes us understand why George loves her so. 
Miracle on 34th Street
—1947 There have been other versions of this classic, but none come close to matching the warmth and intelligence of the original. It’s amazing to me how well this movie holds up today. Maureen O’Hara is a single working mom trying to balance work while raising her young daughter, Susan, played by Natalie Wood. All the praise went to Edmund Gwen as Kris Kringle, and he’s wonderful (Best Supporting Actor winner), but O’Hara gives a beautifully layered performance as Doris Walker, a conflicted career woman who doesn't want her daughter to believe in fantasies of any kind. John Payne is also excellent as Fred Gailey, as is George Seaton’s crisp and fluid direction. 
The Bishop’s Wife
—1947 Released the same year as Miracle on 34th Street, the movie boasts two of the most glamorous movie stars in the history of film: Loretta Young and Cary Grant. And for us regular folk, there’s David Niven as the bishop. Probably the most spiritual of all the Christmas classics, The Bishop’s Wife grows on me with each viewing. Niven is a bishop struggling to raise money to build a cathedral without compromising his faith or his marriage to Young. Grant plays an angel named Dudley sent from heaven to help the bishop during his hour of need. Perhaps a little too earthly an angel for his own good, Grant finds himself falling for Young, who, in simple dress and hairstyles, radiates feminine grace and beauty. A wonderful movie about grace, love, and commitment that continues to speak to audiences today.The above is hardly an exhaustive list of my favorites, but these are very close to the top. What are your favorite Christmas movies? Do you have a list of holiday favorites that you absolutely have to watch every year? I’d love to hear from you.
and 
were known as much for their classic movie star looks as their acting abilities. Young, a star since the days of silent films, is considered one of the screen’s great beauties. Her big expressive eyes and lovely cheekbones made her a photographer’s dream. Grant’s was the face that the top female stars of the 1930s wanted next to theirs on the big screen.
(1946). He’s as dapper as, well, Cary Grant. Young on the other hand, plays Julia Brougham, the wife of a Bishop (
). Throughout the movie, Young is dressed modestly, but beautifully. Likewise, her hairstyle is pulled back, simply styled, but framing that beautiful, luminous face.
blocked out a two-shot between Young and Grant, both protested that the blocking did not exploit the best sides of their faces. To appease the two stars, Koster had them look out a window in the same direction. This shot satisfied Young and Grant because their best sides (the left sides of their faces) were photographed. 
saw the dailies (film shot that day), he was critical of Koster’s decision to shoot the scene in such a manner. When Koster asked Young and Grant to explain why the shot was set up and filmed this way, Goldywn let go with one of his famous “Goldwynisms.” He said to both stars “Look, if I'm only getting half a face, you're only getting half a salary!” Young and Grant, both being freelance movie stars and not contracted to a major movie studio were also conscious of workplace politics. 
. During the play’s run, she understudied for Martha Scott, who had the lead role of Emily. When Martha Scott left for Hollywood, Wright stepped into the lead. After her success in Our Town, she was cast as Mary Skinner in an even bigger success, 
. During one performance, a talent scout from the Samuel Goldwyn studios noticed something special about Wright. 
, someone who would be able to stand up to the formidable Miss Davis on the big screen. The talent scout thought Wright was up to the task. Before long, she was brought to Hollywood and signed a long-term contract with Goldwyn.
at MGM starring Greer Garson and Walter Pigeon. After she completed that film, she was costarring opposite Gary Cooper in 
, directed by Sam Wood. Both Mrs. Miniver and The Pride of the Yankees were released in 1942 and Wright was showered with critical accolades once again. 
, he considered Wright for the lead role of Charlotte (Charlie) Newton. He wanted her for her obvious talent, but Hitchcock also wanted her because she was considered a hot property and her appeal would add to the box office. He was correct on both counts. From the start Hitchcock was impressed not only with Wright’s talent, but her professionalism on the set. Wright’s characterization is a tour-de-force. She begins the film as a naive, innocent girl and ends it as a mature worldly-wise young woman.
). During the late 1940s, Wright lost out on two important film roles that hurt her career. 
and adapted the screenplay for producer David O. Selznick. Wright was set to star as the half-breed Pearl Chavez. The role was to be a change of pace for the actress. During production, Wright became pregnant and had to drop out. Jennifer Jones, another actress with a girl-next-door image picked up the role and a Best Actress nomination to boot. 
. Goldwyn had high hopes for the film and Wright had one of the key roles. When production wrapped, Wright didn’t particularly like the result. Scheduled to travel to publicize the film, Wright said she was ill and couldn’t participate. Goldwyn didn’t believe Wright and he fired her. Overnight, Wright was a star without a studio. Used to making $5000 a week and $200,000 per picture, Wright was now a freelance artist during a turbulent time in Hollywood. The major studios were losing money because they were forced to give up their theater ownership, which reaped them huge profits. 
. The film was an independent low-budget production for which Wright accepted a salary of $25,000. Wright said that after she made that film for that low fee, she was rarely given A-list material again. She still had starring roles in movies, but none matched the quality of her early successes.
five years before the film version was made. Later she portrayed famed photographer 
in a 1960 TV production. In addition to her TV work, Wright went back to Broadway starring in 
, 
, The Heiress, and 
opposite George C. Scott.
and 
. Her last major role was playing Miss Birdie, Matt Damon’s landlady, in 
in 1977.
