In my first blog post, 2025: A Year of Sondheim and Storytelling, I outlined my 2025 film and theatre project: a year dedicated to immersing myself in the world of Stephen Sondheim – both through his own work and through the films that shaped his artistic vision.
As part of this journey, I’m watching all 40 of Sondheim’s favourite films in chronological order. Here are the first ten, spanning a mix of countries and cinematic traditions, each revealing something about the storytelling traditions that he so admired.
1/40: The Mind Reader (1933, Roy Del Ruth, USA)
A slick and cynical pre-Code drama, The Mind Reader follows Warren William’s Chandler/Chandra, a charming but morally dubious con artist who finds success as a fake fortune teller. With snappy dialogue and a fascinating blend of comedy and dark drama, the film explores deception, ambition, and redemption. Constance Cummings adds emotional weight as the woman he truly loves, forcing him to reckon with the truth.
2/40: They Were Five (1936, Julien Duvivier, France)
A beautifully crafted French drama, this film examines the complexities of friendship, loyalty, and fate. When five working-class friends win the lottery and decide to go into business together, their unity is tested by ambition, romance, and unforeseen tragedy. Featuring a powerful performance from Jean Gabin, it’s a poignant look at the struggles of ordinary people trying to hold onto their dreams. A deeply humanist piece that remains resonant.
3/40: Night Must Fall (1937, Richard Thorpe, UK)
A psychological thriller with an unsettling central performance by Robert Montgomery, Night Must Fall explores the charm and menace of a sociopath. When a manipulative young man worms his way into the home of an elderly woman and her wary niece, his presence gradually reveals itself to be sinister. The film builds a slow-burn tension, with Rosalind Russell providing a compelling counterbalance to Montgomery’s magnetic yet terrifying presence. While it drags slightly in places, the unsettling mood lingers long after the final scene.
4/40: Life Dances On (1937, Julien Duvivier, France)
Not yet found.
5/40: Pygmalion (1938, Anthony Asquith, UK)
George Bernard Shaw’s witty and socially incisive 1913 play comes to life in this sharp and satirical adaptation. Leslie Howard delivers a charismatic but infuriating performance as Professor Henry Higgins, the linguist who bets he can transform a Cockney flower girl, Eliza Doolittle (a superb Wendy Hiller), into a refined lady. The film retains Shaw’s biting social critique while adding cinematic flair, making it a sparkling, intelligent classic.
6/40: Torchy Blane in Chinatown (1939, William Beaudine, USA)
A fast-paced and engaging crime drama, this entry in the Torchy Blane series sees the wisecracking journalist (Glenda Farrell) teaming up with her on-again, off-again police detective fiancé (Barton MacLane) to solve a tangled case involving blackmail, theft, and murder. At just 58 minutes, the film is a breezy, entertaining ride, with Farrell’s quick wit and charisma making her one of early Hollywood’s most enjoyable female leads.
7/40: The Adventures of Sherlock Holmes (1939, Alfred L. Werker, USA)
A quintessential detective film, this atmospheric adaptation sees Basil Rathbone’s Sherlock Holmes locked in a battle of wits with his arch-nemesis Moriarty (George Zucco). With a mix of intellectual gamesmanship, thrilling chases, and a dose of humour (courtesy of Nigel Bruce’s endearingly bumbling Dr. Watson), the film captures the essence of classic Holmes storytelling. Stylish and engaging, it’s a perfect blend of mystery and adventure.
8/40: The Thief of Bagdad (1940, Michael Powell, Ludwig Berger, Tim Whelan, UK/USA)
A spectacular fantasy adventure, The Thief of Bagdad is a feast for the eyes, boasting lush Technicolor visuals, dazzling special effects, and a sense of boundless imagination. Though its production was chaotic, with multiple directors involved, the final product is a seamless and thrilling epic. A tale of love, magic, and heroism, this film must have been a welcome escape for wartime audiences, offering a glimpse of cinematic magic at its finest.
