11 Films from the 1940s That Remain Enjoyable to Watch

      These 1940s films have remarkably withstand the test of time: Despite their imperfections, they delve into elements of human nature that remain unchanged and perhaps provide reassurance that, amid our contemporary challenges, certain aspects endure.

      A warning: Even the most progressive films from the 1940s featured depictions that may seem outdated and clichéd by today’s standards — though, back then, audiences likely perceived them as an unbiased reflection of reality.

      Indeed, many of these films possess differing expectations for men and women. Nevertheless, the finest among them — like Notorious, one of our favorites — cleverly subvert those expectations.

      With that in mind, here are the films.

      Citizen Kane (1941)

      RKO Radio Pictures – Credit: C/O

      Often hailed as one of the greatest films ever made, Orson Welles’ Citizen Kane reinterprets the life of real media tycoon William Randolph Hearst, who detested it so fiercely that he attempted to curtail its theatrical release and influence.

      A formidable figure attempting to suppress criticism with his wealth and the legal system? To quote another film on this list: “I’m shocked, shocked.”

      If you find some of the more serious sections a bit tedious, reflect on how Orson Welles premiered it at just 26 years old and ponder how he accomplished that.

      Casablanca (1942)

      Warner Bros.

      When people express their fondness for 1940s films, this is likely one they have in mind.

      Ingrid Bergman, who later appears in Notorious, is mesmerizing as Ilsa Lund, a woman caught between love and her obligation to combat fascism. Humphrey Bogart, as her former lover Rick, is an exceptional male lead, arguably among the best in film history.

      However, Casablanca is a film where each individual shines, from director Michael Curtiz to writers Howard Koch and Julius and Philip Epstein. Everyone has their favorite scene, but ours is, as hinted previously, “I’m shocked, shocked.”

      While the portrayal of Sam, the Black piano player, is problematic, it is still far better than how other Black characters were depicted in 1940s cinema. Sam is a relatable character, immensely talented, and very much one of the good guys.

      Double Indemnity (1944)

      Paramount Pictures – Credit: C/O

      This film is arguably the most entertaining movie ever centered around insurance; it sizzles in memorable scenes like the anklet moment — also known as the “how fast was I going” scene — featuring Fred MacMurray as an insurance agent and Barbara Stanwyck as a scheming client.

      It maintains a steady pace, which somehow enhances its captivating allure. It inspired many films, including 1981’s Body Heat, but we still prefer the 1940s original.

      Laura (1944)

      20th Century Fox

      Laura could easily be remade today as an incel horror film or #MeToo drama: It follows the story of a beautiful, talented young executive, Laura Hunt (Gene Tierney), found murdered outside her home.

      Her narrative is soon recounted by columnist Waldo Lydecker (Clifton Webb), who befriended her and attempted to use his connections to assist her. Would you believe that predatory older men trying to leverage their influence for attractive younger women — with expectations in return — is not a contemporary issue?

      Yet, with this premise, the twists are just beginning in Laura, which, in spite of its grim setup, ultimately concludes on a note of happiness — spoiler alert.

      The Lost Weekend (1945)

      Paramount Pictures

      This unvarnished, empathetic portrayal of addiction, directed by Billy Wilder, was inspired by Charles R. Jackson’s 1944 novel, reflecting his personal battle with alcoholism.

      Featuring Ray Milland and Jane Wyman, it offers a candid and compelling view of talent squandered by alcoholism, serving as a blueprint for many subsequent addiction dramas.

      Its excellence was acknowledged during its release: It is one of only three films, alongside 1955’s Marty and 2019’s Parasite, to have won both the Oscar for Best Picture and the Grand Prix at the Cannes Film Festival (it shared the Grand Prix with ten other films in the inaugural Cannes).

      Christmas in Connecticut (1945)

      Warner Bros.

      You've probably encountered numerous recent films or shows (or TikToks?) about influencers who feign perfect lives while being entirely different behind the scenes. All these portrayals owe something to Elizabeth Lane, the protagonist of Christmas in Connecticut, played by Barbara Stanwyck in a role quite different from her character in Double Indemnity.

      Lane is a magazine writer posing as someone who lives on a perfectly maintained farm in Connecticut, adored for her recipes and family tales. In reality, she is a single woman residing in a small New York City apartment.

      Recently, we discovered that Arnold Schwarzenegger once directed a basic cable remake of this film, partly inspired