10 Films of the 1940s That Are Still a Joy to Watch

These 10 films of the 1940s that have held up beautifully through the decades: Whatever their flaws, they recognize and examine aspects of human nature that haven't changed, and maybe even offer some comfort that for all our modern troubles, some things never change.

A caveat: Even the most forward thinking films of the 1940s trafficked in portrayals that seem retrograde and stereotypical today — though, at the time, audiences likely saw them as a neutral reflection of real life.

So yes, many of these movies have different expectations of men and women, for example. But the best of them — like Notorious, one of our all-time favorites — wittily usurp those expectations.

So with that, here are the films.

Citizen Kane (1941)

Widely considered one of the greatest films of all time, Orson Welles' Citizen Kane reimagines the life of real-life media magnate William Randolph Hearst, who hated it so much that he tried to minimize its theatrical run and impact.

A powerful man trying to use his wealth and the courts to strangle criticism ? To quote another movie on this list: "I'm shocked, shocked."

Curiously, this is one of Donald Trump's favorite movies.

If you find yourself getting a little bored during the more ponderous parts, you can think about how Orson Welles released it at the age of 26, and wonder how he did that.

Casablanca (1942)

When people say they love movies of the fims of the 1940s, this is likely one they're most picturing.

Ingrid Bergman, who also appears later on this list in Notorious, is captivating as Ilsa Lund, a woman torn between love and her duty to fight fascism. Humphrey Bogart, as her ex-lover Rick, is as good a male lead as any movie had ever had.

But Casablanca is a movie where every single person shines, from director Michael Kurtiz to writers Howard Koch and Julius and Philip Epstein. Everyone has their favorite moment, but ours is, as you may have guessed from our last entry, "I'm shocked, shocked."

The film's treatment of Sam, the Black piano player, isn't good — but it's a lot better than the treatment of other Black characters in films of the 1940s. Sam is a likable character, immensely talented, and very much one of the good guys.

Double Indemnity (1944)

The most fun movie ever made about insurance, this noir extravaganza sizzles in moments like the anklet scene — aka the "how fast was I going" scene — between Fred McMurray as an insurance man and Barbara Stanwyck as a scheming client.

It never goes too fast, which somehow makes it all the more wildly seductive. It inspired many (often color) films, including 1981's very good Body Heat, but we still prefer the '40s version.

Laura (1944)

Laura could be smoothly repackaged today as an incel horror movie, or #MeToo drama: It's the story of a young, beautiful, talented executive, Laura Hunt (Gene Tierney), found murdered outside her apartment.

Her story is soon recounted by columnist Waldo Lydecker (Clifton Webb), who became her friend and tried to use his connections to help her along the way. Would you believe that creepy older men offering to pull strings for attractive younger women — and expecting things in return — is not a recent phenomenon?

But with that setup, the twists are only beginning in Laura, which, somehow, despite its grim setup — spoiler alert — has a happy ending.

The Lost Weekend (1945)

A blunt, empathetic portrait of addiction, this film noir directed by Billy Wilder was based on Charles R. Jackson's 1944 novel influenced by his own struggle with alcoholism.

Starring Ray Milland and Jane Wyman, it is a frank and compelling look at talent lost to alcoholism is a template for countless addiction dramas that have come since.

Its brilliance was recognized at the time: It is one of only three films, along with 1955's Marty and 2019's Parasite — to win both the Oscar for Best Picture and Grand Prix at the Cannes Film Festival. (It shared the Grand Prix at the first Cannes with 10 other films).

Christmas in Connecticut (1945)

You've probably seen a lot of recent movies or shows (or TikToks?) about so-called influencers who pretend to live perfect lives but are very different behind the scenes. They all owe a debt to Elizabeth Lane, the protagonist of Christmas in Connecticut, played by Barbara Stanwyck in a role rather different from the one she played in Double Indemnity.

Lane is a magazine writer who pretends to live on a flawlessly maintained farm in Connecticut and is beloved for her recipes and accounts of her family and baby. But she's actually a single woman who occupies a small place in New York City.

This week we learned that Arnold Schwarzenegger once directed a basic cable remake of the film inspired in part by the success of Martha Stewart.

The Postman Always Rings Twice (1946)

If you ever long for the good old days, watch this one to remind yourself that people of the past were anything but naive.

John Garfield makes being a drifter look like a good life choice when his character, Frank, wanders into a service station operated by the stunning Cora (Lana Turner). Unfortunately, she runs it with her husband.

Frank and Cora work out a little scheme to take care of that obstacle. It goes about as well as you'd expect if you've ever seen a movie of the 1940s. It's one of our favorite noirs of the era.

It's a Wonderful Life (1946)

This Frank Capra gem is replayed year after year for a simple reason: It really, really holds up.

Far from a sugarcoated holiday confection, the film is blunt and evenhanded about just how much failure and struggle are part of the business of living. Its pragmatism makes its ultimately hopeful message even more resonant.

Also, we've said it many times before, but we have to agree with this tweet about how the phone scene between Donna Reed and Jimmy Stewart is pretty hot.

Notorious (1947)

The Alfred Hitchock films of the 1950s and '60s could get a little slow — but Notorious crackles from start to finish thanks to the presence of one of the all-time greatest actresses, and magnetic lead characters.

Ingrid Bergman is magnificent as Alicia Huberman, whose virtue and morality are in constant question. She juggles endless demands and expectations, keeping her intentions a mystery until the very end.

Cary Grant as T.R. Devlin, a U.S. agent who recruits her. When people start falling in love, things get very tricky.

The Third Man (1949)

Joseph Cotten plays pulp novelist Holly Martins, who arrives in ghostly postwar Vienna to investigate the death of an old friend, Harry Lime. But things aren't as they seem.

The highlight is an utterly chilling monologue by Welles as he and Cotten ride a Ferris wheel and look at all the little people below.

This is a movie very much of its time — its shot in the historic setting it portrays — which makes it as fascinating a movie time capsule as you'll ever see. But the twists and grim compromises very now.

Main image: A promotional image of Gene Tierney for Laura. 20th Century Fox