9/40: The Grapes of Wrath (1940, John Ford, USA)
John Ford’s adaptation of John Steinbeck’s novel is a deeply moving depiction of resilience in the face of despair. Following the Joad family’s arduous journey from Dust Bowl-era Oklahoma to the promised land of California, the film presents a haunting portrayal of poverty, injustice, and the unbreakable human spirit. Henry Fonda’s performance as Tom Joad is iconic, and Gregg Toland’s cinematography enhances the film’s stark, almost documentary-like realism.
10/40: The Sea Wolf (1941, Michael Curtiz, USA)
A gripping psychological drama set on the high seas, The Sea Wolf adapts Jack London’s novel into a tense battle of wits and survival. Edward G. Robinson delivers a chilling performance as the brutal and philosophically complex Captain Wolf Larsen, ruling his ship with an iron fist. As two castaways (Ida Lupino and Alexander Knox) find themselves at his mercy, they must navigate his ruthless intellect and volatile nature. John Garfield adds further depth as a desperate fugitive seeking refuge aboard the ship, bringing a raw intensity to his role. Curtiz’s direction keeps the tension taut, while the fog-drenched cinematography enhances the film’s claustrophobic intensity. A moody and engrossing nautical noir.
I also watched The South Bank Show, Series 37, Episode 5: Stephen Sondheim Revisited. Hosted by Melvyn Bragg, the episode featured archive material and interviews spanning the years. What a generous and enthusiastic man Sondheim was—his skill, knowledge, and passion for musical theatre truly shone through.
Common Threads Across the First Ten Films
Watching these films chronologically, several recurring themes and storytelling elements emerge:
• Duality and Deception – Many of these films explore characters leading double lives or hiding their true selves, such as the fortune-telling con artist in The Mind Reader and the manipulative sociopath in Night Must Fall.
• Power and Control – Whether it’s the dictatorial Captain Larsen in The Sea Wolf or Professor Higgins shaping Eliza in Pygmalion, several films centre on figures exerting influence - sometimes for better, often for worse.
• Friendship and Fracture – The camaraderie of They Were Five and the Joad family’s resilience in The Grapes of Wrath highlight bonds tested by circumstance, ambition, or external forces.
• Moral Ambiguity – Few characters in these films are purely good or evil; instead, we see complex figures making choices that blur the line between heroism and self-interest.
• Survival and Adaptation – From the Dust Bowl migrants of The Grapes of Wrath to the shipwrecked souls of The Sea Wolf, many protagonists struggle to endure shifting landscapes, both literal and emotional.
• Mystery and Suspense – With thrillers like Night Must Fall and The Adventures of Sherlock Holmes, psychological tension and the question of identity run throughout this selection.
Sondheim’s love of intricate plotting, sharp dialogue, and layered characterisation is evident in his admiration for these films, many of which thrive on psychological depth, social critique, and innovative narrative techniques.
The Musicals I Have Yet to See
Beyond the films, the heart of this project lies in experiencing the works of Sondheim himself - on stage whenever possible, or through film adaptations and recordings. While I’ve seen many of his masterpieces, there are still notable gaps in my experience. I’m excited to say I already have two shows booked, with more to come! Here are the Sondheim musicals I have never seen, which I hope to make a dent in this year.
Saturday Night (1954)
A Funny Thing Happened On The Way To The Forum (1962)
Anyone Can Whistle (1964)
Company (1970) : tickets booked!
A Little Night Music (1973)
Merrily We Roll Along (1981)
Sunday In The Park With George (1984)
Passion (1994)
Bounce (2003) which later became Road Show (2008)
Here We Are (2023) : tickets booked!
I’ve also tickets booked for Into the Woods in January 2026. A show I love and have seen twice before!
To be a completist it would also be good to see:
Do I Hear A Waltz? (1965)
Marry Me A Little (1981)
You’re Gonna Love Tomorrow (1983)
Putting It Together (1993/99)
Moving On (2001)
Sondheim on Sondheim (2010)
Just Another Love Story (2012)
Sondheim's Old Friends (2022/23)
If anyone knows of any productions of these shows, do get in touch!
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